scholarly journals De-Creation in Japanese Painting: Materialization of Thoroughly Passive Attitude

Philosophies ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 35
Author(s):  
Kyoko Nakamura
Keyword(s):  
Usual Sense ◽  
Japanese Art ◽  
Set Up ◽  
Japanese Painting ◽  
Passive Attitude ◽  
As If

This paper demonstrates the method and meaning behind the argument that contemporary philosophers have found the key to “de-creation” in potentiality by implementing it in artwork. While creation in the usual sense seems to imply an active attitude, de-creation implies a passive attitude of simply waiting for something from the outside by constructing a mechanism to set up the gap to which something outside comes. The methods of de-creation are typically found in representations of reality using “Kakiwari,” which is commonly observed in Japanese art. Kakiwari was originally a stage background and has no reverse side; that is, there is no other side to the space. Mountains in distant views are frequently painted like a flat board as if they were Kakiwari. It shows the outside that is imperceptible, deviating from the perspective of vision. The audience can wait for the outside without doing anything (“prefer not to do”) in front of Kakiwari. It is the potentiality of art and it realizes de-creation. This paper extends the concept of de-creation by presenting concrete images and methods used in the author’s own works that utilized Kakiwari. This orients to the philosophy of the creative act by the artist herself.

which challenges him into interpretative activity, into being a solver and realizer of the text rather than just a passive consumer of it. I have subjected the giraffe to such prolonged analysis because it is an emblematic beast. The point I want to stress in this paper is that Heliodoros’ whole novel demands an active interpretative response from his reader. The Aithioptka is a much more challen­ ging read than any of the other Greek novels, precisely because it is pervaded at every level by the kind of self-conscious game-playing typified by the riddle of the giraffe. Here, for instance, is the Egyptian priest, Kalasiris, who acts as narrator for about a third of the whole novel, describing a dream he had on the island of Zakynthos: as I slept, a vision of an old man appeared to me. Age had withered him almost to a skeleton, except that his cloak was hitched up to reveal a thigh that retained some vestige of the strength of his youth. He wore a leather helmet on his head, and his expression was one of cunning and many wiles; he was lame in one leg, as if from a wound of some kind. (5.22.1) The vision reproaches Kalasiris for failing even to pay him a visit while in the vicinity, prophesies punishment for the omission, but conveys greetings from his wife to Kalasiris’ charge, the heroine Charikleja, ‘since she esteems chastity above all things’ (5.22.3). Again a riddle is set up by not immediately identifying the old man, and again the description is presented from the point of view of a character within the story. Here, however, the situation is rather more complicated, since Kalasiris himself has two aspects, as narrator and character within his own narration. As narrator he knows the identity of the dream figure, but in his presentation of his own experience he omits any explanatory gloss, and re-enacts the perplexity of his initial reaction. He describes the dream as he saw it, rather than as he subsequently understood it. Again the reader is challenged to disambiguate the riddle by matching the points of the description with knowledge acquired elsewhere. Every detail corresponds to something in the Homeric poems.4 This time Heliodoros has succeeded in keeping the easiest clues to the end, particularly the formulaic epithet polytropos (‘of many wiles’), proverbially associated with one epic individual, and the reference to a wound in the leg which also clinches its owner’s recognition in the original. Further clues are offered by the fact

2014 ◽  
pp. 320-320
Keyword(s):  
Point Of View ◽  
The Other ◽  
Initial Reaction ◽  
Game Playing ◽  
Set Up ◽  
As If

The Japan Art Institute [Nihon Bijutsuin 日本美術院]

2018 ◽  
Author(s):  
Eve Loh Kazuhara
Keyword(s):  
Fine Arts ◽  
Research Production ◽  
Financial Difficulties ◽  
Foreign Countries ◽  
Japanese Art ◽  
Teaching Research ◽  
Conservation Technology ◽  
Set Up

The Japan Art Institute was a Japanese art institute focused on the teaching, research, and exhibition of Nihonga-style art, established by Okakura Tenshin in 1898. Tenshin, who left the Tokyo School of Fine Arts the same year, brought along with him notable artists like Hashimoto Gahô [橋本雅邦], Yokoyama Taikan [横山大観], Hishida Shunso [菱田春草], and Shimomura Kanzan [下村観山]. In the initial years, the Institute received substantial funding from William S. Bigelow, a wealthy doctor from Boston who was a colleague of Tenshin’s. The Institute set out to focus on research, production, and exhibition. Two sections were set up in order to achieve this—the first section was in charge of production of painting and crafts, while the second was preoccupied with preservation and conservation technology. It was the first section that endeavored to create a new style of Nihonga (Japanese-style painting) in accordance with Tenshin’s ideals. In the years following 1906, the Institute ran into financial difficulties and, with its main members away in foreign countries, it entered a period of hiatus.

scholarly journals A família tosa e a construção de uma arte japonesa

1969 ◽  
pp. 35-63
Author(s):  
Madalena Natsuko Hashimoto Cordaro
Keyword(s):  
Art History ◽  
Knowledge Transmission ◽  
Simultaneous Presence ◽  
Family Organization ◽  
Japanese Art ◽  
Japanese Painting

The aim is to study the origins of the so called tipical Japanese art, after the contact with China, through Tosa family painting, their seasonal topics and their related poetry topics. Yamato-e, Japanese painting, is understood as an art in opposition to kara-e, the continental art from China. The ornamental characteristics, the painting family organization, its knowledge transmission, the simultaneous presence of word, caligraphy and painting which associates literature and art are analysed in terms of a long tradition that runs through Japan’s art history.

The Pamela Debate

2018 ◽  
Author(s):  
Thomas Lockwood
Keyword(s):  
Literary History ◽  
Samuel Richardson ◽  
Henry Fielding ◽  
Usual Sense ◽  
The Novel ◽  
Tom Jones ◽  
To Come ◽  
As If

This chapter examines a decisive period in English literary history during the 1740s. This decade saw Samuel Richardson and Henry Fielding falling into an unplanned but extraordinary artistic competition that would open two vital channels of production in the novel-writing to come: in Richardson's case toward the representation of inward experience as if mediated by no external authority, in Fielding's toward worldly experience as if mediated wholly by an authoritative storyteller. They did not compete in the usual sense, but such was their entangled proximity it nevertheless seemed a contest. The decade began with Richardson's Pamela (1740), followed by Fielding's Joseph Andrews (1742), and ended with Richardson's Clarissa (1747–8) and Fielding's Tom Jones (1749). This second pair of novels has long since established itself as the more powerful of the two, rightly enough, but against any other novels of the period the first would easily command superiority.

Nihonga

2018 ◽  
Author(s):  
Eve Loh Kazuhara
Keyword(s):  
Subject Matter ◽  
Organic Pigments ◽  
Meiji Period ◽  
Comprehensive Account ◽  
Japanese Art ◽  
Phases Of Development ◽  
Japanese Painting

Nihonga refers to Japanese-style painting that uses mineral pigments, and occasionally ink, together with other organic pigments on silk or paper. It was a term coined during the Meiji period (1868–1912) to differentiate it from its counterpart, known as Yôga (洋画) or Western-style painting. The term literally translates to "pictures of Japan." Nihonga has gone through many phases of development since the Meiji period. Critics differentiate between the Kyoto and Tokyo schools of Nihonga, and in particular their styles and subject matter, but both developments should be taken into consideration concurrently to give a comprehensive account of Nihonga. Furthermore, because Nihonga artists reference the myriad of styles from Japan’s rich pictorial heritage, such as the stylistic traditions from Nanga (南画), Rinpa (琳派) and Kano (狩野派) to Murayama-Shijio (円山四条) schools, it is no wonder that the term is confused further with other genres within Japanese art, such as Ukiyo-e (浮世絵) or Suibokuga (水墨画). Confusion aside, Nihonga remains a relatively modern entry into Japanese painting history.

The Claude Lorrain Mirror

2021 ◽  
pp. 179-181
Author(s):  
Stephen R. Wilk
Keyword(s):  
18Th Century ◽  
Great Care ◽  
Late 18Th Century ◽  
Convex Mirror ◽  
Set Up ◽  
As If

In the late 18th century, aesthetes would tour the countryside to view scenes in a device called the Claude Lorrain mirror. The Claude Lorrain mirror was a black convex mirror that was stored in a padded case. Viewers would set up the scene with great care, holding the mirror before them and looking at the scene behind them in reflection, as if arranging the shoot for a photograph. But there was no way that they could subsequently record the scene, since the samera had not yet been invented, and so they only had their memories of the image so carefully created. How did these devices work, and why did people use them?

Saving Private Ryan: Realism and the Enigma of Head-Wounds

1998 ◽  
Vol 3 (1) ◽  
pp. 157-172 ◽  
Author(s):  
John Roberts
Keyword(s):  
World War I ◽  
Plastic Surgery ◽  
The Body ◽  
World War ◽  
War Films ◽  
Large Section ◽  
The Face ◽  
Set Up ◽  
As If

AbstractIn Ernst Friedrich's Krieg dem Kriege there is a large section of photographs of survivors of World War I with the most hideous disfigurements of the face: jaws are missing, gaping slashes stare out where mouths should be. Friedrich leaves this gallery of ‘untouchables’ to the end of the book as if to achieve the maximum debasement of military glory and heroism. The head and face are obviously the most vulnerable part of the body in warfare – brutal wounds to the face and decapitations are common. In World War I, a number of hospitals were set up to deal solely with head-wounds, developing the basis of what we now know as plastic surgery. Yet, in the representation of combat on screen, even in the most candid and unsentimental of war films, such as Hamburger Hill and Platoon, injuries to the face are rare or nonexistent. This absence has something to do with the difficulty of producing convincing prosthetic wound-cavities on the head; blown-off limbs can obviously be created with ease through covering up the actor's extant limb with padded clothing; bloody disembowellings can be simulated with the judicious use of imitation innards and the illusionistic application of broken flesh, and so on. But the problems of modelling head-wounds clearly only half-explain the consistency of the absence.

The Feynman principle for a Fermi system

1959 ◽  
Vol 251 (1267) ◽  
pp. 543-549 ◽  
Keyword(s):  
Quantum Theory ◽  
Fermi System ◽  
Singular Matrix ◽  
Fermi Systems ◽  
Set Up ◽  
As If

A scheme for representing vectors and matrices as functions of a certain abstract symbol λ is set up: though λ has no numerical significance, it is found to behave as if it were an eigenvalue of a certain singular matrix A. The resulting ‘eigensymbol’ theory is developed and applied to the quantum theory of Fermi systems. It is shown how a Feynman principle for such systems may be formulated in analogy with the familiar Feynman principle for a system with canonical p and q . The results are illustrated by the case of a simple Fermi oscillator.

On the periods of a free-free bar immersed in water

1928 ◽  
Vol 24 (3) ◽  
pp. 400-413 ◽  
Author(s):  
E. B. Moullin ◽  
A. D. Browne
Keyword(s):  
Kinetic Energy ◽  
Added Mass ◽  
Apparent Mass ◽  
Virtual Mass ◽  
Apparent Increase ◽  
Set Up ◽  
Circulating Currents ◽  
As If

If a bar is vibrating under water it will set up circulating currents which possess kinetic energy and so in effect add to its inertia: consequently the frequency under water will be less than the frequency in air. The effect of the water is precisely the same as if the density of the bar had been increased: the apparent increase of mass is usually called the “added mass” of the bar and the total apparent mass the “virtual mass”, and these terms will be used subsequently.

scholarly journals REPENSANDO AS FRONTEIRAS: A TRADUÇÃO DE IDENTIDADES NA OBRA DE JORGE LUIS BORGES

Organon ◽  
2004 ◽  
Vol 18 (37) ◽  
Author(s):  
Denise Vallerius De Oliveira
Keyword(s):  
Latin American ◽  
Jorge Luis Borges ◽  
The Other ◽  
Human Being ◽  
New Frontier ◽  
Proper Definition ◽  
Set Up ◽  
The One ◽  
The City ◽  
As If

The rearrangement of concepts about frontiers has made possible the emergence of a different approachto Jorge Luis Borges’ regionalist production – this production has often been misunderstood and supposedlyconsidered inappropriate in relation to his other universal and remarkable masterpieces. However, the themefrontiers is set up within the limits of his pampa i revealing the need to search for identities that insist on denyingtheir own proper definition. It demands different representations: first, the frontier between the country and the city,in the shade of Sarmiento and Hernández – the former, desiring a civilized and urbane Argentinean identity, totallyagainst the country barbarian; the latter, speaking of the pampa and the gaúchoii as if in a free existence, opposite tothe urbanized world. After these descriptions of city and country, Borges proposes to talk about the “arrabal”region, which translates a certain meaning of frontier, delineated by “fights and guitars” between the pampa andBuenos Aires. Once this new frontier is established, he tries to write about the ambiguous human being who lives inthat region: the compadrito – a mix of the urban man and the gaucho. This compadrito belongs to a place whichcannot be completely delimitated; he is intended to be not only a representation of Argentina’s culturecharacteristics, once his identity is often migrating between the I and the Other, thus making possible the listening tothe voices of differences, therefore translating this frontier identity – the one that truly represents the very Latin-American self.

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