Shinnanga

2018 ◽  
Author(s):  
Rhiannon Paget
Keyword(s):  
East Asia ◽  
Art History ◽  
The West ◽  
Literati Painting ◽  
Color Palette ◽  
Western Art ◽  
The Qing Dynasty ◽  
Imperial Power ◽  
The Common ◽  
Artistic Tradition

Shinnanga [新南画], or "neo-nanga," is a term that came into use during the Taisho period (1912–1926) to describe new interpretations of literati-style painting by Japanese artists at that time. Nanga [南画] is the Japanese adaptation of Chinese literati painting and is also known as nanshūga [南宗画] or "Southern style painting," bunjinga [文人画], or literati painting. Shinnanga initially referred to experimentations among artists of nihonga [日本画] [Japanese-style painting] and yōga [洋画] [Western-style painting] with themes, pictorial techniques and sensibilities associated with literati painting, including vertical landscape compositions, expressive brushwork, a reduced color palette, and an impressionistic approach to representing form. The revival of nanga and the emergence of shinnanga occurred within the context of a broader resurgence of Sinology, fueled partly by the disintegration of the Qing dynasty, Japan’s rise as an imperial power, and the ensuing shifts of power in its relationships with China and the West. Japanese scholars found in nanga an artistic tradition that could hold its own against Western art history, arguing that nanga’s preference for subjectivity over likeness inspired Western art’s movement towards Expressionism and abstraction. Nanga was championed as the pre-eminent artistic expression of East Asia, and as an example of the common heritage of countries in the region, was invoked to naturalize Japan’s project of a Greater East Asia.

Conclusion

2018 ◽  
Author(s):  
Peter Francis Kornicki
Keyword(s):  
Twentieth Century ◽  
East Asia ◽  
Qing Dynasty ◽  
The Qing Dynasty ◽  
Early Twentieth Century ◽  
The Common ◽  
Made In

This chapter draws together the arguments made in the earlier chapters and addresses the question of nationalism, in particular after the Manchu conquest of China and the start of the Qing dynasty in 1644, which altered perceptions of China significantly in East Asia. The cultural pride that developed in Japan, Korea, and Vietnam led to greater interest in the vernaculars but it did not until later lead to a rejection of Sinitic, for until the early twentieth century Sinitic continued to be perceived as the common learned language of the whole of East Asia, rather that the property of China.

Japanese Literati Painting and Calligraphy

Art History ◽  
2021 ◽  
Author(s):  
Patricia J. Graham ◽  
Frank L. Chance
Keyword(s):  
Chinese Culture ◽  
Early 20Th Century ◽  
Chinese Poetry ◽  
The West ◽  
Literati Painting ◽  
School Professionals ◽  
Western Art ◽  
Wide Range ◽  
The Status ◽  
The Subject

Literati painting in Japan is generally referred to as Bunjinga (literati painting; Ch. Wen ren hua) or Nanga (Southern School painting; Ch. nan zong hua), both terms borrowed from China. Wen ren hua refers to the status of artists who belonged to the scholar-gentleman class. Nan zong hua was coined by the Chinese painter and theorist Dong Qichang (b. 1555–d. 1636), who used it to describe art by literati, ostensibly amateurs, whose paintings were indebted to their mastery of calligraphy, expressed their inner feelings, and sought to capture the spiritual essence of their subjects. He deemed Nan zong hua superior to that of another so-called “school” of painters he invented, the “northern school,” professionals whose work he declared to be superficial and decorative. In relation to Japanese literati painters, however, this distinction between the southern and northern schools is largely irrelevant. The diverse and very large group of artists defined as literati painters were variously amateurs and professionals who worked in styles inspired by a wide range of Chinese pictorial approaches, which the Japanese learned from imported woodblock-printed painting books, actual paintings, and Chinese and Korean artists and calligraphers who visited or emigrated to Japan, including professional painters, Confucian scholars, and Chan (Zen) Buddhist monks. Some Japanese literati painters were samurai, others commoners. Their commonality is a dedication to and deep knowledge of Sinophile literati culture—particularly Chinese poetry—and their use of Chinese literati painting subjects, especially ink landscapes and themes, such as bamboo, in response to the market demands of Japanese consumers fascinated by Chinese culture. Many also brushed polished and colorful bird-and-flower paintings modeled after the work of Chinese professional painters, and their art was also impacted by native styles then in vogue and by naturalistic rendering drawn from exposure to imported Western art. Some literati artists earned their living as Confucian scholars or writers and painted as an avocation; others worked as professional painters, presiding over independent ateliers with legions of disciples. Although the literati painting movement began in the Kyoto region, it was quickly embraced by artists throughout the country who often traveled and shared ideas. The first writings on the subject date to the early 20th century, but the heyday of scholarship occurred in the 1970s and 1980s, and resulted, in the West, in a large number of dissertations, with the majority dating from the late 1970s through early 1990s. Those that were subsequently revised as published monographs have been omitted from this bibliography.

The endgame, and the Qing eclipse1

2020 ◽  
Vol 6 (1-2) ◽  
pp. 23-48
Author(s):  
James Elkins
Keyword(s):  
Art History ◽  
Chinese Painting ◽  
Landscape Painting ◽  
The West ◽  
Unusual Structure ◽  
Western Art ◽  
History Of ◽  
Contemporary Painting ◽  
Chinese Landscape Painting

Presented as an archival text for the Journal of Contemporary Painting, James Elkins’ ‘The endgame, and the Qing eclipse’ is an abridged version of the the final chapter of a book-length study, Chinese Landscape Painting as Western Art History (Hong Kong University Press, 2010). Elkins demonstrates the unusual structure of the history of Chinese painting, whereby the Ming decline and Qing eclipse have no real parallels in the West. Yet, as a counter-hypothesis, he argues that Late Ming and Qing artists appear to art history as a form of postmodernism. In itself, this represents a nuanced reading of the temporalities of modern and postmodern periods (which challenges comparative approaches and indeed the fundamental structures of western art history). Crucially, the account provides ways of thinking about how Chinese landscape painting is viewed through the lens of art history, a discipline that Elkins claims is partly, but finally and decisively, western.

scholarly journals A Brief Discussion on the News Media of Modern Korea

2018 ◽  
Vol 14 (7) ◽  
pp. 53
Author(s):  
Kim Yongkyoung
Keyword(s):  
East Asia ◽  
News Media ◽  
Korean Peninsula ◽  
Rapid Development ◽  
Modern China ◽  
The West ◽  
The Qing Dynasty ◽  
Modernization Process ◽  
East Asia Region ◽  
The 19Th Century

The relationship between the ancient and modern China with the Korean Peninsula can be summed up using the term "fed by the same river", meaning neighbours separated by only a strip of water. Especially with the efforts of both China and Korea, the ancient East Asia region has created a splendid culture and has been the leaders in the world for a long period of time. However, by the end of the 19th century, the Japanese imperialist forces had always tried to 'Conquer the Korean Peninsula,' and, in 1910, the Korean Peninsula finally became a Japanese colony. After entering the modern era, one of the phenomenas manifested in the information flow in East Asia is the rapid development of media in China and Japan due to the increase in newspapers and magazines issued by the West.190 years ago, Chosun Dynasty under the Lee Family had continuously initiated the modernization movement in the Korean Peninsula, through introducing modernization productions from the West, the Qing Dynasty and Japan. In the modernization process, the opposition between "ethnography" and "pro- Japanese Korean" have resulted social conflicts.

scholarly journals Realism Relativized: A Cultural-Historical Approach to What Images Capture

2021 ◽  
Author(s):  
Jesse Prinz
Keyword(s):  
Cultural Diversity ◽  
Art History ◽  
East Asian ◽  
Alternative Theory ◽  
Art Making ◽  
The West ◽  
Cultural Traditions ◽  
Western Art ◽  
Visual Skills ◽  
Ideal Framework

It is sometimes assumed that there can be a unified and universal analysis of pictorial realism, but this seem implausible. Realism has been understood differently at different times in Western art history art, and art-making traditions elsewhere often aspire to forms of realism that contrast with forms operative in the West. Such variations are presented here, with examples from European, African, and East Asian art. Contact between cultural traditions is also considered. Within analytic aesthetics, some definitions of realism are designed to accommodate cultural diversity, but they face challenges. Leading definitions are critically examined. For example, there are theories that focus on entrenchment, visual skills, and informativeness. None of these constructs captures what realist systems share in common, and none provides an ideal framework for explicitly describing how such systems differ. An alternative theory of pictorial realism is presented. On that theory, realist systems each aim to capture aspects of reality, but they focus on different aspects and provide different manners by which those aspects may be captured.

US and Russian policies and strategies in the Middle East: Iraq and Syria as a model

2019 ◽  
pp. 220
Author(s):  
Esraa Aladdin Noori ◽  
Nasser Zain AlAbidine Ahmed
Keyword(s):  
Middle East ◽  
East Asia ◽  
Balance Of Power ◽  
Western World ◽  
International Conflicts ◽  
The South ◽  
The West ◽  
The North ◽  
East Region ◽  
Middle East Region

The Russian-American relations have undergone many stages of conflict and competition over cooperation that have left their mark on the international balance of power in the Middle East. The Iraqi and Syrian crises are a detailed development in the Middle East region. The Middle East region has allowed some regional and international conflicts to intensify, with the expansion of the geopolitical circle, which, if applied strategically to the Middle East region, covers the area between Afghanistan and East Asia, From the north to the Maghreb to the west and to the Sudan and the Greater Sahara to the south, its strategic importance will seem clear. It is the main lifeline of the Western world.

Sinitic in a Global Perspective

2018 ◽  
Author(s):  
Peter Francis Kornicki
Keyword(s):  
East Asia ◽  
South Asian ◽  
Spoken Language ◽  
Written Language ◽  
Global Perspective ◽  
The Common

This chapter focuses on the language rupture in East Asia, that is to say, the loss of the common written language known as literary Chinese or Sinitic. The gradual replacement of the cosmopolitan language Sinitic by the written vernaculars was a process similar in some ways to the replacement of Latin and Sanskrit by the European and South Asian vernaculars, as argued by Sheldon Pollock. However, Sinitic was not a spoken language, so the oral dimension of vernacularization cannot be ignored. Charles Ferguson’s notion of diglossia has been much discussed, but the problem in the context of East Asia is that the only spoken languages were the vernaculars and that Sinitic was capable of being read in any dialect of Chinese as well as in the vernaculars used in neighbouring societies.

Beneath Improvisation

2019 ◽  
pp. 759-780
Author(s):  
Vijay Iyer
Keyword(s):  
Social Relations ◽  
Black Studies ◽  
Queer Studies ◽  
Traditional Music ◽  
Institutional Racism ◽  
Political Movements ◽  
The West ◽  
Subaltern Studies ◽  
Western Art ◽  
Critical Model

Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional music theory is not immune from such institutional racism—its insistence on normative musical behaviors is founded on the (white) phallogocentrism of Western thought. Does the resurgent academic interest in improvisation offer a way out? No, at least not as it is currently studied. Even an apparently impartial approach such as cognitive science is not neutral; perception is colored by race. To get anywhere, this chapter argues, improvisation studies must take difference seriously. Important impetus for a more inclusive critical model comes from such fields as Black studies, Women’s studies, subaltern studies, queer studies, and disability studies.

scholarly journals Natural Constraints to Cultural Relativism Example: Ricci’s Pacific-Centered World Maps

2020 ◽  
Vol 73 (3) ◽  
pp. 379-397
Author(s):  
Elmar Holenstein
Keyword(s):  
East Asia ◽  
Canary Islands ◽  
Cultural Relativism ◽  
Central State ◽  
The West ◽  
Gestalt Principles ◽  
Matteo Ricci ◽  
The Pacific ◽  
Made In

AbstractNot everything that is logically possible and technically feasible is also natural, for example, placing China in the exact center of a world map. Such a map would not correspond to the laws of perception.Matteo Ricci, who was the first to create Chinese world maps on which the Americas were depicted, had to choose between two ideals, between a world map that obeys the gestalt principles of perception and a world map with the “Central State” China in its center. The first ideal mattered more to him than the second, although he took the latter into account as well. The result was a Pacific-centered map.Since we live on a sphere, what we perceive to be in the East and in the West depends on our location. It is therefore natural that in East Asia, world maps show America in the East and not – as in Europe – in the West. This was the argument underlying Ricci’s creation of Pacific-centered maps, and not the intention of depicting China as close to the center of the map as possible.It is only in East Asia that Ricci was the first to create Pacific-centered maps. World maps with the Pacific in the midfield were made in Europe before Ricci, motivated by the traditional unidirectional numbering of the meridians (0°–360°) from West to East starting with the Atlantic Insulae Fortunatae (Canary Islands).

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