美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫

<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p>&nbsp;</p><p>&quot;During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan&rsquo;yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan&rsquo;yū Shukuzu [Tan&rsquo;yū&rsquo;s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter&rsquo;s status. Sanko Minagawa&rsquo;s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan&rsquo;yū Shukuzu. </p> <p> This paper focuses on Tan&rsquo;yū&rsquo;s copies of Chinese female-figure paintings (often called tobijinzu, &ldquo;pictures of Chinese beauties,&rdquo; in Japanese) that were largely overlapped with while beyond the scope of the shin&uuml; tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists&rsquo; signatures copied by Tan&rsquo;yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese &ldquo;forgery&rdquo; paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shin&uuml; tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings. </p> <p>&nbsp;</p>

Female Images in Chinese and Japanese painting

This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X &ndash; XVII centuries and Japanese woodblock printing of the XVII &ndash; XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of female image and symbolic sound. The fact that the worldview orientation towards women and their status in the Far Eastern society faded away defines the relevance of the selected topic. The novelty of lies in the comparative analysis of philosophical-aesthetic traditions of Chinese and Japanese painting, reflected in female images in the historical development, with the emphasis on its modern development. The conclusion is made that the assessment of female image in Chinese and Japanese art requires taking into account the national mentality, spiritual traditions, and interinfluence of cultures. The perception of the changing image of women in society plays a special role. It is determined that the depiction of women in clothes and face paint that conceals their body shape and facial emotions, deprive a woman of her individuality and lower her social status. Such trend remains in the contemporary art of these countries. Up until now, female images resemble the symbolism of depiction, closeness to nature, interweaving of external and internal content substantiated by the aesthetic, ethical and philosophical saturation of painting, indicating the uniqueness of each culture and its national heritage.

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

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.

A Japoniste Friendship in Translation: Hayashi Tadamasa and Philippe Burty (1878–1890)

Art critic and collector Philippe Burty (1830–1890) was one of the first friends the Japanese interpreter (and future art dealer) Hayashi Tadamasa (1853–1906) made on arrival in Paris in 1878. The previously unknown letters translated into English within this essay present Hayashi’s work in Paris (1878) and Brussels (1880), his first impressions of Normandy (1882) and New York (1886), and his explanation of the evolution of Japanese painting (1885). They furnish valuable insights into the cross-cultural aesthetics that led the Japanese, the French, the British, the German, and Americans to collaborate in the development of the phenomenon now known as Japonisme, thereby filling in some of the information gaps surrounding Burty’s international networks and Hayashi’s early years in Europe.

Meiji Painting

The Meiji period (1868–1912) is a watershed moment in Japan’s long history, marking a shift from indigenous governance organized around a shogun and regional lords (daimyō) to constitutional monarchy. In the Edo period (1603–1868), Japan had limited international relations as leadership sought to maintain tight domestic control. This famous “isolation policy” (sakoku) was porous, however; Japan traded with its Asian neighbors and with Holland, through which it gained European goods and insight into foreign affairs. The arrival of an American naval squadron led by Matthew Perry (1853) marked the beginning of Japan’s reintegration into wide international relations. External threats to Japan’s sovereignty and internal pressures shattered its feudal government, and rebellion replaced feudal lords with an oligarchy of advisors to the emperor (Meiji) and ultimately a parliament. Meiji is the period of Japan’s westernization, when it sought to catch up with the West technologically and gain equal treatment through social and political reforms. In the arts, westernization brought new forms of architecture and decoration, sculpture, and oil painting. The central problem of the period was the degree to which Japan should westernize while still remaining Japanese. Japanese painting experienced the problem as a basic divide: tradition-based painting (nihonga) versus Western oil-based painting (yōga). Critical reception of Meiji art was both domestic and international, as this was the heyday of international expositions, and art was seen as an index to the quality of national culture. Critics and artists within Japan engaged in dynamic processes of exploration and assimilation; Western critics, alarmed by industrialization, saw assimilation as destructive of “traditional” culture. Western critics and collectors valued art in two qualitative levels: fine and applied. Where applied arts such as vases integrated easily into interiors and posed no challenges to Western hierarchies, Japanese painting was alien and used materials more akin to drawing than oils. Scholarship on Meiji painting progressed along two opposing tracks: Western scholars stopped at the onset of westernization—Japanese art was no longer “purely” Japanese after that point, which Japanese officials understood when constructing displays of art that ended with Edo at the 1964 Tokyo Olympics. Domestically, Japanese scholars organically studied succeeding periods, styles, and artists. Scholarship on Meiji painting in Western languages is limited, its growth coming only in the last couple of decades. Only in the 1990s did Western students begin to focus their careers on Meiji painting and beyond.

Making Japenese Ukiyo-e Art 3D in Real-Time

Ukiyo-e is a traditional Japanese painting style most commonly printed using wood blocks. Ukiyo-e prints feature distinct line work, bright colours, and a non-perspective projection. Most previous research on ukiyo-e styled computer graphics has been focused on creation of 2D images. In this paper we propose a framework for rendering interactive 3D scenes with ukiyo-e style. The rendering techniques use standard 3D models as input and require minimal additional information to automatically render scenes in a ukiyo-e style. The described techniques are evaluated based on their ability to emulate ukiyo-e prints, performance, and temporal coherence.

Making Japenese Ukiyo-e Art 3D in Real-Time

Ukiyo-e is a traditional Japanese painting style most commonly printed using wood blocks. Ukiyo-e prints feature distinct line work, bright colours, and a non-perspective projection. Most previous research on ukiyo-e styled computer graphics has been focused on creation of 2D images. In this paper we propose a framework for rendering interactive 3D scenes with ukiyo-e style. The rendering techniques use standard 3D models as input and require minimal additional information to automatically render scenes in a ukiyo-e style. The described techniques are evaluated based on their ability to emulate ukiyo-e prints, performance, and temporal coherence.

An Amalgamation of Power and Paint: Gajin Fujita, Los Angeles Street Art, and Images of Edo Japan

The paintings of Gajin Fujita (b. 1972) express the urban Asian diasporic experience in vivid images filled with historic and contemporary cultural references. Creating an amalgamation of contemporary sports figures, hip-hop culture, historic Japanese painting conventions, street art, and the visual language of Edo Japan (1600–1868), Fujita reflects his diverse experiences as a citizen of twenty-first century Los Angeles in his paintings. This article introduces the artist and provides a nuanced examination of his works vis-à-vis an understanding of the larger issues addressed in both Edo artistic practice and contemporary street art culture. By specifying the agents of power and performance in Fujita’s works, a greater understanding of the hybrid world of his colourful graphic paintings can be found.