Pub Date : 2023-12-11DOI: 10.1163/24054992-08020001
Jessica Ragazzini
The arrival of the 21st century ushered in an era when fears and hopes crystallized around Japan, then perceived in the West as a country of new technologies. It was also seen as the nation of new fashion designers and in the 1990s Western media attributed a distinctly ‘Japanese character’ to the collections of Japanese fashion designers who stood out internationally. This article explores the encounter between the stereotypes of a Japan imagined by the West and the real clothing collections offered by brands such as Comme des Garçons, who exercised a major influence, in particular on Alexander McQueen and Iris van Herpen. In addition, this article aims to draw the attention of academic research to the unprecedented crossovers that fashion allows.
21 世纪的到来使人们对日本产生了恐惧和希望，当时西方认为日本是一个新技术国家。20 世纪 90 年代，西方媒体将日本时装设计师在国际上脱颖而出的作品赋予了鲜明的 "日本特色"。本文探讨了西方对日本的刻板印象与 Comme des Garçons 等品牌提供的真实服装系列之间的交集，Comme des Garçons 对 Alexander McQueen 和 Iris van Herpen 产生了重大影响。此外，这篇文章的目的还在于让学术研究关注时尚所允许的前所未有的跨界。
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Pub Date : 2023-12-11DOI: 10.1163/24054992-08020004
Janet Whitmore
{"title":"Japanomania! Japanese Art Goes Global","authors":"Janet Whitmore","doi":"10.1163/24054992-08020004","DOIUrl":"https://doi.org/10.1163/24054992-08020004","url":null,"abstract":"","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"16 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138979094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-11DOI: 10.1163/24054992-08020003
L. Dixon
{"title":"Kimono Style: Edo Traditions to Modern Design; The John C. Weber Collection Catalogue: Monika Bincsik with contributions by Karen van Godtsenhoven and Arai Masanao, Kimono Style: Edo Traditions to Modern Design; The John C. Weber Collection Laurinda S. Dixon","authors":"L. Dixon","doi":"10.1163/24054992-08020003","DOIUrl":"https://doi.org/10.1163/24054992-08020003","url":null,"abstract":"","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"73 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138978670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-11DOI: 10.1163/24054992-08020002
Janet Whitmore
The Japanese pavilion at the 1893 World’s Columbian Exposition was much admired by visitors. Unlike most of the fair buildings, however, the Ho-o-den remained in situ on the Wooded Island long after the exposition was over, thus providing an architectural reference for anyone interested in Japanese design. This article details the design, construction and initial reception of the Ho-o-den at the fair. A second article will explore the enduring influence of the building on American design.
{"title":"The Ho-o-den at the World’s Columbian Exposition","authors":"Janet Whitmore","doi":"10.1163/24054992-08020002","DOIUrl":"https://doi.org/10.1163/24054992-08020002","url":null,"abstract":"\u0000The Japanese pavilion at the 1893 World’s Columbian Exposition was much admired by visitors. Unlike most of the fair buildings, however, the Ho-o-den remained in situ on the Wooded Island long after the exposition was over, thus providing an architectural reference for anyone interested in Japanese design. This article details the design, construction and initial reception of the Ho-o-den at the fair. A second article will explore the enduring influence of the building on American design.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"83 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138981836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.1163/24054992-08010002
D. Miyao
Between 1906 and 1911, Auguste Rodin sculpted more than fifty heads, masks, and busts of the Japanese actress Hanako. It was the largest number of portraits that he did with a single model. This essay explores the question why Rodin was so attracted to Hanako and, in particular, to her face. At the time Rodin was creating sculptures of Hanako’s head, the technique of the close-up was being adopted dramatically in filmmaking. Critics were shocked by the excessiveness of the close-up and tried to understand it in terms of ‘new realism’: the close-up modifies reality without eliminating the realness. This essay connects the theory of the close-up to the discourse of Japonisme.
{"title":"Hanako, Rodin, and the Close-up","authors":"D. Miyao","doi":"10.1163/24054992-08010002","DOIUrl":"https://doi.org/10.1163/24054992-08010002","url":null,"abstract":"\u0000Between 1906 and 1911, Auguste Rodin sculpted more than fifty heads, masks, and busts of the Japanese actress Hanako. It was the largest number of portraits that he did with a single model. This essay explores the question why Rodin was so attracted to Hanako and, in particular, to her face. At the time Rodin was creating sculptures of Hanako’s head, the technique of the close-up was being adopted dramatically in filmmaking. Critics were shocked by the excessiveness of the close-up and tried to understand it in terms of ‘new realism’: the close-up modifies reality without eliminating the realness. This essay connects the theory of the close-up to the discourse of Japonisme.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130173926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.1163/24054992-08010001
Scott Ma
This article studies the Paris exposition Japonismes 2018, organized by the Japanese government to introduce the European public to the profundity of Japanese culture. It examines the organizational deliberations leading up to the exposition; the curation of individual exhibits held within its ambit; and the cultural politics of ‘Japan expositions’ that began with Japonismes and continue to this day. It argues that the organizers and exhibits in Japonismes make political use of the trope of a timeless, mystical, and animistic Japanese sense of beauty that supposedly unites prehistoric pottery and contemporary comics and animation. This Japanese aesthetic vision claims to provide an alternative to Western norms, thereby promising to resolve contemporary problems, such as anthropocentrism, by influencing Western aesthetics as it had in the late nineteenth century. Japonismes exemplifies how Japanese soft power diplomacy can employ Western tropes about Japan, such as Japonisme, for its economic and nation-branding efforts.
{"title":"The Politics of Curating Japonisme","authors":"Scott Ma","doi":"10.1163/24054992-08010001","DOIUrl":"https://doi.org/10.1163/24054992-08010001","url":null,"abstract":"\u0000This article studies the Paris exposition Japonismes 2018, organized by the Japanese government to introduce the European public to the profundity of Japanese culture. It examines the organizational deliberations leading up to the exposition; the curation of individual exhibits held within its ambit; and the cultural politics of ‘Japan expositions’ that began with Japonismes and continue to this day. It argues that the organizers and exhibits in Japonismes make political use of the trope of a timeless, mystical, and animistic Japanese sense of beauty that supposedly unites prehistoric pottery and contemporary comics and animation. This Japanese aesthetic vision claims to provide an alternative to Western norms, thereby promising to resolve contemporary problems, such as anthropocentrism, by influencing Western aesthetics as it had in the late nineteenth century. Japonismes exemplifies how Japanese soft power diplomacy can employ Western tropes about Japan, such as Japonisme, for its economic and nation-branding efforts.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114634829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1163/24054992-07020004
E. Olszewski
{"title":"Masako Tanabe (ed.) et al. Ukiyo-e Prints from the Mary Ainsworth Collection","authors":"E. Olszewski","doi":"10.1163/24054992-07020004","DOIUrl":"https://doi.org/10.1163/24054992-07020004","url":null,"abstract":"","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128873013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1163/24054992-07020002
G. Weisberg
As one of the primary performance spaces in Paris during the 1890s, the Divan Japonais had several owners who featured the spot in posters advertising what was happening there. The most famous of these was one by Toulouse-Lautrec that has become a recognizable image for the entire locale. Examining the posters that advertised the location from the early 1890s allows us to grasp the changing character of both performances and locale.
{"title":"Le Divan Japonais: Japanomania by Design","authors":"G. Weisberg","doi":"10.1163/24054992-07020002","DOIUrl":"https://doi.org/10.1163/24054992-07020002","url":null,"abstract":"\u0000As one of the primary performance spaces in Paris during the 1890s, the Divan Japonais had several owners who featured the spot in posters advertising what was happening there. The most famous of these was one by Toulouse-Lautrec that has become a recognizable image for the entire locale. Examining the posters that advertised the location from the early 1890s allows us to grasp the changing character of both performances and locale.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130103592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1163/24054992-07020001
S. Coman
At the turn of the twentieth century through its first decades, in the context of an increasingly international and interconnected Japonisme, the collecting activity of Detroit-based industrialist Charles Lang Freer (1854–1919) in the area of Japanese ceramics epitomized a key transition from a collector’s individual taste to the collection’s role in the public discourse on Asian art. This essay traces this evolution by exploring Freer’s collecting patterns, the influence of his network of dealers and advisors, and his relationship with the art market. At the intersection of personal choice and public prominence, Freer’s Japanese ceramics became an instrument of legitimization for emerging canons of Japanese art.
在二十世纪之交的前几十年，在日益国际化和相互联系的日本主义的背景下，底特律实业家Charles Lang Freer(1854-1919)在日本陶瓷领域的收藏活动体现了一个关键的转变，从收藏家的个人品味到收藏在亚洲艺术公共话语中的作用。本文通过探索弗里尔的收藏模式，他的经销商和顾问网络的影响，以及他与艺术市场的关系来追溯这一演变。在个人选择和公众声望的交汇处，弗里尔的日本陶瓷成为日本艺术新兴经典合法化的工具。
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