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Kano Hogai (1828--1888) and the maki...

Foxwell, Chelsea.

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Kano Hogai (1828--1888) and the making of modern Japanese painting.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Kano Hogai (1828--1888) and the making of modern Japanese painting./
作者:	Foxwell, Chelsea.
面頁冊數:	560 p.
附註:	Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3780.
Contained By:	Dissertation Abstracts International69-10A.
標題:	Biography. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3333337
ISBN:	9780549856337

Kano Hogai (1828--1888) and the making of modern Japanese painting.
Foxwell, Chelsea.

Kano Hogai (1828--1888) and the making of modern Japanese painting. - 560 p.

Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3780.

Thesis (Ph.D.)--Columbia University, 2008.

In the 1870s and 1880s, what is commonly known as "modern Japanese painting" came to differ in a number of ways from earlier Japanese painting. While these differences have been surveyed from institutional and terminological standpoints, the present study, focused on the painter Kano Hogai and his contemporaries, accounts for changes at the level of the artwork that were hitherto interpreted in biographical terms.

ISBN: 9780549856337Subjects--Topical Terms:

531296
Biography.

Kano Hogai (1828--1888) and the making of modern Japanese painting.
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245 1 0 $a Kano Hogai (1828--1888) and the making of modern Japanese painting.
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502 $a Thesis (Ph.D.)--Columbia University, 2008.
520 $a In the 1870s and 1880s, what is commonly known as "modern Japanese painting" came to differ in a number of ways from earlier Japanese painting. While these differences have been surveyed from institutional and terminological standpoints, the present study, focused on the painter Kano Hogai and his contemporaries, accounts for changes at the level of the artwork that were hitherto interpreted in biographical terms.
520 $a The sudden, urgent need to produce paintings for public exhibition transformed painting, giving it a new social function and visual characteristics. This process involved Hogai from an early stage. In the mid-1880s, he was engaged by an American patron, Ernest Fenollosa (1853-1908), who cherished a vision of Japanese art that was at once "carefully preserved from all taint...of foreign sources" and suited to modern European audiences and criteria. Introduced by the Meiji government in the 1870s as a means of preparing for the world's fairs, the Western-style institution of the public exhibition called for new artforms that addressed audiences both within Japan and in the West. This situation, mirrored by Hogai's relationship with an American patron in Japan, came to define what is known as Nihonga, or Japanese[-style] painting, a modern art form that encompasses all Japanese painting "in traditional materials" but which had already developed distinctive visual characteristics and rhetorical functions in the late nineteenth century, in the first decades of its existence. Many of these same visual and ideological features continued to define Nihonga in the postwar period, even to the present day.
520 $a Separate chapters devoted to the analysis of exhibition paintings and their audiences demonstrate that the most successful Nihonga compositions, especially Merciful Mother Kannon (1888), use symbolic devices that anticipate the backgrounds and requirements of different viewers, thus inviting multiple interpretations. While such strategies initially reflected the need to negotiate between domestic and foreign buyers, they ultimately spoke to demands that arose within Japanese society: as Nihonga became progressively less concerned with audiences outside Japan and more involved in domestically negotiating the "Japaneseness" of Japanese art, paintings that united viewers of different political and cultural backgrounds formed a politically valuable commodity.
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