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Empire at the Exhibition: The Imperi...

Kolodziej, Magdalena Patrycja.

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Empire at the Exhibition: The Imperial Art World of Modern Japan (1907-1945).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Empire at the Exhibition: The Imperial Art World of Modern Japan (1907-1945)./
Author:	Kolodziej, Magdalena Patrycja.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	296 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-11, Section: A.
Contained By:	Dissertations Abstracts International79-11A.
Subject:	Asian Studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10749022
ISBN:	9780355905861

Empire at the Exhibition: The Imperial Art World of Modern Japan (1907-1945).
Kolodziej, Magdalena Patrycja.

Empire at the Exhibition: The Imperial Art World of Modern Japan (1907-1945). - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 296 p.

Source: Dissertations Abstracts International, Volume: 79-11, Section: A.

Thesis (Ph.D.)--Duke University, 2018.

This item is not available from ProQuest Dissertations & Theses.

This project examines how the Japanese modern art world contributed to, benefited from, and was transformed by Japan's imperial expansion. Japanese artists resettled in Korea and Taiwan as brokers of empire, colonial bureaucrats supported the artists as part of the cultural rule policies, and some Korean and Taiwanese of the young generation moved to Japan in pursuit of art education. To explore these intra-imperial trajectories, I investigate the art infrastructure constituting the nascent imperial art world: professional networks, art education, publicity, and the government-sponsored annual fine arts exhibitions in Tokyo, Seoul, and Taipei. This exhibitionary system provided artists with access to audiences throughout the empire, asserted the superiority of Japanese modern art, and assimilated colonial artists into the metropolitan art establishment. Colonial artists successful at the Tokyo salon, such as Yi Insoˇng (1912-1950) from Korea and Chen Jin (1907-1998) from Taiwan occupied a liminal space in the imperial art world. Their works, labeled as "ethnic/national painting" (minzoku kaiga), constituted emergent national Korean and Taiwanese modern painting and a "regional" imperial art. By reintroducing these artists into the history of art in Japan, from which they are absent today, this dissertation seeks new paradigms for narrating the history of modern art from a transnational perspective.

ISBN: 9780355905861Subjects--Topical Terms:

1669375
Asian Studies.
Subjects--Index Terms:

Colonialism

Empire at the Exhibition: The Imperial Art World of Modern Japan (1907-1945).
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245 1 0 $a Empire at the Exhibition: The Imperial Art World of Modern Japan (1907-1945).
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500 $a Source: Dissertations Abstracts International, Volume: 79-11, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Weisenfeld, Gennifer.
502 $a Thesis (Ph.D.)--Duke University, 2018.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a This project examines how the Japanese modern art world contributed to, benefited from, and was transformed by Japan's imperial expansion. Japanese artists resettled in Korea and Taiwan as brokers of empire, colonial bureaucrats supported the artists as part of the cultural rule policies, and some Korean and Taiwanese of the young generation moved to Japan in pursuit of art education. To explore these intra-imperial trajectories, I investigate the art infrastructure constituting the nascent imperial art world: professional networks, art education, publicity, and the government-sponsored annual fine arts exhibitions in Tokyo, Seoul, and Taipei. This exhibitionary system provided artists with access to audiences throughout the empire, asserted the superiority of Japanese modern art, and assimilated colonial artists into the metropolitan art establishment. Colonial artists successful at the Tokyo salon, such as Yi Insoˇng (1912-1950) from Korea and Chen Jin (1907-1998) from Taiwan occupied a liminal space in the imperial art world. Their works, labeled as "ethnic/national painting" (minzoku kaiga), constituted emergent national Korean and Taiwanese modern painting and a "regional" imperial art. By reintroducing these artists into the history of art in Japan, from which they are absent today, this dissertation seeks new paradigms for narrating the history of modern art from a transnational perspective.
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