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Japan Encounters the Avant-Garde: Th...

Wu, Chinghsin.

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Japan Encounters the Avant-Garde: The Art and Thought of Koga Harue, 1895--1933.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Japan Encounters the Avant-Garde: The Art and Thought of Koga Harue, 1895--1933./
作者:	Wu, Chinghsin.
面頁冊數:	356 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: .
Contained By:	Dissertation Abstracts International72-04A.
標題:	Asian Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3446789
ISBN:	9781124506333

Japan Encounters the Avant-Garde: The Art and Thought of Koga Harue, 1895--1933.
Wu, Chinghsin.

Japan Encounters the Avant-Garde: The Art and Thought of Koga Harue, 1895--1933. - 356 p.

Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: .

Thesis (Ph.D.)--University of California, Los Angeles, 2010.

This dissertation examines the art and thought of a Japanese avant-garde painter, Koga Harue (1985-1933), within the context of the reception of Western avant-garde art movements in 1920s and 1930s Japan, especially Cubism, German Expressionism and Surrealism. Rather than viewing the Japanese avant-garde as an "incomplete" practice or primarily an imitation of European avant-garde movements, as previous scholarship has often argued, my approach is to recover the initial historical moments when these three avant-garde movements were first introduced into Japan by examining the contending interpretations of and responses to these movements offered by Japanese artists and critics at the time and to situate their arguments within the context of the broader development of western-style paintings in modern Japan.

ISBN: 9781124506333Subjects--Topical Terms:

1669375
Asian Studies.

Japan Encounters the Avant-Garde: The Art and Thought of Koga Harue, 1895--1933.
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520 $a This dissertation examines the art and thought of a Japanese avant-garde painter, Koga Harue (1985-1933), within the context of the reception of Western avant-garde art movements in 1920s and 1930s Japan, especially Cubism, German Expressionism and Surrealism. Rather than viewing the Japanese avant-garde as an "incomplete" practice or primarily an imitation of European avant-garde movements, as previous scholarship has often argued, my approach is to recover the initial historical moments when these three avant-garde movements were first introduced into Japan by examining the contending interpretations of and responses to these movements offered by Japanese artists and critics at the time and to situate their arguments within the context of the broader development of western-style paintings in modern Japan.
520 $a My research demonstrates that these kinds of visual encounters did not consist of one-time acts of passive reception but comprised a continual and active process of translation, transformation, and adaptation to suit local social, political, and cultural contexts. Indeed, Koga's art theories did not directly engage with the original Western art movements but rather, primarily developed in response to the ideas and theories of contemporary Japanese critics about the purpose and function of art. His paintings embodied this process of transformation and translation and syncretically amalgamated multiple styles and motifs in order to best suit the contemporary artistic exigencies of the Japanese context, to more directly express his personal fantasies or inner worlds, or to more succinctly convey his expectations and misgivings about Japan's rapidly changing modern society.
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