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Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century, Shirakaba (White Birch, 1910-1923) and its founder, the Shirakaba-ha (White Birch Society). Erin Schoneveld's book explores the fluid relationship that existed between the different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba group. It provides a new comparative framework for understanding how the avant-garde pursuit of individuality during this period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines and artistic collectives. Schoneveld argues that the Shirakaba group and Shirakaba magazine's embrace of Post-Impressionism through the life and work of artists such as Cezanne, Van Gogh, and Gauguin offered them a key rhetorical strategy in the evolving discourse of modern Japanese art. Their strategic alignment with artists who they believed represented the revolutionary aesthetics of individualism and artistic self-expression during the early twentieth century assisted in concretizing Shirakaba's own humanist ideology. Schoneveld analyzes key moments in modern Japanese art and intellectual history by focusing on the Japanese artists most closely affiliated with the Shirakaba magazine, including Takamura Kotaro, Umehara Ryuzaburo, and Kishida Ryusei. Drawing upon extensive archival research that includes numerous articles, images, and exhibitions reviews from the Shirakaba, as well as a complete translation of Yanagi Soetsu's seminal essay, "The Revolutionary Artist" (Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan's early avant-garde was lively, contested, and self-reflexive.
Shirakaba School --- Avant-garde (Aesthetics) --- Modernism (Art) --- Art, Japanese --- Takamura, Kōtarō, --- Umehara, Ryūzaburō, --- Kishida, Ryūsei, --- Shirakaba.
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The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts.Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.
Creation (Literary, artistic, etc.) --- Imitation in art. --- Art --- Pictures --- Appropriation (Art) --- Mimesis in art --- Creative ability in art --- Creative ability in literature --- Imagination --- Inspiration --- Literature --- Creative ability --- Originality --- Reproduction --- Copying --- Kishida, Ryūsei, --- Kurosawa, Akira, --- Araki, Nobuyoshi, --- Miyazaki, Hayao, --- 宮崎駿, --- 荒木経惟, --- 荒木經惟, --- 荒木経帷, --- Heize, Ming, --- Kurosava, Akira, --- Kurōcāvā, Akirā, --- Kūrūsāvā, Ākīrā, --- کوروساوا، آکيرا, --- 黑沢明 --- 黑澤明, --- 黒沢明, --- 黒澤明, --- Ryūsei, Kishida, --- 岸田劉生, --- Criticism and interpretation. --- 宮崎, 駿 --- Akira, Kurosawa --- Heize, Ming --- Kurosava, Akira --- Kurōcāvā, Akirā --- Kūrūsāvā, Ākīrā
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