The Course A survey of the arts of Japan, focusing on the development of the pictorial, sculptural, and architectural traditions from the fifth century A.D. to the late twentieth century. Topics to be investigated will include Buddhist painting, sculpture and architecture, narrative handscrolls, ink painting and the arts related to the Zen sect; the diverse traditions of the Edo period, as well as woodblock prints, contemporary architecture, photography and fashion design.
The class will meet Twice a week (T/TH) at 2:00 in Fayerweather 113. The course is an introductory one which assumes no previous knowledge of Japanese art. The lectures and assigned readings have been selected to provide a variety of perspectives to help you form your own understanding of the arts of Japan. Since such a wide range of material is to be covered in only one semester regular class attendance is essential. The readings should be completed before each class and you should be prepared to participate in class discussions. There will be study sheets for most lectures and time provided in some classes to permit further discussion of the material.
This semester there is an exhibition on contemporary Japanese art at the Smith College Museum of Art. We will take full advantage of that exhibition with guest lectures by three of the artists who work is on exhibition.
The following texts have been ordered from the Jeffery Amherst Bookshop on South Pleasant Street:
Mason, Penelope. History of Japanese Art. Englewood Cliffs, N.J.: Prentice Hall, 1993.
Varley, H. Paul. Japanese Culture. Honolulu: University of Hawai’i Press, 1984.
The articles listed as “COPY” on your syllabus are contained in a packet of readings for the course available at Collective Copies also on South Pleasant Street. The other readings on the syllabus can be found on reserve in Frost Library. Most of the works of art that will be covered in the course are included in Genshoku Nihon no bijutsu, a lavishly illustrated survey of Japanese art written in Japanese but with English plate captions at the end of each volume. Please use these books, which are in the Library, to review the objects covered in lecture.
In addition, Don Milliken, Curator of Visual Resources at Frost Library, has developed an image bank for the course. Images of the objects discussed in class will be available there arranged in groups that roughly follow the lecture schedule and will be available on a link with the course site in Courseinfo.
There will be three short papers, three short quizes and a final paper.
1) a comparison of two early Buddhist statues due September 28 (20%)
twenty minute quizes on (15%) Oct. 5, Mar. 11, Dec. 7
a comparison of two ink paintings due Nov. 2 (20%)
a final paper of 10-12 pages due on Friday, December 17(45%)
Lecture Schedule 1) Sept. 7 (T) Introduction: The The Japanese Aesthetic from a Contemporary Perspective
Japanese Prints: The Fleeting Floating World Hibbett, The Floating World in Japanese Fiction, pp. 3-35; 65-82; 154-204
Varley, ch. 8
22) Nov. 30 (T) Genre Painting and the Rise of Ukiyoe
Lane, pp. 97-111
Mason, pp. 304-308
Volker, Ukiyoe Quartet
Hillier, Harunobu, pp. 7-21
Hillier, Japanese Colour Prints, pp. 5-27
Lillehoj, Woman in the Eyes of Man, p. 1-11
22) Dec. 2 (TH) Tsutaya JãsaburÇ and His World
Kobyashi, Utamaro’s Portraiture.
Mason, pp. 308-313
Clark, “Utamaro’s Portraiture.”
Mizoguchi, Kenji. Utamaro and his Five Women
Naruzaki, Sharaku, pp. 33-44
23) Dec. 7 (T) Later Prints: The Landscape Artists and the “Decadents”
Lane, pp. 156-184; 185-193
Mason, pp. 313-318
Naruzaki, Famous Views, pp. 9-26, and scan plates
Naruzaki, The 53 Stations, scan plates
Addiss, The TokaidÇ
Clark, 100 Views of Mount Fuji
Izzard, pp. 5-40
Japan and the West
Varley, chs. 9, 10, 11
24) Dec. 9 (TH) The Meiji Period: Japan's Response to the West
Conant, “Introduction,” “Tradition in Transition,” “The Tokyo School of Fine Arts and the Development of Nihonga, 1889-1906,” in Nihonga
Guth, “Japan 1868-1945"
Mason, pp. 278-279, 357-387
Bakeland, Imperial Japan, intro. and skim entries
Meech-Pekarik, World of the Meiji Print, pp. 111-137
Rosenfield, "Western Style Painting"
Dec. 10 (F) Print Viewing Session at the Mead Art Museum. 1:00-3:00
25) Dec. 14 (T) Trends in Contemporary Japanese Art--Living National Treasures, Poured Concrete Buildings, Pleated Clothes, Photos of Theaters and “Primal” Sculptures
Colours of Light, pp. 11-22
Holborn, Issey Miyake, text and look at plates
Kelleinn, Time Exposed, pp. 9-16 and look at plates
Munroe, “Circle: Modernism and Tradition”
Ogawa, The Enduring Crafts, pp. ix-xxi, 2-35 and 44–79
Primal Spirit, pp. 9-14; and skim plates
Michael Blackwood, Tadao AndÇ ( NA1559.A5 A35)
Coaldrake, Architecture and Authority, pp. 251-277
Skov, “What is So Japanese”
Bibliography Addiss, Stephen. Tall Mountains and Flowing Waters. Honolulu: University of Hawaii Press, 1987.
-----. Tokaido: Adventures on the Road in Old Japan. Lawrence: Spenser Museum of Art, 1980.
Akiyama Terukazu. Japanese Painting. Lausanne: Skira, 1961.
-----. "New Buddhist Sects and Emakimono in the Kamakura Period." Acta Asiatica, no. 20 (1971), pp. 58-76. COPY
-----. "The Door Paintings in the Phoenix Hall of the Byodo-in as Yamato-e." Artibus Asiae LIII 1/2 (1993), pp. 144-167. COPY
Alpers, Svetlana. "Describe or Narrate." New Literary History, vol. 8, no. 1 (Autumn 1976), pp. 15-41. XEROX
Anesaki, Masaharu. Art, Life and Nature in Japan. Boston: Marshall Jones, 1933.
Appadurai, Arjun. "Introduction: Commodoties and the Politicsof Value." In Arjun Appadurai, ed. The Social Life of Things. Cambridge: Cambridge University Press, 1986, pp. 3-63.
Cahill, James. Scholar Painters of Japan: The Nanga School. NewYork: Asia House, 1972.
Clark, Timothy. 100 Views of Mount Fuji. London: British Museum, 2001.
-----. "The Rise and Fall of the Island of Nakasu." Archives of Asian Art, XLV (1992), pp. 72-91. COPY
Coaldrake, William. Architecture and Authority in Japan. London and New York: Routledge, 1996.
Collcutt, Martin. Five Mountains. Cambridge: Harvard Univ. Press, 1981.
The Colours of Light -- Tadao Ando Architecture. London : Phaidon, 1996.
Conant, Ellen P. and Steven D. Owyoung, J. Thomas Rimer. Nihonga--Transcending the Past: Japanese Style Painting, 1868-1968. New York: Weatherhill, 1995.
Cort, Louise. “Looking at white Dew.” The Studio Potter, vol. 10, no. 2 (June, 1982), pp. 45-51. COPY
de Bary, Wm. Theodore, ed. Sources of Japanese Tradition. vol.1. New York: Columbia University Press, 1964.
Elison, George and Bardwell Smith, eds. Warlords, Artists, and Commoners. Honolulu: Univ. of Hawaii Press, 1981.
Fontein, Jan and Money Hickman. Zen Painting and Calligraphy. New York: New York Graphic Society, 1970.
French, Cal. Buson and His Followers. Ann Arbor: University of Michigan Museum of Art, 1974.
-----. Through Closed Doors--Western Influence on Japanese Art. Rochester, Michigan: Meadowbrook Art Gallery, 1977.
Fukuyama, Toshio. Heian Temples: The Byodo-in and Chuson-ji. Tokyo: Weatherhill, 1976.
Gerhart, Karen. “HonchÇ Gashi and Painting Programs,” Ars Orientalis, no. 27 (1997): 67-97. COPY
Glum, Peter. “Layers of Meaning and Lyric Echoes in a Japanese Screen Painting of the SÇtatsu School.” Oriental Art, n.s. no. 1 (1980), pp. 72-81. COPY
Guth, Christine. “Japan 1868-1945: Art, Architecture and National Identity.” Art Journal, vol. 55, no. 3 (1996), pp. 16-20. COPY
Hashimoto, Fumio. Architecture in the Shoin Style. Tokyo: Kodansha International, 1981.
Hayakawa, Masao. The Garden Art of Japan. Tokyo: Weatherhill, 1973.
Hayashi, Ryoichi. The Silk Road and the Shoso-in. Tokyo: Weatherhill, 1973.
Hendry, Joy. “The Sacred Power of Wrapping.” In Kornicki, Peter and Ian McMullin. Religion in Japan–Arrows to Heaven and Earth. Cambridge: Cambridge University Press, 1996. pp. 287-303.
Hickman, Money and Yasuhiro Sato. Ito Jakuchu. New York: Asia Society, 1989.
Hillier, Jack. Harunobu. Philadelphia: Phildelphia Museum of Art, 1972.
-----. Japanese Colour Prints. Oxford: Oxford Univ. Press, 1966.
-----. The Japanese Print. Rutland: Tuttle, 1975.
Hirai, Kiyoshi. Feudal Architecture of Japan. Tokyo: Weatherhill, 1973.
Holborn, Mark. Issey Miyake. Koln: Tsschen, 1995.
Ienaga Saburo, ed. Jigoku zoshi, Gaki zoshi, Yamai zoshi. Nihon emakimono zenshu, vol. 7. Tokyo: Kadokawa shoten, 1976.
Ishimoto, Yasuhiro. Eros and Cosmos in Mandala. Tokyo: The Seibu Museum of Art, 1978.
Itoh, Teiji. Japanese Gardens. Tokyo: Kodansha International, 1984.
Izzard, Sebastian. Kunisada’s World. New York: Japan Society, 1993.
Kageyama, Haruki. The Arts of Shinto. New york: Japan Society, 1975.
Kaneko Hiroaki. "The Priest Shinran's View of Religion and his Portraits." Aesthetics. No. 4 (March, 1990), pp. 47-63. COPY
Kellein, Thomas. Time Exposed. London: Thames and Hudson, 1995.
Kaufman, Laura. "Nature, Courtly Imagery and Sacred Meaning in the Ippen Hijiri-e." In Sanford, James, et. al. eds. Flowing Traces. Princeton: Princeton University Press, 1992, pp. 47-75.
Kawahara, Masahiko. The Ceramic Art of Kenzan. New York: Kodansha International, 1985.
Kitagawa, Joseph. “Master and Savior.” In On Understanding Japanese Religion. Princeton, N.J.: Princeton University Press, 1986, pp. 182-202.
-----. “Prehistoric Background.” In On Understanding Japanese Religion. Princeton, N.J.: Princeton University Press, 1986, pp.3-40.
Kobayashi Tadashi, “Mitate in the Art of the Ukiyo-e Artist Suzuki Harunobu.” In Donald Jenkins, ed., The Floating World Revisited. Portland: Portland Museum of Art, 1993, pp. 85-91.
------. Kobayashi Tadashi. Utamaro’s Portraits from the Floating World. New York: Kodansha International, 1993.
Kono, Motoaki. “The Organization of the KanÇ School of Painting,” Fenway Court Isabella Stewart Gardner Museum, 1992, pp. 19-29.
Kosode--When Art Became Fashion 16th-19th Century Textiles from the Nomura Collection. New York: Japan Society, 1984.
Kurata, Bunsaku. HÇryã-ji: Temple of the Exalted Law. New York: Japan Society, 1981.
Kuroda TaizÇ, et al., eds. Worlds Seen and Imagined--Japanese Screen Painting from the Idemitsu Museum of Arts. New York: Asia Society, 1995.
Lane, Richard. Images of the Floating World. Secaucus, N.J.Chartwell, 1978.
Lillehoj, Elizabeth. Woman in the Eyes of Man: Images of Women in Japanese Art. Chicago: De Paul University, 1995.
Meadows, Anne. "The Paintings of Matsumura Goshun and His Change in Style from Nanga to Shaseiga." Oriental Art n.s., vol. 23, no. 2 (1987), pp. 165-173. COPY
Meech-Pekarik, Julia. "Disguised Scripts and Hidden Poems in a Illustrated Heian Sutra: Ashide-e and Uta-e in the Heike Nogyo." Archives of Asian Art, no. 33 (1977-8), pp. 52-78. COPY
-----, ed. Momoyama. New York: Metropolitan Museum of Art, 1975.
-----. TheWorld of the Meiji Print. New York: Weatherhill, 1986.
Mills, D.E. trans. A Collection of Tales from Uji. Cambridge: Cambridge University Press, 1970.
Miya Tsugio. ChÇju giga. Nihon emakimono zenshu, vol. 4. Tokyo: Kadokawa, 1976.
Moran, Sherwood F. "Ashura, a Dry Lacquer Statue of the Nara Period." Artibus Asiae, vol. XXVII (1966), pp. 91-133. COPY
MÇri, Hisashi. Sculpture of the Kamakura Period. Tokyo: Weatherhill, 1978.
Morris, Ivan. The Genji Scrolls. Tokyo: Kodansha International, 1971.
-----. The World of the Shining Prince. New York: Knoph, 1964.
Morse, Samuel C. "The Jingo-ji Yakushi and the Rise of the Plain-wood Style." Archives of Asian Art, XL (1987), pp. 36-55. COPY
-----"Style As Ideology--Realism and Kamakura Sculpture." Realism in Oriental Art--Proceedings of the International Symposium on Art Historical Studies 12, (1994). XEROX
Mostow, Joshua. “E no Gotoshi: the picture simile and the feminine re-guard in Japanese illustrated romances.” Word and Image, vol. 11, no. 1 (Jan.-Mar. 1995), pp. 37-54. XEROX
Munroe, Alexandra. Japanese Art After 1945–Scream Against the Sky. New York: Abrams, 1994.
Murase, Miyeko. Emaki--Narrative Scrolls from Japan. New York: Asia Society, 1983.
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Naruzaki, Muneshige. Hiroshige--Famous Views. Tokyo: Kodansha International, 1968.
-----. Hiroshige--The 53 Stages of the Tokaido. Tokyo: Kodansha International, 1969.
-----. Sharaku: The Enigmatic Ukiyoe Master. Tokyo: Kodansha, 1983.
Nishikawa Kyotaro. The Great Age of Japanese Buddhist Sculpture. Fort Worth, Texas: Kimball Art Museum, 1982.
Ogawa Masataka. The Enduring Crafts of Japan. Tokyo: Weatherhill, 1968. Okada JÇ. Genre Screens from the Suntory Museum. New York: Japan Society, 1975.
Okamoto, Yoshitomo. The Namban Art of Japan. Tokyo: Weatherhill, 1973.
Okawa Naomi. Edo Architecture: Katsura and Nikko. New York: Weatherhill, 1975.
Paine, Robert Treat. "The Scroll of Kibi's Adventure in China." Bulletin of the Museum of Fine Arts, vol 31, no. 2 (Feb. 1933) pp. 2-12 XEROX
A Primal Spirit. Los Angeles: Los Angeles County Museum of Art, 1990.
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Rosenfield, John M. “Nihonga and its Resistance to “the Scorching Drought of Modern Vulgarity.” In Nicole Coolidge Rousmaniere, ed. Births and Rebirths in Japan. Leiden: Hotei, 2001, pp. 163-197.
-----. "Western Style Painting in the Early Meiji Period," in Donald Shively, ed. Tradition and Modernization in Japanese Culture. Stanford: Stanford University Press, 1974. pp. 181-219.
Ruch, Barbara. "The Other Side of Culture in Medieval Japan."In Kozo Yamamura, ed. The Cambridge History of Japan, vol. 3, Medieval Japan. Cambridge: Cambridge University Press, 1990, pp. 500-543.
Sano, Bunichiro and Howard Link. Exquisite Visions. Honolulu: Honolulu Academy of Arts, 1980.
Sasaki, Johei. Okyo and the Maruyama Shijo School of Japanese Painting. St. Louis: The St. Louis Art Museum, 1980.
Schaap, Robert. Heroes and Ghosts: Japanese Prints by Kuniyoshi. Leiden: Hotei, 1998.
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-----. The Shogun’s Painted Culture. London: Reaktion Books, 2000.
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Shimizu, Yoshiaki. "The Shigisan Engi Scrolls, ca. 1175," Studies in the History of Art, no. 16 (1985), pp. 115-129. COPY
-----. "Workshop Management of the Early Kano Painters, ca. A.D.1530-1600." Archives of Asian Art, no. 34 (1981), pp.32-47. COPY
Skov, Lise. “Fashion Trends, Japonisme and Postmodernism, or ‘What is so Japanese About Comme Des Garçons?’” in John Whittier Treat, ed., Contemporary Japan and Popular Culture, Honolulu: University of Hawaii Press, 1996: 137-168.
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Takeuchi, Melinda. “The Golden Link: Place, Poetry, and Paradise in a Medieval Japanese Design.” In Kuroda TaizÇ, eta al., eds, Worlds Seen and Imagines--Japanese Screens from the Idemitsu Museum of Art. New York: Asia Society, 1995, pp. 31-53
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-----. Japanese Ink Painting: Shubun to Sesshu. Tokyo: Weatherhill, 1974.
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Tsuji Nobuo. “Ornament (kazari)–An Approach to Japanese Culture.” Archives of Asian Art (1994), pp. 35-45. COPY
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------. Japanese Culture. 3rd edition. Honolulu: University of Hawai’i Press, 1983.
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Volker, T. Ukiyoe Quartet. Leiden: E.J. Brill, 1961. COPY
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-----. “A Visualization of Eitoku’s Lost Paintings at Azuchi Castle.” In Elison, George and Bardwell Smith, eds. Warlords, Artists, and Commoners. Honolulu: Univ. of Hawaii Press, 1981, pp 87-112.
Yamane YuzÇ. "Ogata Korin and the Art of the Genroku Period." Acta Asiatica, no. 15 (1968), pp. 69-86. COPY
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-----. "The Way of Tea." In The Unknown Craftsman. Tokyo: Kodansha International, 1972, pp. 177-189.