1,720,998 research outputs found
The Joseon Fine Art Exhibition under Japanese colonial rule
No full textAt the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.published_or_final_versionFine ArtsMasterMaster of Philosoph
Christian faith in the art of Wu Li (1632-1718)
No full textWu Li 吳歷 (1632-1718) was an early Qing scholar artist who dedicated half his lifetime to religious pursuits. He was not only one of the many Chinese Christian converts in the seventeenth century, but one of the few early Chinese Jesuit priests. He was part of the educated elite community in Changshu, where foreign Catholic priests would visit and stay. Although Wu Li was exposed to Christianity at an early age, it was only when he was around forty sui that he turned to Christianity, possibly prompted after the deaths of close friends and family. Thereafter, he assisted European missionaries for a few years before leaving home to study in the Roman Catholic Diocese of Macao. On becoming a priest, he dedicated all his efforts in spreading his faith, and to take care of the Christian communities in Shanghai and Jiading.
Throughout his priesthood, Wu Li continued with his scholarly practices including painting and poetry. It is in his poetry where elements of his Christian faith are most pronounced and there have been numerous research efforts focusing on this area of his m?tier. In contrast, current scholarship seldom examines the role of his faith in painting, and when there are interests, the tendency is to focus on the tension between his training in the Chinese literati painting tradition and his exposure to imported western artifacts. The predominant conclusion is that, as a painter, Wu was not influenced by western styles and elements, and maintained his status as an orthodox style painter. However, given Wu’s dedication to the church, his many poems on the Christian faith, and the close connection between poetry and painting, it is unlikely that Wu’s paintings remained untouched. This thesis unveils how Christianity, which had taken a new form in China and had captured the attention of the scholar-elite class, directed Wu Li’s approach to life, shaped his perception of nature, and, as I will show, inspired new ways of painting landscapes. I will scrutinize the Christian environment in seventeenth century China and within Wu Li’s immediate circles, and use the lens of religion to enrich a more nuance reading of Wu’s pictorial language. One of the key ways of breaking new investigative ground is to consider the function of paintings. As Wu Li presented gifts, including both didactic Christian artifacts and non-didactic landscape paintings to Christian converts, I examine the reciprocating relationships between Wu Li and his recipients, as well as his messages for them, which were driven by his priestly duty and ultimately his Christian faith.published_or_final_versionFine ArtsMasterMaster of Philosoph
Art for the new nation : the rise of the Lingnan School in the 1920s and the 1930s
No full textTaking the social art history approach, this thesis examines how Gao Jianfu 高劍父 (1879-1951) presented himself as the leader of a new type of Chinese painting and promoted the Lingnan School from a regional Guangdong art school to the one representing a national style. I contend that Gao Jianfu achieved this not only through developing a distinctive style but also through newspapers, among his social network, and as part of modern art education. Gao Jianfu is both the founder of the Lingnan School and a founding member of the Nationalist party. Because of his dual identities, an artist and a revolutionary, he perceived the arts from a political perspective. In his view, fine arts should contribute to the construction of a modern country and play an active role in representing the new nation.
By reexamining important stages in Gao Jianfu’s life and scrutinizing Gao’s practices within a social and historical context, I argue that the rapid development of the Lingnan School in the 1920s and the 1930s was closely associated with the expansion of Gao Jianfu’s social network within the Nationalist government. Relying on his personal connections with key officials in the Nationalist government, Gao expanded his social network and ascended to important positions at the committees of official exhibitions. Gao Jianfu’s connections in the government provided him precious chance to be the first Chinese artist who held touring exhibitions in southeast Asia and India. Gao’s leading position in exhibition committees further ensured the favorable presentation of the Lingnan School’s art works at national and international exhibitions, which subsequently gave rise to the School’s reputation in the art world. The successful presentation of the Lingnan School at various official exhibitions cemented both Gao Jianfu and the School’s leading status in modern China.
The successful transformation of the Lingnan School from a regional school to a national one relates to the larger history of the formation of state art in modern China. By exploring the government supports Gao Jianfu received for his art and the Lingnan School, this study illustrates how the Nationalist government utilized fine arts as a political and diplomatic tool to project national power. It was in this context that Gao Jianfu’s advocacy - a new Chinese painting for the new nation was widely supported by government officials and leading scholars. Through detailed analysis of Gao’s career within the socio-historical context of the day, this study reevaluates the significance of Gao Jianfu and the Lingnan School in modern China’s art history and highlights their contributions to the formation of China’s state art.published_or_final_versionFine ArtsMasterMaster of Philosoph
Women making art and Japan's electronic age : case studies of Kubota Shigeko, Idemitsu Mako, and Mori Mariko
No full textThis thesis adds to the ongoing rethinking of Japanese art history through a gendered lens by presenting a woman-centered narrative. I aim to expand the research scope by bringing the history of Japan’s Electronic Age into the discussion of Japanese women making art in the second half of the twentieth century. Three women artists are examined here as three cases of intersections between the two histories: Kubota Shigeko (久保田成子, 1937-2015), Idemitsu Mako (出光真子, 1940-), and Mori Mariko (森万里子, 1967-), who share a common concern with women’s issues while engaging with electronic technology as artistic tools or concepts. Emerging respectively in the 1960s, the mid-1970s, and the 1990s, the three Japanese women stood at three moments in history when women’s artmaking gained currency in either art historical, social, or cultural currents: the avant-garde movement in the 1960s, the emerging women’s movements in America and Japan in the 1970s, and the rise of identity politics and multiculturalism alongside globalization in the 1990s. Meanwhile, looking into electronic technology, they engaged with three crucial moments in the history of Japan's electronics industry: the global expansion of Sony and the success of Portapak, the further popularization and socialization of electronic devices in Japanese society, and the intensified geopolitical tensions around Japan’s triumph as a technological powerhouse.
The three chapters provide close readings of their production of individual works of art, strategies for establishing their careers, and approaches to female identities. I focus on the relationship between their respective art practices and the changing technological sphere shaped by Japan’s electronics industry. Demonstrating women’s artistic activities within the industry’s emergence, triumph, and decline, I propose to rethink the often coupled understanding of female empowerment and technological progress in current art historical narratives. As I will show through the three cases, particularly in the Japanese context, women’s artmaking and technological change are interrelated in a more dynamic and sometimes ambivalent way, in which we see both confluence and conflicts between their own ideologies. Furthermore, I discuss the three cases not as a narrative of a monolithic development but as individual intersections taking place at different historical moments and in different directions. In so doing, I delineate a broader art historical, social, and cultural landscape that women artists draw upon in their artmaking beyond feminist contexts. What follows is the multiple ways women artists and technology entangle in the field of art, both in and outside Japan.published_or_final_versionHumanitiesMasterMaster of Philosoph
"Strange machines" from the West: European curiosities at the Qing imperial courts, 1644-1796
No full textpublished_or_final_versionFine ArtsMasterMaster of Philosoph
Between ideology and conceptuality : aesthetics of photo-reportage in early Mao's China /cby Christie Hei Yuen Wong
No full textThis dissertation investigates the aesthetics of photography during the
Great Leap Forward in Mao’s China by tracing the photographer’s subjectivity
and, accordingly, how the nature of the photograph was understood as part of the
construction of a new socialist paradigm. The study examines written discourse
between three photography publications run by Xinhua News Agency and the
China Photographic Academy. By examining the discussion in these publications
in 1958 surrounding the ‘red and expert’ concept, it is proposed that aesthetic
acumen emerged as the critical professional skill for propaganda communication.
The public subjectivity of professional photographers indicates the irreconcilable
problem of the necessity of intellectuals in Maoism. This study identifies common
compositional strategies that denoted collectivity and the Party’s power in Maoist
aesthetics and consider the meaning of the photographer's agency within this
discourse. It is proposed that within the limited context of the Maoist propaganda
sphere and despite the separation between intellectual-proletarian photographers
and the labouring classes, compositions which eluded to the body of the
photographer were able to identify the photographer’s position as a mediator
between the Party and proletariat, opening up the possibility of working towards
an actual proletarian aesthetics. By examining the logic of socialist realist
photography at this time, the close relationship between aesthetics and politics is
revealed, which has implications for approaches to the real in the latter half of the
twentieth century and for the construction of a documentary discourse in China.published_or_final_versionHumanitiesMasterMaster of Philosoph
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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