The bibliography below is excerpted from


Nihonga: Painting in ‘Traditional’ Japanese Style since Meiji



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Nihonga: Painting in ‘Traditional’ Japanese Style since Meiji


Boudonnat, Louise and Kushizaki, Harumi, Au fil du pinceau, la calligraphie japonaise, Paris, le Seuil, 2002, 216 p.

Brooks, Van Wyck, Fenollosa and His Circle, New York, Dutton, 1962

Busson, Dominique, L'esprit du bambou au Japon, Philippe Picquier, 2004.

Chisholm, L.W., Fenollosa: the Far East and American Culture, New Haven, Yale University Press, 1962.

Christ, Carol Ann, ‘ ‘The sole guardians of the art inheritance of Asia’: Japan at the 1904 St. Louis World’s Fair’, positions: east asian cultures critique, Vol.8, No.3, winter 2000.

Clark, J., ‘Modernism and Traditional Japanese-Style Painting’, in Semiotica, Vol. 74, No. 1/2, 1989, p. 43-60.

Clark, J., ‘Okakura Kakuzô [Tenshin] and Aesthetic Nationalism’, in East Asian History, 2005.[contains full English bibliography for Okakura]

Cohen, Warren I., East Asian Art and American Culture, New York, Columbia University Press, 1992.

Conant, Ellen, Nihonga: Transcending the Past, Japanese Style Painting 1868-1968, St.Louis, The St. Louis Art Museum, 1995.

Croissant, Doris, ‘Fenollosas ‘Wahre Theorie der Kunst’ und ihre Wirkung in der Meiji-Zeit (1869-1912)’, Saeculum, XXXVIII, Heft 1, 1987.

Croissant, Doris, ‘Das Geheimnis des Hibo Kannon’, Asiatische Studien, 2.1990.

Croissant, Doris, ‘Icons of femininity: National painting and the Paradox of modernity’ in Mostow, Joshua S; Bryson Norman; Graybill, Marybeth, eds, Gender and Power in the Japanese Visual Field, Honolulu, University of Hawai’i Press, 2003.

Croissant, Doris, ‘In quest of the real: portrayal and photography in Japanese painting theory’, in Conant, Ellen P., Challenging Past and present: the metamorphosis of 19th century Japanese art, Honolulu, University of Hawai’i Press, 2006.

Croissant, Doris. “From Madonna to Femme Fatale: Gender Play in Modern Japanese Painting” in Croissant, Doris, Mostow, Joshua S. and Yeh, Catherine (eds.), Performing, Nation: Gender Politics in Literature, Theatre and the Visual Arts of China and Japan, 1880 – 1940. Leiden and Boston: Brill, 2008.

Dower, J., Junkerman, J., ed., The Hiroshima Murals: Maruki Iri and Toshi, Tôkyô, Kôdansha, 1985.

Dunn, Mickaël, Formes et matières – Les arts traditionnels du Japon, Cinq Continents, 2005, 316 p.

Guth, Christine, M.E., ‘Charles Longfellow and Okakura Kakuzô: cultural cross-dressing in the colonial context’, positions: east asian cultures critique, Vol.8, No.3, winter 2000.

Horioka Yasuko, The Life of Kakuzô, author of The Book of Tea, Tokyo, The Hokuseido Press, 1963.

Koizumi, Shinya, ‘Tenshin (Okakura Kakuzo)’s View of Asia and the Position of The Ideals of the East’, Yasuko, Furuichi, ‘Asia in Transition: Representation and Identity’, Japan Foundation Asia Center, 2002

Nakamura, T., Contemporary Japanese Style Painting, New York, Tudor, 1969

Notehelfer, Fred, ‘On idealism and realism in the thought of Okakura Tenshin’, Journal of Japanese Studies, Vol.16, No.2, Summer 1990.

Nute, Kevin, ‘Ernest Fenollosa and the Universal implications of Japanese art’, Japan Forum, Vol.7, No.1, April, 1995.

Nute, Kevin, ‘Frank Lloyd Wright and Okakura Tenshin; on the Social and Aesthetic ‘Ideals of the East’ ‘, Chanoyu Quarterly, No.79, 1995.

Ogura Yuki, Tôkyô, Kôdansha, 1987.

Okakura, Kakuzo, Okakura Kakuzo, Collected English Writings, 3 volumes, Tokyo, Heibonsha, 1984.

Okakura, Kakasu [Kakuzo, Tenshin], The Ideals of the East, London, John Murray, 1903

Okakura, Kakuzo, ‘Notes on Contemporary Japanese Art’, International Studio, 16, April 1902, 126-30.

Parlett, Shiori, ‘Kayama Matazô’s Nihonga’ (MPhil Thesis, University of Hong Kong, 2004)

Rimer, J. Thomas, ‘Hegel in Tokyo: Ernest Fenollosa and his 1882 Lecture on the Truth of Art’ in Marra, Michael F., Japanese Hermeneutics: Current Debates on Aesthetics and Interpretation, Honolulu, University of Hawai’i Press, 2002.

Tankha, Brij, ed., Shadows of the Past:Okakura Tenshin and Pan-Asianism, Kent: Global Oriental, 2007

Volk, Alicia. “Screen Projections: Modern and Contemporary Byobu” in Katz, Janice, ed. Beyond Golden Clouds: Japanese Screen Prints from the Art Institute of Chicago and the St. Louis Art Museum. New Haven: Yale University Press and the Art Institute of Chicago, 2009.

Wattles, M., ‘The 1909 Ryûtô and the aesthetics of affectivity’, Art Journal, Vol.55, No.3, Fall 1996.

Wong, Aida Yuen, ‘A new life for literati painting in the early 20th century:Eastern art and modernity, a transnational narrative?’, Artibus Asiae, Vol.60, No.2, 2000, 297-236.

Wong, Aida Yuen, ‘The East, Nationalism and Taishô democracy; Naitô Konan’s History of Chinese Painting, Sino-Japanese Studies Vol.11, No.2, May 1999, 2-23.

Wong, Aida uen, ‘Dunhuangology:The Kyoto Schoolof Oriental Studies and its connections with Modern Chinese Historiography,’ in Roy Starrs, ed., Japanese Cultural Nationalism: At Home and in the Asia Pacific, Kent: Global Oriental, 2004.

Wong, Aida Yuen, ‘Naitō Konan’s History of Chinese Painting,’ in Joshua A. Fogel, ed., Crossing the Yellow Sea: Sino-Japanese Cultural Contacts, 1600-1950, Connecticut: EastBridge, 2007.

Wong, Aida Yuen, ‘A Chinese Seal Carver in Japan: Qian Shoutie and the Literati World of Hashimoto Kansetsu,’ in Tun-Yao Tang and others, eds., Turmoil, Representation and Trends: Modern Chinese Painting, 1796 – 1949, conference proceedings, Taipei: Chang Foundation, Taiwan, 2008.

Yokoyama, Taikan, ‘The spirit of Japanese Art’ [Address to visiting Hitler Jugend], Cultural Nippon, Vol.3, November 1938.



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