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References (52)
-
(1918)
This reversal may have been due to pressure applied to the department store management by the Japan Art Institute -
Kokuten no Nihonga" ("Nihonga at the Kokuten"), Osaka yomiuri shinbun -
(1978)
Genshoku gendai Nihon no bijutsu (Modern Japanese Art in Color) (Tokyo: Shgakkan -
Sale prices of paintings at the first Kokuten were published in "Dai ikkai Kokuten ikken -
(1995)
Nika kai no 80 – nen” (“Eighty Years of the Nika Society”), in Dai 80 – kai kinen: Nika kaikoten (Eightieth Anniversary: Nika Society Retrospective Exhibition) (Osaka -
(1918)
Kokuga Ssaku Kykai no keika to taido -
Bakusen and Company's New Union"), Kyoto hinode shinbun -
(1984)
Nihonga: Ryran no kisetsu (Nihonga: The Season of Bountiful Blossoms) (Tokyo: Bijutsu Kronsha -
(1916)
Although the author is identified only as "a Kyotoite -
(1920)
“Impressions of the Kokuten”) -
(1918)
A Look at the First Exhibition of the Kokuga Society -
(1913)
Gyusutafu Kurube hyden -
(1913)
K no Hakukoku , “ Nika no shosaku ” ( “ Various Works of the Bunten Second Section ” ) , Bijutsu shinp ( Art News ) 13 , no . 1 ( -
(1949)
Quoted in Yoshida Yoshio , “ Irie sensei o shinobu ” ( “ Remembering My Teacher Irie ” ) , in Irie Hak , Garon ( On Painting ) -
(1919)
Kokuten kenbutsu no ki -
(1915)
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(1916)
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J. Mostow, N. Bryson, M. Graybill (2003)
Gender and Power in the Japanese Visual Field -
(1940)
Chikky submitted works to the Bunten in an incomplete state in 1914 and in 1915 , virtually guaranteeing their rejection -
(1940)
On Bakusen"), in Bakusen isakush -
For example, the manifesto was published in Tokyo, Osaka, and Kyoto in local editions of the newspaper Asahi shinbun on -
(1918)
, “ Kokuga S saku Ky kai dai ikkai tenrankai o miru ” ( “ A Look at the First Exhibition of the Kokuga Society ” ) , Bijutsu gah ( Art Graphic News ) -
Kokuga Society Dissolution Announcement"), Osaka Asahi shinbun -
Oskar Bätschmann (1998)
The Artist in the Modern World: The Conflict Between Market and Self-Expression -
(1995)
The petition is reproduced in Shimada Yasuhiro -
(1928)
Wareta garasu: Kokuten o nageku” (“Broken Glass: Mourning the Kokuten”) -
(1993)
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(1962)
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(2003)
See Kitazawa Noriaki, 'Nihonga' no ten'i (The Metamorphosis of 'Nihonga') (Tokyo: Brücke -
More concrete evidence of Kagaku's dissatisfaction appears in a letter to Nakai Star, dated to early 1927, in which he wrote -
Bakusen no Nomura Itsushi ate shokan (Collected Letters of Bakusen to -
(1923)
These letters with the addition of sketches were collectively published in a book entitled sh geijutsu junrei kik (European Art Pilgrimage Travelogue) from the Osaka publisher Jjikan -
(1949)
Irie sensei o shinobu -
ists' own publications, I use family names as appropriate, following the norms of reference documentation -
(1984)
Some of Bakusen's sketches for Abalone Divers are reproduced in Kindai Nihonga no isai Tsuchida Bakusen ten (Exhibition of the Modern Nihonga Virtuoso Tsuchida Bakusen) -
(1918)
Kokuten no tachiba” (“The Position of the Kokuten”) -
(1913)
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(1960)
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(1919)
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Modern Asian ArtThe Journal of Asian Studies, 59
-
(1996)
Kokuga Ssaku Kykai to sono gakatachi” (“The Kokuga Society and Its Painters”), in Kokuga Ssaku Kykai no zenb (The Complete Picture of the Kokuga Society -
(1915)
Reproductions of hara Women are included in many publications dedicated to Bakusen -
Is It Possible to Translate Poetry?' Connecting Kim So-un's 'Korean Poetry Anthology' and Tsuchida Bakusen's Genre Painting -Towards a Reading of Colonial Painting -
(1913)
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(1975)
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(2003)
Shi no tsyaku wa kan ka?’ Kin Soun ‘Chsen shishu -
(1978)
For more on the dissolution of the Bunten and the founding of the Teiten, see -
For Perloff's discussion of the Futurists' manifesto writing practice in terms of personal myth making, see ibid -
S. Connor, M. Perloff, S. Melville, J. Arac (1988)
The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture@@@Philosophy beside Itself: On Deconstruction and Modernism@@@Postmodernism and PoliticsModern Language Review, 84
-
Kashino Nan'y), "B. Nonagase" (Nonagase Banka -
(1918)
Tait to hman no kibun
- Publisher
- Duke University Press
- Copyright
- Copyright © Duke Univ Press
- ISSN
- 1067-9847
- eISSN
- 1527-8271
- DOI
- 10.1215/10679847-2018265
- Publisher site
- See Article on Publisher Site
Abstract
In this essay, I examine Nihonga exhibition collectives in early twentieth-century Japan, focusing on two central questions: what effect did they have on discourse regarding the practice and exhibition of Nihonga painting, and how did artists' affiliation with successful exhibition collectives impact their careers and professional agendas? At the center of the study is the Kokuga Society (Kokuga Sōsaku Kyōkai), a Nihonga collective active from 1918 to 1928, and its associated exhibition, the Kokuten, which it promoted as a progressive alternative to the official exhibition salon sponsored by the Japanese government. Through the example of the Kokuga Society, we learn how Japanese exhibition collectives functioned at this time to promote art and exhibition reform, to stimulate critical discourse on Nihonga 's modernist potential, and to enhance the professional status of participating artists.
Journal
positions asia critique – Duke University Press
Published: Mar 20, 2013