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Arts of Japan & Korea A24/25
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Further reading list - Japanese Art
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Pre-Course Reading
Arts of Korea (METNY)
Arts of Japan (METNY)
Week One
Methodology and Theory in Asian Art Malcolm McNeill
Chinese Paintings from Japanese Collections, pp.12-48
Week Four
The Western Reception of Post-War Japanese Art
Anna Król Masaaki Ohya
Week Five
Prof Kikuchi WorldArt article
Week Seven
Week 1
Lecture PDFs
Recommended Reading: Korea
HO-TAE, JEON, Artistic Creation, Borrowing, Adaptation, and Assimilation in Koguryǒ Tomb Murals of the Fourth to Seventh Century, Archives of Asian Art, 2006, Vol. 56 (2006), pp. 81-104.
KIM, Won-yong and Richard Pearson, “Three Royal Tombs: New Discoveries in Korean Archaeology”, Archaeology, September 1977, Vol. 30, No. 5 (September 1977), pp. 302-313.
LEE, Junghee. “The Evolution of Koguryŏ Tomb Murals,” Korean Culture, vol. 13, no. 2, 1992.
Recommended Reading: Japan
BARNES, Gina Lee, “Chapter 11 Pen/Insular Rice, Bronze and Iron (1300-200 BC)”, State Formation in Japan: Emergence of a 4th Century Ruling Elite, London & New York: Routledge, 2007. pp. 270-284: Jomon and Yayoi.
BARNES, Gina Lee, “Chapter 14: Mounded Tomb Cultures (2-5 AD)”, State Formation in Japan: Emergence of a 4th Century Ruling Elite, London & New York: Routledge, 2007, pp. 342-351 Kofun.
SMITH, Lawrence, “An Approach to Japanese Art and Culture”, Japanese Art: Masterpieces in the British Museum, London: British Museum Press, 1990, pp. 8-16.
Further Reading
AHN, Hwi-Joon, “Development of Goguryeo Tomb Murals, Art and Culture of Goguryeo”, Journal of Korean Art and Archaeology, Vol. 9, 2015, pp. 8-31.
KIM, Sunkyung, “Awakened, Awaiting, or Meditating? Readdressing a Silla Period Image from the Buddha Valley on Mount Nam”, The Journal of Korean Studies, Spring 2011, Vol. 16, No. 1, pp. 119-150.
LEE, Junhee, “The Evolution of Koguryo Tomb Murals”, Korean Culture, Summer 1992, pp. 12-44.
PORTAL, Jane, “Chapter 1: Prehistoric Period”, Korean Art and Archaeology, London: British Museum Press, 2000, pp. 23-41.
PORTAL, Jane, “Koguryo”, Korean Art and Archaeology, London: British Museum Press, 2000, pp. 45-69.
PORTAL, Jane “Unified Silla Period”, Korean Art and Archaeology, London: British Museum Press, 2000, pp.71-77.
PRATT, Keith, “Unified Silla, AD 668-936, The Building of Confidence”, Everlasting Flower: A History of Korea, London: Reaktion Books, 2006, pp. 59-84.
THE BRITISH MUSEUM, The Arts of Japan, London: Education Department British Museum.
WU, Hung, “Rethinking East Asian Tombs: A Methodological Proposal, Studies in the History of Art”, 2009, Vol. 74, Symposium Papers LI: Dialogues in Art History, from Mesopotamian to Modern: Readings for a New Century (2009), pp. 138-165.
Extended Reading
AN, Kye-Hyon, “Buddhist Thought and Architectural Design of Temples”, Korea Journal, December 1974, pp. 14-22.
BEST, Jonathan W., “Diplomatic and Cultural Contacts Between Paekche and China”, Harvard Journal of Asiatic Studies, Dec. 1982, Vol. 42, No. 2 (Dec. 1982), pp. 443-501.
BEST, Jonathan W., “Buddhism and Polity in Early Sixth-Century Paekche”, Korean Studies, 2002, Vol. 26, No. 2 (2002), pp. 165-215.
CHOE, Songeun, “Relationship between Buddhist Sculpture of Shilla and China”, Korea Journal, Vol. 40 No. 4, 12/2000, pp. 24-67.
CONNOR, Mary E., “History: Early Korea”, The Koreas, Santa Barbara: ABC-CLIO, 2009, pp. 13-18.
CONNOR, Mary E., “Culture: The Three Kingdoms Period”, The Koreas, Santa Barbara: ABC-CLIO, 2009, pp. 266-269.
CONNOR, Mary E., “Culture: The United Silla Period (668-935)”, The Koreas, Santa Barbara: ABC-CLIO, 2009, pp. 270-2271.
CLARK, Donald N., “Arts and Literature”, Culture & Customs of Korea, Westport: Greenwood Publishing Group, 2000, pp. 61-80.
HANE, Mikiso. Premodern Japan: A Historical Survey, Boulder: Westview Press, 2015.
LEE, Junghee, “Rewriting History: Royal Yearnings and International Paekche Style in Recently Discovered Reliquaries from Paekche”, Artibus Asiae, 2014, Vol. 74, No. 1 (2014), pp. 129-161.
PERRIN, Ariane, “The Image of the Deceased in Koguryŏ Funerary Art (4th –5th Centuries AD): A Comparison between the Ji'an (China) and Pyongyang (Korea) Regions”, Arts Asiatiques, 2016, Vol. 71 (2016), pp. 77-99.
SHULTZ, Edward, “An Introduction to the Samguk Sagi”, Korean Studies, 2004, Vol. 28 (2004), pp. 1-13.
Week 2
Week 2 Tutorials
Lecture PDFs
Recommended Reading
ARICHI, Meri, "Sanno Miya Mandara: The iconography of Pure Land on This Earth”, Japanese Journal of Religious Studies, vol. 33, no. 2, Nanzan Institute for Religion and Culture, Nagoya, 2006, pp. 319-347.
KIM, Lena, “Buddhist Pantheon in Seokguram Grotto and Late Eight-century Images.” In Buddhist sculpture of Korea. Elizabeth, N.J.: Hollym, 2007, pp. 83-89.
KIM, Lena. “Early Korean Buddhist Sculptures and Related Japanese Examples” In Washizuka Horimitsu et al. Transmitting the forms of divinity: early Buddhist art from Korea and Japan. New York: London: Harry N. Abrams, 2003, pp.69-83.
LEE, Soyoung and Denise Leidy, “Silla, An Introduction”, Silla: Korea's Golden Kingdom, New Haven: Yale University Press, 2013, pp. 3-64.
MCCALLUM, Donald F., “Tori-Busshi and the Production of Buddhist Icons in Askuka Period Japan”, The Artist as Professional in Japan, Melinda Takeuchi (ed.), Stanford: Stanford University Press, 2004, pp. 17-37.
MORSE, Samuel C. and Sugiyama Jirō, “Introduction: The Great Buddha at Todaiji’ and “Dedication of the Great Buddha”, Classic Buddhist Sculpture: The Tempyō Period, Tokyo & New York: Kodansha, 1982, pp. 13-24 & 121-126.
SMITH, Lawrence, “Japan before Buddhism”, Japanese Art: Masterpieces in the British Museum, London: British Museum Press, 1990, pp. 13-27.
Further Reading
COALDRAKE, William Howard, “Great Halls of Religion and State”, Architecture and Authority in Japan, London & New York, Routledge, 1996, pp. 52-80.
HARRELL, Mark. “Sokkuram: Buddhist Monument and Political Statement in Korea,” World Archaeology, vol. 27, no. 2, Oct 1995, pp. 318-335.
INGRAM, Evan S., “Chōgen’s Vision of Tōdaiji’s Great Buddha as Both Mahāvairocana and Amitābha”, Japanese Journal of Religious Studies, Vol. 46, No. 2 (2019), pp. 173-192.
MIZUNO, Seiichi, “The Beginnings of Buddhist Art in Japan”, Asuka Buddhist Art: Hōryū-ji, The Heibonsha Survey of Japanese Art, vol. 4, New York: Weatherhill, 1974, pp. 9-52.
MURASE, Miyeko, “Chapter I Proliterate Era (ca. 10.500 B.C. – A.D. 538)”, Bridge of Dreams: The Mary Griggs Burke Collection of Japanese Art. New York: Metropolitan Museum of Art, 2000, pp. 5-16. (MET pdf).
MURASE, Miyeko, “Chapter II Asuka through Late Heian Period (538-1185)”, Bridge of Dreams: The Mary Griggs Burke Collection of Japanese Art. New York: Metropolitan Museum of Art, 2000. pp. 17-20 & 22-27 Asuka & Nara Period. (MET pdf).
SHATZMAN STEINHARDT, Nancy, “The Monastery Horyu-ji: Architectural Forms of Early Buddhism in Japan”, Transmitting the Forms of Divinity: Early Buddhist Art from Korea and Japan, Washizuka Hiromitsu [et al.], 2003, pp. 154-167.
TANABE, George J., “Kōbō Daishi and the Art of Esoteric Buddhism”, Monumenta Nipponica, Vol. 38, No. 4 (Winter, 1983), pp. 409-412.
WALLEY, Akiko, “Flowers of Compassion: The Tamamushi Shrine and the Nature of Devotion in Seventh-century Japan”, Artibus Asiae, Vol. 72, No. 2 (2012), pp. 265-322.
Extended Reading
GRAHAM, Patricia, “The Aesthetic Dimension of Shinto”, Japanese Design: Art, Aesthetics & Culture, Tuttle Publishing, 2014, pp. 71-79.
DEMING, Willoughby. “Chapter 4: Japanese Religion”, Understanding the Religions of the World: An Introduction, John Wiley & Sons, 2015, pp. 167-199.
FUQUA, Douglas, “Classical Japan and the Continent”, Routledge Handbook of Premodern Japanese History, Karl F. Friday (ed.), London: Taylor & Francis Group, 2017, pp. 38-52.
KITAGAWA, Joseph M., “Japanese Religion”, The Religious Traditions of Asia: Religion, History, and Culture, Joseph Kitagawa (ed.), London: Taylor & Francis Group, 2002, pp. 305-332.
Week 3
Week 3 Tutorials
Lecture PDFs
Recommended Reading
ALLEN, Laura, “Japanese Exemplars for a New Age: Genji Paintings from the Seventeenth Century Tosa School“, Critical Perspectives on Classicism in Japanese Painting, 1600-1700. 2004, pp. 99-133.
HORLYCK, Charlotte, “Gilded Celadon Ware of the Koryŏ Kingdom (918-1392 CE)”, Artibus Asiae, 2012, Vol. 72, No. 1 (2012), pp. 91-121.
KIM, Kumja Paik, “Introduction”, Goryeo Dynasty: Korea's Age of Enlightenment 918-1392, San Francisco: Asian Art Museum, 2003, pp. N.a.
PAK, Youngsook, “Goryeo Illuminated Buddhist Scriptures: Transmission of Text and Images,” In Goryeo dynasty: Korea's age of enlightenment, 918-1392. San Francisco: Asian Art Museum, 2003, pp. 96-104.
ROSENFIELD, John M., “Japanese Studio Practice: The Tosa Family and the Imperial Painting Office in the Seventeenth Century”, The Artist's Workshop, Peter Lukehart (ed.), Washington: Center for Advanced Study in the Visual Arts, 1993, pp. 79-102.
WATANABE, Masako, “Narrative Framing in the “Tale of Genji Scroll”: Interior Space in the Compartmentalized Emaki”, Artibus Asiae, Vol. 58, No. 1/2 (1998), pp. 115-145.
Further Reading
CHOI, Young Sook, “Goryeo Lacquerware with Mother-of-Pearl Inlay”, KOREAN CERAMICS IN THE FREER GALLERY OF ART | korean-ceramics.asia.si.edu. pp. 1-41.
GOMPERTZ, G. M.,” The "Kingfisher Celadon" of Koryo”, Artibus Asiae, 1953, Vol. 16, No. 1/2 (1953), pp. 5-24.
GOMPERTZ, G. M., “A Note on an Inlaid Celadon Pillow of the Koryŏ Period”, Bulletin of the Detroit Institute of Arts, Winter 1981, Vol. 59, No. 2/3 (Winter 1981), pp. 96-100.
HORLYCK, Charlotte, “Desirable Commodities — Unearthing and Collecting Koryŏ Celadon Ceramics in the late Nineteenth and Early Twentieth Centuries”, 2013, Vol. 76, No. 3 (2013), pp. 467-491.
HORLYCK, Charlotte, “The Eternal Link: Grave Good of the Koryŏ Kingdom (918-1392 CE)”, Ars Orientalis, 2014, Vol. 44 (2014), pp. 156-179.
KIM, Jae-Yeol, “Goryeo Celadon”, Goryeo Dynasty: Korea’s Age of Enlightenment, 918–1392, ed. Kumja Paik Kim, San Francisco: Asian Art Museum, 2003, pp. 232-240.
KIM, Kumja Paik, Goryeo Dynasty, Educator Workshop, Goryeo Dynasty: Korea's Age of Enlightenment 918-1392, San Francisco: Asian Art Museum, 2003.
LIPPIT, Yukio, “Goryeo Buddhist Panting in an Interregional Context”, Ars Orientalis, 2008, Vol. 35 (2008), pp. 192-232.
MINO, Yutaka, “A Re-Examination of an Inlaid Celadon Mae-byong Decorated with Cranes and Clouds”, Archives of Asian Art, 1986, Vol. 39 (1986), pp. 71-74.
MURASE, Miyeko, “Chapter II Asuka through Late Heian Period (538-1185)”, Bridge of Dreams: The Mary Griggs Burke Collection of Japanese Art. New York: Metropolitan Museum of Art, 2000, pp. 20-21 & - 28-66 Heian Period. (MET pdf).
Extended Reading
CHOI, Eing-chon, “Metal Crafts”, Goryeo Dynasty: Korea's Age of Enlightenment 918-1392, San Francisco: Asian Art Museum, 2003, pp. n.a.
CONNOR, Mary E., “Culture: The Koryo Dynasty (918-1392)”, The Koreas, Santa Barbara: ABCCLIO, 2009, pp. 272-274.
GRAY, Basil, “The Inlaid Metalwork of Korea”, The British Museum Quarterly, Jun. 1956, Vol. 20, No. 4 (Jun. 1956), pp. 92- 96.
MCBRIDE, Richard D., “Koryŏ Buddhist Paintings and the Cult of Amitābha: Visions of a Hwaŏm-Inspired Pure Land”, Journal of Korean Religions, April 2015, Vol. 6, No. 1, Pure Land Buddhism in Korea (April 2015), pp. 93-130.
SHIN, Junhyoung Michael, “Iconographic Surrogates: Contemplating Amitābha Images in the Late Koryŏ Dynasty (Fourteenth Century)”, Archives of Asian Art, 2005, Vol. 55 (2005), pp. 115.
Week 4
Week 4 Tutorials
Lecture PDFs
Recommended Reading
BRINKER, Helmut, “Chapter I: About the Essence of Zen”, Zen: Masters of Meditation in Images and Writings, Zurich: Artibus Asiae, Supplementum, Vol. 40, 1996, pp. 11-16.
BRINKER, Helmut, “Chapter VIII: Architecture and Gardens of Zen Monasteries”, Zen: Masters of Meditation in Images and Writings, Zurich: Artibus Asiae, Supplementum, Vol. 40, 1996, pp. 61-82
GOTO, Seiko and Takahiro Naka, “Introduction”, Japanese Gardens: Symbolism and Design, London: Routledge, 2016, pp. 1-7.
GUTH, Christine, “Import Substitution, Innovation and the Tea Ceremony in Fifteenth and Sixteenth-Century Japan”, Global Design History, Glenn Adamson (ed.), London: Routledge, 2011, pp. 50-59.
HARRIS, Victor, “Buddhism and The Renaissance of Japanese Sculpture”, Kamakura: The Renaissance of Japanese Sculpture, 1185-1333, Victor Harris and Ken Matsushima, London: British Museum Press, 1991, pp. 11-14 & 30-48.
Further Reading
ADDISS, Stephen, “Introduction” & “The Creation of Zenga at Daitoku-ji”, The Art of Zen: Paintings and Calligraphy by Japanese Monks, 1600-1925, New York: Abrams, 1989, pp. 6-15 & 16-41.
BRINKER, Helmut, “Chapter V: Zen Aesthetics and Theory of Art”, Zen: Masters of Meditation in Images and Writings, Zurich: Artibus Asiae, Supplementum, Vol. 40, 1996, pp. 37-46
BODART, Beatrice M, “Tea and Counsel. The Political Role of Sen Rikyu”, Monumenta Nipponica, Vol. 32, No. 1 (Spring, 1977), pp. 49-74.
HALL YIENGPRUKSAWAN, Mimi, “The Phoenix Hall at Uji and the Symmetries of Replication”, The Art Bulletin, Vol. 77, No. 4 (Dec. 1995), pp. 647-672.
HARRIS, Victor, “Introduction”, Kamakura: The Renaissance of Japanese Sculpture, 1185- 1333, Victor Harris and Ken Matsushima, London: British Museum Press, 1991, pp. 16-29 & 126-127 Deities and Glossary.
MASON, Penelope, “Chapter 4: Samurai Culture and the Coming of Pure Land and Zen Buddhism”, History of Japanese Art, Upper Saddle River, NJ: Prentice Hall, 2005, pp. 147-163.
MORI Hisashi, “Buddhism and the Portrait”, Sculpture of the Kamakura Period, Heibonsha Survey of Japanese Art 11, New York/Tokyo: Weatherhill/Heibonsha, 1974, pp. 17-127.
MURASE, Miyeko. Chapter III Kamakura and Nanbokucho Period (1185-1392) and Chapter IV Muromachi Period (1392-1573), Bridge of Dreams: The Mary Griggs Burke Collection of Japanese Art. New York: Metropolitan Museum of Art, 2000, pp. 67-124 and 125-186
NONAKA, Natsumi, “The Japanese Garden: The Art of Setting Stones”, SiteLINES: A Journal of Place, Vol. 4, No. 1 (Fall 2008), pp. 5-8.
PITELKA, Morgan, “Warriors, Tea, and Art in Premodern Japan”, Bulletin of the Detroit Institute of Arts, 2014, Vol. 88, No. 1/4, Japanese Art at the Time of the Samurai (2014), pp. 20-33.
SHIRAHATA, Yozaburo, “Garden Elements West and East: Flowers and Rocks”, Daimyo Gardens, Kyoto: Nichibunken, 2016, pp. 376-43.
Extended Reading
ASIAN ART MUSEUM, Zen Glossary, San Francisco: Asian Art Museum Education
BRINKER, Helmut, “Anointing with Eyes, Raiment and Relic: Insights from the Cologne Jizō”, Impressions, No. 34 (2013), pp. 150-169.
GRAHAM, Patricia, “Wabi and Sabi: Rustic and Withered Elegance”, Japanese Design: Art, Aesthetics & Culture, Tuttle, 2014, pp. 20-23.
IWAMOTO, Hajime, “The Japanese Aesthetic Sense II – On Zen Paniting, Zenga and Their Inluence from the Momoyama to the Later Edo Period”, Philpapers, Tokyo: NII, 2004, pp. 1- 26.
JAPANESE GARDEN DICTIONARY
NAKANE, Shiro, “Structure in the Japanese Garden”, The Antioch Review, Vol. 64, No. 2, Glorious Gardens (Spring, 2006), pp. 217-220.
OSHIKIRI, Taka, “The Shogun’s Tea Jar: Ritual, Material Culture and Political Authority in Early Modern Japan”, The Historical Journal, 59,4 (2016), pp. 927-945.
PITELKA, Morgan, “Tea Taste: Patronage and Collaboration, among Tea Masters and Potters in Early Modern Japan”, Early Modern Japan, Fall-Winter 2004, pp. 26-38.
RAGGETT, Jill, “Timeless Tranquillity”, Historic Gardens Review, SUMMER 2001, No. 8, pp. 18- 21.
ROUSMANIERE, Nicole, “Tea Ceremony Utensils and Ceramics”, Japan’s Golden Age: Momoyama, New Haven: Yale University Press, 1996, pp. 203-209.
SANDERSON, Geoffrey, “The Art of Japanese Gardens”, Landscape Australia, Vol. 3, No. 4 (NOVEMBER 1981), pp. 312-317.
UNDERWOOD, Penny, “Symbolism, Style and Markets in Japanese Horticulture”, The Horticulturist, OCTOBER 1995, Vol. 4, No. 4, pp. 25-29.
WATANABE, Takeshi, “From Korea to Japan and Back Again: One Hundred Years of Japanese Tea Culture through Five Bowls, 1550-1650”, Yale University Art Gallery Bulletin, Japanese Art at Yale, 2007, pp. 82-99.
WU, Pei-Jung, “Wooden Statues as Living Bodies: Deciphering the Meanings of the Deposits within Two Manjusri Images of the Saidaiji Order”, Artibus Asiae, 2014, Vol. 74, No. 1 (2014), pp. 75-96.
Week 5
Week 5 Tutorials
Lecture PDFs
Recommended Reading
GERHART, K.M. (2000) Eyes of Power : Art and Early Tokugawa Authority. Honolulu: University of Hawaii, p.p. 1-33
BERRY, Paul, “Reinventing Oneself: The Artistic Careers of Ōtagaki Rengetsu, 1791-1875", Japan in the Age of Modernization: The Arts of Ōtagaki Rengetsu and Tomioka Tessai, Frank Feltens (ed), Washington: Smithsonian Scholarly Press, 2023, pp. 27-64.
IMPEY, Oliver, “Japanese Export Porcelain“, Barbara Brennan Ford and Oliver R. Impey, Japanese Art from the Gerry Collection in The Metropolitan Museum of Art, New York: Metropolitan Museum of Art, 1989. pp. 61-124. (MET pdf).
OHKI, Sadako, “Embodying Power in Japanese Calligraphy”, Yale University Art Gallery Bulletin, Japanese Art at Yale (2007), pp. 122-127.
GOLDBERG, Barbara, “Kimono: A Historical Essay”, The Japanese Kimono, Art Institute of Chicago, 1994, pp. 7-24.
HUR, Nam-lin, ‘Korean Tea Bowls (Kōrai Chawan) and Japanese Wabicha: A Story of Acculturation in Premodern Northeast Asia’. Korean Studies 39 (2015): 1–22.
SCREECH, Timon, “Governing Images: The Kano School”, Obtaining Images: Art, Production and Display in Edo Japan, London: Reaktion Books, 2017, pp. 135-163.
Further Reading
COALDRAKE, William Howard, “Nijo Castle and the Psychology of Architectural Intimidation”, Architecture and Authority in Japan, London & New York: Routledge, 1996, pp. 138-162.
ELISON, George, “Introduction", Warlords, Artists, & Commoners: Japan in the sixteenth century, edited by George Elison and Bardwell L. Smith, Honolulu: University Press of Hawaii, 1981, pp. 1-21.
GERHART, Karen, “Talent, Training and Power, The Kano School Painting Workshop in the Seventeenth Century”, Copying the Master and Stealing His Secrets, Brenda G. Jordan and Victoria Weston (ed.), Honolulu: University of Hawaii Press, 2013, pp. 9-30.
GERHART, Karen, “Pine Trees as Political Iconography at Nijo Castle, Eyes of Power, Honolulu: University of Hawaii Press, 1999, pp. 1-33.
LIPPIT, Yukio, “House Manners”, Painting of the Realm: The Kano House of Painters in the 17th -century Japan, Seattle & London: University of Washington Press, 2012, pp. 67-104.
OWYOUNG, Steven D. and Elizabeth Horton, “Japanese Calligraphy and Painting”, Bulletin (St. Louis Art Museum), WINTER 1989, New Series, Vol. 19, No. 3, pp. 1-35.
SASAKI, Johei, “The Era of the Kano School”, Modern Asian Studies, 1984, Vol. 18, No. 4, Special Issue: Edo Culture and Its Modern Legacy (1984), pp. 647-656.
WHEELWRIGHT, Carolyn, “A Visualization of Eitoku’s Lost Paintings at Azuchi Castle”, Warlords, Artists, & Commoners, edited by George Elison and Bardwell L. Smith, Honolulu: University Press of Hawaii, 1981, pp. 87-111.
Extended Reading
GERHART, Karen, “Tokugawa Authority and Chinese Exemplars: The Teikan Zusetsu Murals of Nagoya Castle”, Monumenta Nipponica, Spring, 1997, Vol. 52, No. 1 (Spring, 1997), pp. 1-34.
GERHART, Karen, “Kano Tan’yū and Horin Jōshō: Patronage and Artistic Practice”, Monumenta Nipponica, Winter, 2000, Vol. 55, No. 4 (Winter, 2000), pp. 483-508.
NITANAI, Keiko, Kimono Design: An introduction to Textiles and Patterns, Tokyo / Rutland: Tuttle, 2017.
RIMER, J. Thomas, “An Afterword Posing as a Foreword”, Copying the Master and Stealing His Secrets, Brenda Jordan and Victoria Weston, Honolulu: University of Hawaii Press, 2003, pp. 17-22.
WHEELWRIGHT, Carolyn, “Kano Painters of the Sixteenth Century A.D.: The Development of Motonobu's Daisen-in Style”, Archives of Asian Art, Vol. 34 (1981), pp. 6-31.
Week 7
Week 7 Tutorials
Lecture PDFs
Recorded Lectures
Recommended Readings
AHN, Hwo-joon, “Korean Landscape painting of the Early and Middle Choson Period”, Korea Journal, March 1987, pp. 4-16.
AUGSTIN, Brigitta, “Nanga: Idealist Painting and the Samurai”, Bulletin of the Detroit Institute of Arts, Vol. 88, No. 1/4, Japanese Art at the Time of the Samurai (2014), pp. 86- 103.
HORLYCK, Charlotte, “Arts and Culture in the Confucian State of Joseon”, Joseon Korea: Court Treasures and City Life, Singapore: Asian Civilisations Museum, 2017, pp. 15-33.
SCREECH, Timon, “Japanese Painting” [Kōetsu and Sōtatsu, Ogata Kōrin and After Kōrin]”, Obtaining Images: Art, Production and Display in Edo Japan, London: Reaktion Books, 2017, pp. 217-233.
WONG, Aida-Yuen, “A New Life for Literati Painting in the Early Twentieth Century: Eastern Art and Modernity, a Transcultural Narrative?”, Artibus Asiae, Vol. 60, No. 2 (2000), pp. 297- 326.
Further Reading
AHN, Hwo-joon, “An Kyon and “A Dream visit to the Peach Blossom Land””, Oriental Art, 26, 1, 1980, pp. 60-71.
BLACK, Kay E. and Edward W. Wagner, “Ch’aekkŏri Paintings: A Korean Jigsaw Puzzle”, Archives of Asian Art, 1993, Vol. 46 (1993), pp. 63-75.
CARPENTER, John, “The Roots of Rinpa in Early Seventeenth-Century Japan”, Designing Nature: The Rinpa Aesthetic in Japanese Art, New York: New Haven: Metropolitan Museum of Art; Distributed by Yale University Press, 2012, pp. 11-21.
CLARK, Tim, “The Intuition and the Genius of Decoration”, Rimpa Art from the Idemitsu Collection, Yūzō Yamane, Masato Naitō and Timothy Clark, Tokyo & London: British Museum Press, 1998, pp. 68-81.
GRAHAM, Patricia, “Lifestyles of Scholar-Painters in Edo Japan”, The Bulletin of the Cleveland Museum of Art, Vol. 77, No. 7, Lifestyles of Scholar-Painters in Edo Japan (Sep. 1990), pp. 262- 283.
JUNGMAN, Burglind, “Sin Sukju's Record on the Painting Collection of Prince Anpyeong and Early Joseon Antiquarianism”, Archives of Asian Art, 2011, Vol. 61 (2011), pp. 107-126.
KIM, Jiyeon, “Kim Hongdon’s Sandalwood Garden: A Self-Image of a Late Chošon Court Painter”, Archives of Asian Art, 2012, Vol. 62 (2012), pp. 47-67.
KIM, Kumja Paik, “Introduction”, Korean arts of the Eighteenth century: Splendor and Simplicity, New York; Tokyo: New York: Weatherhill; Asia Society Galleries, 1993, pp. 1-12.
LIPPIT, Yukio, “Urakami Gyokudo: An Intoxicology of Japanese Literati Painting”, Studies in the History of Art, Washington, v.74 (2009), pp. 169-187.
OH, Ju-seok, “The World of Kim Hong-do and the Social Status of the Artist”, The Art of Kim Hong-do, Chicago: Art Media Sources, 2005, pp. 16-29 & 136-161.
PARK, Youndae, “Grandeur: Jeong Seon- Clearing after Rain art Mt Inwang”, Essential Korean Art from Prehistory to the Joseon Period, Seoul: Hyeonamsa, 2004, pp. 194-213.
YI, Song-mi, “Korean Inspiration: True View Landscape Painting of the Late Joseon Period”, Korean Landscape Painting: Continuity and Innovation Through the Ages, New Jersey: Hollym, 2006, pp. 93-129.
Extended Reading
CONNOR, Mary E., “Culture: The Choson Dynasty (1392-1910)”, The Koreas, Santa Barbara: ABC-CLIO, 2009, pp. 275-282. *
EMURA, Tomoko, “Rinpa Artists and the Samurai Class”, Bulletin of the Detroit Institute of Arts, 2014, Vol. 88, No. 1/4, Japanese Art at the Time of the Samurai (2014), pp. 70-85.
HONG, Sun-pyo, “Activities of the Painters Accompanying the Late Choson Envoys to Japan”, Korea Journal, Winter 2000, pp. 5-23.
JUNGMAN, Burglind, “Confusing Traditions: Elements of the Korean an Kyŏn School in Early Japanese Nanga Landscape Painting”, Artibus Asiae, Vol. 55, No. 3/4 (1995), pp. 303-318.
KIM, Hongnam, “Exploring Eighteenth-Century Court Arts”, Korean arts of the Eighteenth century: Splendor and Simplicity, New York; Tokyo: New York: Weatherhill; Asia Society Galleries, 1993, pp. 35-57.
KIM, Kumja Paik, “Chŏng Sŏn (1676-1759): His Life and Career”, Artibus Asiae, Vol. 52, No. 3/4 (1992), pp. 329-343.
KLEUTGHEN, Kristina, “Imports and Imitations”, Journal for Early Modern Cultural Studies, Vol. 17, No. 2, SPECIAL ISSUE: Early Modern China in a Global Context: Some Comparative Approaches (SPRING 2017), pp. 175-206.
KOBAYASHI, Tadashi, “The Aesthetic of Edo Rimpa’, Silver Wind: The Arts of Sakai Hoitsu (1761-1828), Matthew McKelway, New York: Japan Society, 2012, pp. 34-41.
MCKELWAY, Matthew P., Silver Wind - The Arts of Sakai Hōitsu, New York: Japan Society/New Haven: Yale University Press, 2012.
MOON, Dongsoo, “The Reception of a New Culture and Establishment of a New Visual System in Korea’s Modern Era”, Treasures from Korea, Philadelphia: Philadelphia Museum of Art, 2014, pp. 69-78.
NAITO, Masato, “Sōtatsu, Kōrin, Hōitsu”, Rimpa Art from the Idemitsu Collection, Yūzō Yamane, Masato Naitō and Timothy Clark, Tokyo & London: British Museum Press, 1998, pp. 50-67.
OHKI, Sadako, “What makes Japanese Painting Japanese”, Yale University Art Gallery Bulletin, Japanese Art at Yale (2007), pp. 64-81.
STANLEY-BAKER, Joan, “Introduction”, The Transmission of Chinese Idealist Painting to Japan: Notes on the Early Phase (1661-1799), Ann Arbour: University of Michigan, 1992, pp. 1-23.
Week 8
Week 8 Tutorials
Lecture PDFs
V&A Lacquer Study Session - Object List
Recommended Readings
Kim Woollim Sarangbang in Treasures from Korea cat 214
KOEHLER, Robert, “Simplicity of White Porcelain”, Korean Ceramics: The Beauty of Natural Forms, Seoul: Seoul Selections, 2013, pp. 48-63.
KOEHLER, Robert, Korean Ceramics Manufacture and Method, Korean Ceramics: The Beauty of Natural Forms, Seoul: Seoul Selections, 2013, pp. 64-73.
MORETTI, Laura, “The Culture of the Written Word”, Pleasure in Profit: Popular Prose in Seventeenth-century Japan, New York: Columbia University Press, 2020, pp. 25-66.
OKADA, Barbra Teri, “Netsuke: The Small Sculptures of Japan”, Metropolitan Museum of Art Bulletin, Vol. 38, No. 2 (Autumn, 1980), pp. 2-48.
RICHARD, Sophie, “Introduction” and “Museums in Japan”, The Art Lover’s Guide to Japanese Museums, London: The Japan Society, 2014, pp. 8-10.
Further Reading
BARBANSON, Adrienne, Fables in Ivory: Japanese Netsuke and Their Legends, Tokyo: Tuttle Publishing, 2012.
GRUNDY, Anne Hull, “Netsuke Carvers of the Iwami School”, Ars Orientalis, Vol. 4 (1961), pp. 329-356.
HICKEY, Patrick, “The Japanese Minor Arts of Netsuke and Inro”, Irish Arts Review, Vol. 4, No. 1 (Spring, 1987), pp. 37-40.
KWON, So-hyun, “Ceramics and Ritual Vessels of the Royal Household”, Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910, Philadelphia: Philadelphia Museum of Art, 2014, pp. 37-43.
MCKILLOP, Beth and Jane Portal, “Ceramics in the Joseon Dynasty and the Colonial Period”, Precious Beyond Measure: A History of Korean Ceramics, London: Reaktion Books, 2024.
PEABODY Museum of Salem, Netsuke: The Collection of the Peabody Museum of Salem, Salem, Mass.: Peabody Museum of Salem, 1980.
SMITH, Henry D., “The History of the Book in Edo and Paris”, Edo and Paris: The State, Political Power, and Urban Life in Two Early-Modern Societies, James McClain (et.al. ed.) Cornell University Press, 1994, pp. 332-352.
Extended Reading
LEE, Soyoung, Art of the Korean Renaissance, 1400-1600, New York: Metropolitan Museum of Art, 2009.
ROUSMANIERE, Nicole, “Ornamental Culture: Style and Meaning in Edo Japan”, Edo: Art in Japan 1615-1868, Robert T. Singer (ed.) Washington: National Gallery of Art, 1998, pp. 51-67.
WILKINSON, Liz, “Collecting Korean Art at the Victoria and Albert Museum 1888-1938”, Journal of the History of Collections, Vol. 15, No. 2, 2003, pp. 241-256.
YI, Song-mi, "Euigwe" and the Documentation of Joseon Court Ritual Life”, Archives of Asian Art, 2008, Vol. 58 (2008), pp. 113-133.
Week 9
Week 9 Tutorials
Lecture PDFs
Recommended Readings
CLARK, TIM, “Image and Style in the Floating World, Boston & London: Royal Academy of Arts, 2001, pp. 10-29.
HIGUCHI, Kazutaka, 'Maruyama Ōkyo and his patrons in the Mitsui family', Traditions unbound - Groundbreaking painters from 18th century Kyoto, Asian Art Museum--Chong-Moon Lee Center, San Francisco, c 2005, pp. 27-35.
SCREECH, Timon, “Floating Pictures; The Birth of "Western Studies" (Rangaku)”, Eighteenth-Century Art Worlds, Michael Yonan/Stacey Sloboda (eds), New York: Bloomsbury Publishing, pp. 53-70.
SHIMIZU, Yoshiaki, “Ukiyo and Ukiyo-e”, Impressions, SUMMER, 1991, No. 16, pp. n.a.
TAKEUCHI, Melinda, “Mountains: Mini-Fujis, Edo Popular Religion and Hiroshige's "One Hundred Famous Views of Edo”, Impressions, 2002, No. 24 (2002), pp. 24-47.
Further Readings
BELL, David, “Explaining Ukiyo-e: Historical Perspectives”, Explaining Ukiyo-e, PhD thesis, Dunedin: University of Otago, 2002, pp. 20-52.
BELL, David, “Explaining Ukiyo-e: Aesthetic Concepts”, Explaining Ukiyo-e, PhD thesis, Dunedin: University of Otago, 2002, pp. 53-86.
GUTH, Christine, “Chapter 1: The Artist and the City”, Art of Edo Japan: The Artist and the City, 1615-1868, New York: Abrams, 1996, pp. 22-49.
HAFT, Alfred, “Introduction”, Aesthetic Strategies of the Floating World: “Mitate” and “Furyu” in Early Modern Japanese Popular Culture, Leiden: Brill, 2013, pp. 13-37.
SALTER, Rebecca, Japanese Popular Prints: from Votive Slips to Playing Cards, Honolulu: University of Hawaii Press, 2006. (Google Preview).
SCREECH, Timon, “The Meaning of Western Perspective in Edo Popular Culture”, Archives of Asian Art, Vol. 47 (1994), pp. 58-69.
SCREECH, Timon, “Floating Worlds”, Obtaining Images: Art, Production and Display in Edo Japan, London: Reaktion Books, 2017, pp. 265-301.
STALKER, Nancy, “Edo Popular Culture”, History and Culture from Classical to Cool, Berkeley: University of California Press, 2018, pp. 174-208.
THOMSEN, Hans Bjarne, “The Other Hiroshige: Connoisseur of the Good Life”, Impressions, 2002, No. 24 (2002), pp. 48-71.
VARLEY, Paul, “The Flourishing of a Bourgeois Culture, Japanese Culture, Honolulu: University of Hawaii Press, pp. 164-204.
Extended Readings
CARPENTER, John, “The Human Figure in the Playground of Edo Artistic Imagination”, Edo: Art in Japan 1615-1868, Robert T. Singer (ed.) Washington: National Gallery of Art, 1998, pp. 369-421.
CLARK, Tim, “Utamaro and Yoshiwara: The “Painter of the Green Houses” Reconsidered”, The Passionate Art of Kitagawa Utamaro, London: British Museum Press, 1995, pp. 35-45.
GUTH, Christine, “The Local and the Global: Hokusai's Great Wave in Contemporary Product Design”, Design Issues, Vol. 28, No. 2 (Spring 2012), pp. 16-29.
KEYES, Roger, “Pink Fuji: The Print Hokusai Saw”, Impressions, No. 29, 35th Anniversary Issue (2007-2008), pp. 68-75.
IZZARD, Sebastian, “The bijinga of Utagawa Kunisada”, Impressions, No. 3 (Spring, 1979), pp. 1-5.
MARKS, Andreas, Japan Journeys: Famous Woodblock Prints of Cultural Sights in Japan, Tokyo: Tuttle Publishing, 2015.
MEECH, Julia, “Tsutaya Juzaburo: Master Publisher”, Designed for Pleasure, Seattle: Asia Society and Japanese Art Society of America in association with University of Washington Press, 2008, pp. 115-139.
MOSTOW, Joshua S., Pictures of the Heart: the Hyakunin Isshu in Word and Image, Honolulu: University of Hawaii Press, 1996. (Google Preview).
NELSON DAVIS, Julie, “Introduction: The Floating World and Its Artistic Networks”, Partners in Prints, Honolulu” University of Hawaii Press, 2015, pp. 1-19.
SCREECH, Timon, “Going to the Courtesans: Transit to the Pleasure District of Japan”, The Courtesan’s Arts: Cross-Cultural Perspectives. Martha Feldman and Gordon, Bonnie (eds.), New York; Oxford: Oxford University Press. 2006, pp. 255-279.
SMITH, Henry D., “The Floating World in Its Edo Locale 1750-1850”, The Floating World Revisited, Honolulu: University of Hawaii Press, 1993, pp. 25-45.
Week 10
Week 10 Tutorials
Lecture PDFs
Mitsuyama-Wdowiak, Kiyoko - Takashi Murakami
Recommended Readings
HINKEL, Monika, “Envisioning Meiji Modernity: kaika-e”, Proceedings, The Japan Society, Number 155, London: The Japan Society, 2018, pp. 70-85.
HORLYCK, Charlotte, “In search of the new: Painters of the colonial period, Korean Art: From the 19th century to the present, London: Reaktion Books, 2017, pp. 41-70.
LEE, Kyung-Sung, “The Modern Art Movement in Korea,” Arts of Asia, Volume 11 Number 4, 1981, pp. 66-77.
WINTHER-TAMAKI, Bert, “Yōga/The Western Painting, National Painting and Global Painting of Japan”, Review of Japanese Culture and Society, Volume 25, December 2013, pp. 127-136.
YU, Chun-Sang, “Forty Years of Fine Arts in Korea: 1945-1985”, Korea Journal, vol. 26, no. 1 (January), 1986, pp. 4-11.
Further Readings - Japan
CLARK, John, “Open and Closed Discourses of Modernity in Asian Art”, Modernity in Asian Art, Sydney: Wild Peony, 1993, pp. 1-17.
FOXWELL, Chelsea, “Introduction”, Modern Japanese Art and the Meiji State: The Politics of Beauty, Sato Doshin, Los Angeles: Getty Research Institute, 2011, pp. 1-26.
MERRITT, Helen, “Woodblock Prints of the Meiji Era”, The Hotei Encyclopedia of Woodblock Japanese Prints, Amy Newland (ed.), Leiden: Hotei, 2005, pp. 241-258.
MITSUYAMA-WDOWIAK, Kiyoko, “Takashi Murakami”, in: Art - The Whole Story, London: Thames & Hudson, 2010, pp. 478-479.
MITSUYAMA-WDOWIAK, Kiyoko, “Shinro Ohtake and Post-war Japanese Avant-garde Art”, World Art, Vol 5, No.1.
MURAKAMI, Takashi, “A Theory of Super Flat Japanese Art”, Super Flat, Tokyo: Madra Publishing, 2000, pp. 9-25.
SATO, Doshin, “Overcoming Modernity: Towards a Concept of ‘East Asian Art History’”, East Asian Art History in a Transnational Context, New York: Routledge, 2019, pp. 52-61.
TOMII, Reiko, “Historicizing ‘Contemporary Art’: Some Discursive Practices in Gendai Bijutsu in Japan”, Positions (2004) 12 (3): 611–641.
YAMANASHI, Emiko, “Western-Style Painting: Four Stages of Acceptance”, Since Meiji, J. Thomas Rimer, Honolulu: University of Hawaii Press), pp. 19-33.
Further Readings - Korea
CONNOR, Mary E., “Culture: The Modern Period, 1910-”, The Koreas, Santa Barbara: ABC-CLIO, 2009, pp. 283-285.
CONNOR, Mary E., “History: The Colonial Period (1910-1945)”, The Koreas, Santa Barbara: ABC-CLIO, 2009, pp. 34-39.
KEE, Joan, “The Curious Case of Contemporary Ink Painting”, Art Journal, Vol. 69, No. 3 (Fall 2010), pp. 88-113.
KIM, Youngna, 20th Century Korean Art, London: Laurence King, 2005. (Google Preview).
KOREANA, The Road to Modernity: Korea in the Early 120th Century, KOREANA, Vol. 33, No. 1, Spring 2019, Special Feature Modern Korea.
LEE, Hwaik. “Painting Nothing: Monochrome Painting in Korea”, ArtAsia Pacific 3, No. 3 (1996), pp. 69-73.
Extended Readings - Japan
APPLIN, Jo and Mark Lewis, Yayoi Kusama: Infinity Mirror Room - Phalli's Field, London: Afterall Publishing, 2012.
BUCKLAND, Rosina, The Splendour of Modernity: Japanese Arts of the Meiji Era, London: Reaktion Books, 2024.
BUCKLAND, Rosina, The Splendour of Modernity: Japanese Arts of the Meiji Era, London: Reaktion Books, 2024.
CHONG, Doryun [et al.], Tokyo, 1955-1970: A New Avant-garde, New York: Museum of Modern Art, 2012.
CROISSANT, Doris (et.al.), Performing Nation: Gender Politics in Literature, Theater, and the Visual Arts of China and Japan, 1880-1940, Leiden: Brill, 2008.
CULVER, Annika, Glorify the Empire: Japanese Avant-Garde Propaganda in Manchukuo, UBC Press, 2013.
HINKEL, Monika, “Meiji Nostalgia: Prints by Kawakami Sumio (1895-1972)”, Proceedings, The Japan Society, Number 148, London: The Japan Society, 2011, pp. 139-153.
JESTY, Justin, Art and Engagement in Early Postwar Japan, Cornell University Press, 2018.
KITAZAWA, Noriaki, Takemi Kuresawa, and Yuri Mitsuda, History of Japanese Art after 1945: Institutions, Discourse, Practice, Leuven: Leuven University Press, 2023.
KURODA Raiji, Anarchy of the Body: Undercurrents of Performance Art in 1960s Japan, Leuven: Leuven University Press, 2023.
MAYO, Marlene J. and J. Thomas Rimer with H. Eleanor Kerkham, War, occupation, and creativity: Japan and East Asia, 1920-1960, Honolulu: University of Hawaii Press, 2001.
OZAKI, Tetsuya, “Contemporary Japanese Art in the Heisei Era”, Bye bye Kitty !!!: Between Heaven and Hell in Contemporary Japanese Art, New Haven & London: Yale University Press, 2011, pp. 48-65.
SATO, Doshin, Modern Japanese Art and the Meiji State: The Politics of Beauty, Los Angeles: Getty Research Institute, 2011.
TURNER, Caroline: Art and Social Change: Contemporary Art in Asia and the Pacific. Canberra: Pandanus Books, 2005.
WEISENFELD, Gennifer, ”Mavo's Conscious Constructivism: Art, Individualism, and Daily Life in Interwar Japan”, Art Journal, Vol. 55, No. 3, Japan 1868-1945: Art, Architecture, and National Identity (Autumn, 1996), pp. 64-73.
YAMADA, Chisaburo, “Japanese Modern Art”, Monumenta Nipponica, Vol 3, No. 2 (July 1940), pp. 567-578.
FAVELL, Adrian, Before and after Superflat: A short history of Japanese contemporary art, 1990-2011, Hong Kong: Blue Kingfisher, 2011.
GUTH, Christine, “Japan 1868-1945: Art, Architecture, and National Identity”, Art Journal, Vol. 55, No. 3, Japan 1868-1945: Art, Architecture, and National Identity (Autumn, 1996), pp. 16-20.
Extended Readings - Korea
AHN, Soyeon, “Korean Contemporary Art Opens Towards Polyphonic Voices as Cultural Criticism”, Art and Social Change: Contemporary Art in Asia and the Pacific, Caroline Turner (ed.), Perth: Pandanus Books, 2005, pp. 431-444.
CHOI, Chungmoo. “The Minjung Culture Movement and the Construction of Popular Culture in Korea”, South Korea’s Minjung Movement. The Culture and Politics of Dissidence, edited by Kenneth M. Wells, 105-118. Honolulu: University of Hawai’i Press, 1995.
CHUNG, Hyung-Min, ”The Modern Era in Korea: 1920-1940s“, Modern Korean Ink Painting, Korea Foundation/Hollym Corp., 2006, pp. 60-111.
LEE, Hyangjin, Contemporary Korean Cinema: Identity, Culture and Politics, Manchester: Manchester University Press, 2000.
WONG, Aida Yuen, Visualizing Beauty: Gender and Ideology in Modern East Asia. Hong Kong: Hong Kong University Press, 2012.
KAL, Hong, “Ancestors, the Avant-garde, and the Making of “Culture” in Postcolonial Korea”, Aesthetic Constructions of Korean Nationalism: Spectacle, Politics and History, London: Taylor & Francis Group, 2011, pp. 85-102.
KEE, Joan, “Introduction: The Urgency of Method”, Contemporary Korean Art: Tansaekhwa and the Urgency of Method, Minneapolis: University of Minnesota Press, 2013, pp. 1-33.
Week 11
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Arts of Japan & Korea A24/25
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15PARC038-A24/25 Arts of Japan & Korea A24/25
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