Japonisme 3105-JAP-K
Within the current interest of art history in the global artistic exchanges the nineteenth-century phenomenon of Japonisme offers an example of global, transcultural transfer that needs to be attended to from new perspectives. This course analyses the Western fascination with the Japanese art, and the various ways of contact of the Western art, design and architecture with the Japanese aesthetics in the nineteenth and twentieth centuries. In doing so, it focuses not only on the ensuing crystallization of modernism in the Western visual culture, but also examines the historical, social and political aspects of Japonisme through the study of the Japanese self-representation to the West through its art and design, the Western actors shaping the taste and market for collecting Japanese art and artefacts, and finally, the meaning and repercussions of the Western interest in the art of Japan for the Japanese art and the relationship of the Japanese to their own artistic patrimony.
The European and American engagement with the Japanese culture’s aesthetics and the resulting fundamental transformation of the Western art and design will be addressed through the critical discussion of such phenomena as influence, appropriation, cultural exchange, consumption and self-marketing. Works of the Japanese woodblock print designers of the Edo period whose prints had a groundbreaking impact on Western artists after the opening of Japan to the West in 1868 will be introduced. The Japanese concepts behind the rise of modernism in painting and of new styles in decorative arts and architecture will be presented by close examination of artworks by such artists as James Whistler, Edgar Degas, Mary Cassatt, Henri Toulouse-Lautrec, Vincent Van Gogh and Paul Gauguin and of projects by designers William Morris and Edward William Godwin, and by architects Frank Lloyd Wright and Bruno Taut. The course will conclude with an exploration of the presence of the Japanese concepts and aesthetics in film, fashion and popular culture in order to illustrate the persistence of the Western enthrallment with the Japanese visual culture and aesthetic concepts in the twentieth century.
Rodzaj przedmiotu
Efekty kształcenia
The graduate is able to identify various types of art objects (in terms of technique, theme, typology, chronology, stylistics, genesis, attribution) and carry out critical analysis and interpretation using typical methods, in order to define meanings, social impact and place of artworks in the historical and cultural process, and is able to describe the works of a given period by identifying and evaluating phenomena and problems of particular importance for that period (K_U04).
The graduate knows the basic historical and artistic terminology related to works of art, in particular in the field of techniques, materials, functions, dating, and storage conditions (K_W02).
The graduate has basic knowledge of the connections of art history with other fields of science, such as history, philosophy, anthropology, study of culture, religion and literature (K_W16).
The graduate is able to argue using the views of various researchers of art history and history of culture, and has the ability to draw conclusions (K_U07).
Kryteria oceniania
Presentation and active participation
Literatura
Alofsin, Anthony, ‘Frank Lloyd Wright and the Aesthetics of Japan’. SiteLINES: A Journal of Place, Vol. 4, No. 1 (Fall 2008), p. 17
Baxandall, Michael, Patterns of Intention: On the Historical Explanation of Pictures, New Haven: Yale University Press, 1985
Berger, Klaus, Japonismus in der westlichen Malerei 1860-1920, München: Prestel, 1980
Chang, Ting, ‘Théodore Duret’s „Voyage en Asie” and Henri Cernuschi’s Museum’, Oxford Art Journal, Vol. 25, No. 1 (2002), pp. 19-34
Emery, Elizabeth, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914, London: Bloomsbury Visual Arts, 2020
Inaga, Shigemi, ‘The Making of Hokusai’s Reputation in the Context of Japonisme’, Japan Review, No. 13 (2003), pp. 77-100
Johnson, Deborah, ‘Reconsidering “Japonisme”: The Goncourt’s Contribution, Mosaic: An Interdisciplinary Critical Journal, Vol. 24, No. 2 (1991), pp. 59-71
Kishi, Fumikazu, Aesthetics of ‘Kawaii’: Analyzing Contemporary in Krystyna Wilkoszewska (ed.), Aesthetics and Cultures, Kraków: Universitas, 2012, pp. 157-171
Miodońska-Brookes, Ewa (ed.) Feliks Jasieński i jego Manggha, Kraków: Universitas, 1992
Papini, Massimiliano, ‘Emporio Janetti Padre e Figli and the Japanese Art Market in Florence in the Second Half of the Nineteenth Century’, Journal for Art Market Studies, Vol. 2, No. 3 (2018), https://doi.org/10.23690/jams.v2i3.62
Pellitteri, Marco, ‘Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods’, Arts, Vol. 7, No. 3 (2018)
Roberts, Ellen E., ‘Marriage of „the Extreme East and the Extreme West”: Japanism and Aestheticism in Louis Comfort Tiffany's Rooms in the Bella Apartments’, Studies in the Decorative Arts, Vol. 13, No. 2 (2006), pp. 2-51
Romanowicz, Beata (ed.), Manga, Manggha, manga: komiksowość i animacja w sztuce japońskiej, [Kraków]: Muzeum Narodowe, 2001
Samborska, Magadalena, ‘Intolerable Ugliness. A Turn in European Fashion as a Result of Confrontation with Japanese Aesthetics’, Art Inquiry. Recherches sur les arts, Vol. 17 (2015)
Sigur, Hannah, The Influence of Japanese Art on Design, Salt Lake City: Gibbs Smith, 2008
Weisberg, Gabriel P., The Orient Expressed: Japan’s Influence on Western Art, 1845-1918, Jackson, Mississippi Museum of Art: University of Washington Press, 2011
Wilkoszewska, Krystyna, Japonism in Polish Modernist Painting, in Krystyna Wilkoszewska (ed.), Aesthetics and Cultures, Kraków: Universitas, 2012, pp. 61-71
Wolff, Vera, Die Rache des Materials. Eine andere Geschichte des Japonismus, Zürich: Diaphanes 2015
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