The Politics of Reclusion: Paintineg and Power in Momoyama Japan
University of Hawaii Press, 1997 - 247 sivua
The Chinese themes of the Four Graybeards of Mt. Shang and the Seven Sages of the Bamboo Grove figure prominently in the art of Momoyama-period Japan (ca. 1575-1625). Kendall Brown proposes that the dense and multivalent implications of aesthetic reclusion central to these paintings made them appropriate for patrons of all classes - the military, who were presently in power, the aristocracy, who had lost power, and the Buddhist priesthood, who forsook power. These paintings, and their attendant messages, thus serve as dynamic cultural agents that elucidate the fundamental paradigms of early modern Japanese society. Unlike traditional art history studies, which emphasize the style and history of art objects, The Politics of Reclusion sets out to reconstruct the possible historical context for the interpretive reception and use of Chinese hermit themes within a specific period of Japanese art. In emphasizing the political dimension of aesthetic reclusion, it introduces into the field of Japanese art history a discussion of the politics of aesthetics that characterizes recent work in the field of Japanese literature.
By embedding the paintings within the contexts of politics, philosophy, religion, and even gender, this study restores the reflexive relations between the paintings and their culture and, as such, is one of the first extensive intellectual and social histories of Japanese art in a Western language. It is one that will appeal not only to students of art but to those interested in Japanese literature, history, and philosophy.
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aesthetic reclusion artists Azuchi Castle Bamboo Grove bijutsu Bo Juyi Buddhist bungaku byobu century Chanoyu Chaofu China Chinese figures Chomei communitas Confucian context culture Daoist Daoist immortals Edo period Eitoku emperor eremitism Four Accomplishments Four Gray Four Graybeards Four Graybeards Returning Fushimi Castle fusuma Genji Gozan hanging scrolls Heian hermit-theme paintings Hideyoshi Hojoki ideal Japan Jozan Kano Kara monogatari Kenko kinkishoga kogi Kyoto liminality Lin Hejing military Momoyama and early Momoyama painting Momoyama period Motonobu Muromachi nature neo-Confucianism nese Nihon Nishihonganji Nobunaga pair panels patrons pavilion pictorial poems poetry poets political priests recluse literature renga Returning to Court Rikyu ritual roji Ruan Ji scholar-recluses scholarly pastimes scholars Seika self-cultivation Seven Sages Shang shohekiga shoin Shokado Shueisha soan social style Su Dongpo symbols Taimensho Takeda Tao Yuanming tea gatherings themes tion Togan's Tokugawa tonseisha Translated Tsurezuregusa wabi wabi tea waka Xiwangmu Yasutane Zhou
Sivu ii - Cultural analysis is intrinsically incomplete. And. worse than that. the more deeply it goes the less complete it is.
Sivu vii - You that would judge me, do not judge alone This book or that, come to this hallowed place Where my friends' portraits hang and look thereon; Ireland's history in their lineaments trace; Think where man's glory most begins and ends, And say my glory was I had such friends.
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