Yoga, the Western Painting of Japan, 1912 -1955
Publication Year: 2012
Published by: University of Hawai'i Press
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Title Page, Copyright Page
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My early impressions of YÅga, the âWestern paintingâ of Japan, were far from positive. When I worked on the curatorial staff of the Seibu Art Museum in Tokyo in the early 1980s, my enthusiasm for the avant-gardes of the day eclipsed sympathy for Japanese oil paintings of the early and midtwentieth ...
Note on Translations and Names
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Introduction: YÅga, the Intercultural Art of Embodiment and Disembodiment
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In one of his last films, the celebrated director Kurosawa Akira, who started his career in the 1920s as a YÅga-ka, or âWestern painter,â created a poignant expression of Japanese yearning for Western painting in a segment called âCrows.â1 An anonymous young Japanese painter peers longingly at a group of ...
Chapter 1. Strong Flesh at the Ready: Body and Self in Self-Portraiture
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Among the various genres of the YÅga movementâportraiture, still life, the nude, landscape, and battle sceneryâself-portraiture produced the most intimate manifestations of a contradiction that is endemic to YÅga discourse. How can a sense of nativity be embodied in a medium that was stigmatized ...
Chapter 2. Accelerating the Heartbeat: Erotic Nationalism and the Japanese Nude
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The subject of this chapter, the YÅga genre of the female nude, is surprisingly similar to the self-portraiture discussed in the previous chapter. For the male YÅga painter of the female nude typically assumed the stance of Pygmalion, endowing the bodies he painted with aesthetic properties he desired for ...
Chapter 3. Creating Oriental Beauty: Chinese Passages to Imperial YÅga [Contains Image Plates]
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The previous two chapters have demonstrated how the Eurocentrism of the YÅga self-portrait and nude was neutralized by transferring the focus of these genres from European bodies to Japanese bodies, paradigmatically those of the male Self and the desirable female. It might seem that endowing YÅga with a ...
Chapter 4. The Feast of Fierce Massacre: Maximum Disembodiment
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This chapter charts a dramatically different direction in the development of the YÅga movement from the preceding chapters. Th us far, early twentieth- century YÅga has been explained in terms of the fitful quest for ideal embodimentâwhether the artistâs own body in self-portraiture, desirable erotic ...
Epilogue: The Collapse of YÅga Embodiment
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The urge toward maximum disembodiment in YÅga painting between the mid-1930s and the mid-1950s was to be the last chapter of the YÅga movement. The four interrelated components of YÅga embodimentâthe illustrated body, oil-pigment matiÃ¨re, the sense of the painterâs somatic presence, and ...
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Publication Year: 2012