Maximum Embodiment: Yoga, the Western Painting of Japan, 1912-1955

Notes

169 Notes Introduction 1. “Crows” is the fifth of eight short segments of Kurosawa’s film Dreams (1990). Each segment depicts a personal “dream” from some part of the director’s life. Terao Akira plays the part of the Japanese painter, and Martin Scorsese plays van Gogh. The visual effects are by Industrial Light & Magic. See also Kurosawa’s first-person narrative and preparatory sketches for “Crows” in Kurosawa Akira, Yume (Tokyo: Iwanami Shoten, 1990), 77–93. 2. Koide Narashige, “Shin gihō to Nihonjin,” c. 1928, reprinted in Koide Narashige zuihitsu shū, ed. Haga Tōru (Tokyo: Iwanami Shoten, 1987), 347. 3. For various periodizations of the history of Japanese engagement with European painting, see Shimada Yasuhiro, Henyō suru biishiki: Nihon Yōga no tenkai (Kyōto Shinbunsha, 1994), 9; Takashina Shūji, “East Meets West: Western-Style Painting in Modern Japanese Art,” in Tomoko Sato and Toshio Watanabe, eds., Japan and Britain: An Aesthetic Dialogue, 1850–1930 (London: Lund Humphries, 1991), 67; John Clark, “Yōga in Japan: Model or Exception? Modernity in Japanese Art, 1850s–1940s: An International Comparison,” Art History 18, no. 2 (June 1995), 258. 4. Gauvin Bailey, The Art of the Jesuit Missions in Asia and Latin America, 1542– 1773 (Toronto: Toronto University Press, 1999), 271. 5. Timon Screech, The Western Scientific Gaze and Popular Imagery in Later Edo Japan: The Lens within the Heart (Cambridge: Cambridge University Press, 1996). 6. The charter is quoted and discussed in Kitazawa Noriaki, Kyōkai no bijutsushi: “bijutsu” keiseishi nooto (Tokyo: Buryukke, 2000), 276, 284. 7. Takashina Shūji, Kindai no Yōga, vol. 27 of Genshoku Nihon no bijutsu (Tokyo: Shogakkan, 1971), 172–175. 8. For the sobriquet “father of modern Yōga,” see Tanaka Atsushi, “Kuroda Seiki no shōgai to geijutsu,” National Research Institute for Cultural Properties, Tokyo. http://www.tobunken.go.jp/kuroda/gallery/japanese/life_j.html. 170 Notes to Pages 6–9 9. I follow the account provided in Satō Dōshin, “Nihon bijutsu” no tanjō: kindai Nihon no “kotoba” to senryaku (Tokyo: Kōdansha, 1996), 76–103. 10. Ichijima Kinji, “Nihonga no shōrai ikaga,” 1889, as quoted in Satō, “Nihon bijutsu ” no tanjō, 86. 11. Omuka Toshiharu, Kanshū no seiritsu: bijutsu ten, bijutsu zasshi, bijutsushi (Tōkyō Daigaku Shuppan Kai, 2008), 13. 12. For these figures, see Kawata Akihisa, “Tenrankai o hanarete—1930-nendai no kosetsu shumi to sono haikei,” in Toshi to shikaku kūkan: 1930-nendai no Tōkyō to Souru: Nikkan kindai bijutsushi shinpojiumu hōkoku sho (Tokyo: Meiji Bijutsu Gakkai, 2009), 2–3. 13. For the competition among aspiring painters and the low odds of acceptance, see Kawata, “Tenrankai o hanarete,” 2–3. 14. In one account of his shift from Yōga to film, Kurosawa stated, “My family was poor, I couldn’t really study because I had to work so hard; even a tube of red paint was usually too expensive for me, there was no question of my going abroad to study. And, then I thought: Even if I could make my living by painting, who would look at my pictures?” Donald Richie, The Films of Akira Kurosawa (Berkeley: University of California Press, 1998), 10–11. 15. For “Meiji Taishō art,” see Omuka, Kanshū no seiritsu, 106–107, 124–125. 16. See Reiko Tomii, “Historicizing ‘Contemporary Art’: Some Discursive Practices in Gendai Bijutsu in Japan,” Positions 12, no. 3 (Winter 2004), 611–641, especially 615. 17. This is pointed out by Amano Kazuo, “Nihonga to Yōga,” in Kitazawa Noriaki, ed., Bijutsu no yukue, bijutsushi no genzai: Nihon kindai bijutsu (Tokyo: Heibonsha, 1999), 102–103. The year 1958 was the last year Japan was represented by Nihonga and Yōga at the Venice Biennale. Japan Foundation, ed., The Venice Biennale: Forty Years of Japanese Participation/Venechia biennāre: Nihon sanka no 40-nen (Tokyo: Japan Foundation and Mainichi Newspapers, 1995). 18. For critical discussions of “influence” as a model of art historical inquiry, see Thomas Kaufmann, Toward a Geography of Art (Chicago: University of Chicago Press, 2004), 187–189; Partha Mitter, “Interventions: Decentering Modernism: Art History and Avant-Garde Art from the Periphery,” Art Bulletin 90, no. 4 (Dec. 2008), especially, 538–541. 19. See, for example, Shūji Takashina, J. Thomas Rimer, Gerald D. Bolas, Paris in Japan: The Japanese Encounter with European Painting (Tokyo: The Japan Foundation,St.Louis:WashingtonUniversity,1987);ChristineGuth,AliciaVolk, and Emiko Yamanashi, Japan and Paris: Impressionism, Postimpressionism, and the Modern Era (Honolulu: Honolulu Academy of Arts, 2004). 20. Shimada...