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Copying and Theory in Edo-Period Japan (1615-1868)

Kameda Madar, Kazuko

Art history, 2014-09, Vol.37 (4), p.708-727 [同儕審閱期刊]

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題名:
Copying and Theory in Edo-Period Japan (1615-1868)
著者: Kameda Madar, Kazuko
所屬期刊: Art history, 2014-09, Vol.37 (4), p.708-727
描述: This essay challenges the stereotypical ideas attached to utsushi (copy, duplicate, replica) while reconsidering the issues of reproduction, allusion, adaptation, transculturation, and pedagogy in the Japanese art tradition, through case studies of the Tokugawa-era (1615-1868) literati painters, Nakayama Ky (1717-1780) and Nakabayashi Chikut (1776-1853). Ky and Chikut were prolific theorists who, in their treatises, theorized that the proper study of painting began with copying Chinese models in order to gain the technical discipline necessary for the development of an individual style. For literati painters, the practice of copying the particular style of earlier masters was an intellectual activity that prominently displayed their knowledge of history. Re-evaluation of funpon (study sketch, copybook, pictorial model, etc.) is another way to shed new light on the historical significance of copying. These literati painting theories, however, are filled with intriguing complexity and irony that is frequently contradicted by the practice of the painters themselves. [Publication abstract]
出版者: Oxford, UK: Blackwell Publishing Ltd
語言: 英文
識別號: ISSN: 0141-6790
EISSN: 1467-8365
DOI: 10.1111/1467-8365.12111
資源來源: EBSCOhost Academic Search Premier
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Copying and Theory in Edo-Period Japan (1615-1868)

Kameda Madar, Kazuko

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