Taishō chic : Japanese modernity, nostalgia, and deco

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書誌事項

Taishō chic : Japanese modernity, nostalgia, and deco

essays by Kendall H. Brown, Sharon A. Minichiello ; catalogue entries by Kendall H. Brown ... [et al.]

Honolulu Academy of Arts, c2001

  • : pbk
  • : cloth

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注記

Exhibition catalogue

"This book is published in conjunction with the exhibition Taishō chic: Japanese modernity, nostalgia, and deco, organized by the Honolulu Academy of Arts. The exhibition debuted in Honolulu, January 31 to march 15, 2002."--T.p. verso

"Exhibition itinerary: The David and Alfred Smart Museum of Art, The University of Chicago, April 20-June 22, 2004; The Marion Koogler McNay Art Museum, San Antonio, March 15-June 4, 2005; Berkeley Art Museum and Pacific Film Archive, University of California, September 13, 2005-January 8, 2006."--T.p. verso

Exhibitors: Yamamura Kōka, Kobayakawa Kiyoshi, Watanabe Ikuharu ... [et al.]

Includes bibliographical references (p. 14-15, 26-28, 173-174) and index

ISBN of 2nd printing (2003, cloth): 0937426520

内容説明・目次

内容説明

The Taisho period, loosely the first three decades of the twentieth century, was a dynamic era in Japan. On one hand, it spawned social liberalism and political radicalism; on the other, it generated the social conservatism and cultural nativism that grew into the ultra-nationalism of 1937-1945. In art, it produced an infatuation with Western modernism as well as a new exploration of traditional aesthetics. Between these dramatic polarities was a rich middle ground of cultural synthesis and symbiosis in which Western concepts of modernity and nostalgia for Japanese tradition seamlessly merged or creatively contrasted. These values are witnessed in the Art Deco style, particularly as it infused Japanese art of Taisho. Much of the debate over Japanese cultural identity centered on the appearance and social role of women. The primary focus in this volume is the nexus of tradition and modernity manifest in popular images of women, as well as in domestic furnishings and fashions made for women. In an introductory essay, historian Sharon Minichiello provides a broad context for these issues by sketching major domestic and international events and themes of the period. In his essay and catalogue entries, art historian Kendall Brown first examines how women were at the center of the sociocultural debate on Japanese modernity, then details how artists helped fashion various female types, including the modern girl, the traditional beauty, and a new type of hybrid woman. The nihonga paintings, woodblock prints, textiles, and domestic artifacts discussed and illustrated here are a broad range of objects representative of mainstream Taisho visual culture, and reconstruct the styles popular from 1915 to 1935 in a celebration of Taisho- Chic.

目次

PrefaceAcknowledgmentsGreater Taisho Japan 1900-1930Flowers of the Taisho: Images of Women in Japanese Society and ArtPaintings and Prints, nos. 1-41Decorative Arts, nos. 42-62Textile Arts, nos. 63-74Popular Songbooks of Taisho, no. 75General Bibliography Index

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