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Review of Japanese Culture and Society
Number of Followers: 5  
 
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ISSN (Print) 0913-4700 - ISSN (Online) 2329-9770
Published by Project MUSE Homepage  [305 journals]
  • Yamashiro: Imagined Home and the Aesthetics of Hollywood Japanism

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      Abstract: Photographic postcard of the front of Yamashiro; 3 ½ x 5 ½ in.Courtesy of the California History Room, California State Library, Sacramento, California.Photographic postcard of Yamashiro; 3 ½ x 5 ½ in.Courtesy of the California History Room, California State Library, Sacramento, California.In 1911, cotton barons and Asian art collector brothers Eugene Elija Bernheimer (1865–1924) and Adolph Leopold Bernheimer (1866–1944) arrived in Los Angeles from New York with an extensive collection of decorative art and antiques amassed between the late 1880s and early 1900s on their travels to Asia. Mainly acquired in Japan and China, their collection comprised ukiyo-e prints, silk paintings, Buddhist sculptures and wall ... Read More
      PubDate: 2023-01-25T00:00:00-05:00
       
  • Introduction

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      Abstract: This special literary section of the Review of Japanese Culture and Society presents new English translations of short fiction by two border-crossing writers from the era of the Great Japanese Empire who, by sheer coincidence, shared the same Sinitic characters in their surnames: the acclaimed Nakajima Atsushi (中島敦, 1909–42) and the largely-forgotten Nakashima Naoto (中島直人, 1904–40). Products of a time of imperial expansion and colonial migration who belonged to roughly the same generation, both Nakajima and Nakashima experienced their formative years in spaces outside the confines of the insular Japanese naichi, or home islands. Nakajima Atsushi spent his teens in colonized Korea, then later served with the ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • The Curse of Letters (1942)

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      Abstract: Nakajima Atsushi (1909–42) was a man of letters active at the height of the imperial period in Japan. During his childhood Nakajima spent several years in colonial Korea, and after studying literature at Tokyo Imperial University he worked first as an educator in Yokohama and then as a low-level education official in Palau. Nakajima had not yet become a prominent figure in the literary community at the time of his death in December 1942, but today his short adaptation of a Tang Dynasty-era tale about an aspiring poet who is transformed into a tiger, "The Moon over the Mountain" (Sangetsuki), is an established part of the high school curriculum across Japan."The Curse of Letters" (Mojika) was first published in the ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Tiger Hunt (1942)

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      Abstract: In 1934, the story "Tiger Hunt" (Toragari) by Nakajima Atsushi (1909–42) was submitted to a literary contest hosted by Chūō kōron (Central Review), one of the most prestigious general circulation periodicals in Japan, and earned an "honorable mention" in the journal's July issue. A postcard that Nakajima sent to a friend that year indicates that this was not the first time that the twenty-five-year old teacher and aspiring writer had submitted this work to a literary contest, which suggests Nakajima's confidence in the value of the story.1 Nonetheless, this early work remained unpublished until 1942, when it was included in a collection of Nakajima's stories titled Light, Wind, and Dreams (Hikari to kaze to yume). ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Waiawa Station (1934)

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      Abstract: In a key moment in Nakashima Naoto's "Waiawa Station" (Waiawa eki, 1934), an elegiac first-person story about a Hawaii boyhood in the early twentieth century, the narrator strains to talk with his Japan-born brother. After casting about for shared topics of interest, he hits upon the idea of asking about his brother's reading:"Shigeru, what sorts of books are you reading now'""What'" he said, turning his side to me as though he were thinking of something else. But he knew I was studying him. With a thin smile, he said, "A born-in-Hawaii (Hawaii umare) like you wouldn't know."At that moment, I was somehow afraid of my brother. I regretted getting into this troubling conversation.A gulf opens between the ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • On the Contributors

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      Abstract: Guest EditorsÁlex Bueno is Project Assistant Professor in the Faculty of Arts and Sciences at the University of Tokyo. He holds a B.A. in Art History from Princeton University and an M.A. and Ph.D. in Architecture from Harvard University. He specializes in the cultural history of modernization in the design fields of architecture, landscape architecture, and urban planning in the United States, Western Europe, and Japan. He has translated extensively, and his most recent work appeared in Kazuo Shinohara: Traversing the House and the City, ed. Seng Kuan (Harvard Graduate School of Design & Lars Müller, 2021).Yasutaka Tsuji is Assistant Professor at the University of Tsukuba. He specializes in the history of art and ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Design as Cultural Representation: Visuality and Materiality in Postwar
           Japan

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      Abstract: Following on the "Bibliography of Design and Society in Modern Japan" compiled for the "Design and Society in Modern Japan" issue of the Review of Japanese Culture and Society (RJCS) (2016),1 this issue engages design studies as an investigation of visual and material culture with an anthology of Japanese- and English-language discourse on the subject. In doing so, we hope to reveal how design emerged and developed as a representation of popular culture during the Cold War period.The World Design Conference held in 1960 in Tokyo was deemed revolutionary, and "design" came to be understood in Japan as a singular, distinct field. Yet, design also came to be used narrowly as a word representing technologies related to ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Japan's Postwar Building: Japanese Architecture and the West (1953)

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      Abstract: They have needed each other in the past; they need each other today.It is impossible to understand the rise of modern architecture in the West without some reference—all along the line—to the architecture of Japan.It is equally impossible to understand the rise of modern architecture in Japan without reference, especially in recent times, to that of the West.This story is concerned with the architectural give-and-take that has been going on between Japan and the West for three quarters of a century. But more specifically, this story is concerned with the latest results, in Japan, of that exchange of ideas.It was the discovery, in France and elsewhere, of the exciting natural forms in Japanese art that helped bring ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Eyes On Japan: Overseas Artists Also Continue to Arrive (1957)

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      Abstract: Many literati from overseas have congregated for the PEN Congress,1 and unusual visitors from the art world continue to come as well. To start with, rising French critic Michel Ragon, Art Informel painter Georges Mathieu, and Michel Tapié, the critic who leads the movement, are visiting Japan. This evening, painter Sam Francis of the same group (winner of the Mainichi prize at this year's Mainichi International Exhibition)2 is scheduled to arrive from America and will soon hold an exhibition with Imai Toshimitsu, who has returned to Japan. It is unprecedented that so many artists and critics from contemporary art movements have come to Japan all at once. Aside from them, Paris-based Chinese painter Zao Wou-Ki (Zhào ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • At the Intersection of Art and Design (1957)

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      Abstract: Design (dezain) and so-called art (bijutsu 美術) are most often thought of as clearly distinct areas of specialization, and exist and are treated in this way. Certainly, even looking at the poster as one example of graphic design, the work is a completely different thing from that of the painter's tableau and uses new materials and technology for new purposes, and it is therein that design draws a distinction. What is more, in some sectors, industrial designers (kōgyō dezainā) may appear to be doing work along the same lines as conventional craftsmen (kōgeika), but if one considers the design of automobiles and the like, it should be clear to anyone that it connects with a technological domain of an entirely ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Epilogue to What Is Design (1961)

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      Abstract: In May 1960, the world's first World Design Conference (Sekai Design Kaigi) was held in Tokyo. About a year and a half before that, Asada Takashi, my senior,1 was appointed as the secretary-general of the conference. At the time, our small group got together at the inn where Asada was staying in eastern Ginza, and before we even began talking about how to launch the World Design Conference, we spent days and nights arguing about what design (dezain, デザイン) is.After that went on for two or three months, I too joined the preparatory board, and I spent about a year mainly on the discussions of the Conference Contents Committee (Kaigi Naiyo Iinkai). Participating in the World Design Conference, I also had the ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Nature and Thought in Japanese Design (1960)

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      Abstract: It will be a great pleasure for us should Japanese design—both the design of the past and that of the present—be able to appeal more widely to foreign visitors to our country.For, if Japanese design, when viewed from a world-wide viewpoint, does prove to have any qualities which can contribute to the building of a better society for humanity in the future, then it can become the heritage, not only of one country in the Far East, but of mankind as a whole; and it then will also become a starting-point for the new creative activities of present-day ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • The I-Ro-Ha of Japan (1979)

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      Abstract: A population about half that of the United States inhabits the Japanese archipelago, which has an area of roughly 372,000 square kilometers, or 1/25 that of the United States. The seas surrounding the islands have served as a barrier separating the Japanese people from and as a waterway connecting them with the Asian continent. Until modern times, these seas allowed suitable cultural importation from advanced nations while greatly reducing the danger of invasion. And, even when invaders sometimes entered from west or north, they were unable to drive the Japanese out. The inhabitants of this relatively isolated island nation have skillfully opposed all comers by means of a distinctive culture and psychological ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Foreword to Hideyuki Oka, How to Wrap Five Eggs: Japanese Design in
           Traditional Packaging (1967)

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      Abstract: The less we prize delight as a reason for action, the greater the distance we put between the hand and the final product, the more we will chafe at the price to be paid for the blessings of technology.We have brainwashed ourselves into equating the new with the good, and the newest with the best, and the only remaining holes in the synthetic padding wrapped around our uneasy convictions are those intermittent fits of modernistic anxiety, so often expressed in nostalgic fads which fill the stores with "provincial" furniture, early Aztec TV sets, Art Nouveau lampshades (made of paper and imported from Hong), distempered dishwashers and refrigerators.We have come a long, long way from the kind of thing so beautifully ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • What Is Design' (1965)

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      Abstract: Recently, there have been a veritable mountain of books published on design. Often said to encompass "from the lipstick to the locomotive" or "from the jet to the kitchen," design is among those topics most receiving attention today because of its extremely wide scope and close relationship with daily life.Yet, everyone has an individual sense of design, which can make it appear lacking in any sense of unity. For instance, painters, mechanical engineers, and tailors all practice design, but painters call their work "sketching," engineers call it "planning," and tailors call it "tailoring." A painter studies how to express an idea on canvas by trying it out with sketches. An engineer considers how to put together ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Epilogue to Thinking About Design: The Collected Writings of Kimimasa Abe
           (1978)

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      Abstract: The primary considerations of the texts in this volume are: what in fact is design and whether the field known as design can be established as "scholarship." It is thought that when university design education underestimates or ignores the real circumstances of society, it escapes into facile utopianism, or conversely, if it fully accommodates the actual societal conditions, it cannot but come to a halt, having accommodated the ideology of the establishment. For me, this remains an important unresolved problem. To begin, I would like to recall a passage that I wrote several years ago on design as an academic field.1Today, the area covered by the word "design" (dezain) is rather broad; it is seen as a formative ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Japan Style: Yesterday, Today and Tomorrow (1980)

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      Abstract: I must admit that when our British friends suggested the title of this exhibition should be "Japan Style", we had certain reservations about accepting the phrase as it stood. Supposing we could climb aboard a time machine and travel back to nineteenth century Japan, we would probably find, it is true, that the words "Japan Style" aptly described the life being lived then; again, if we were to climb aboard the famous Bullet Train and travel from Tokyo (the modern capital) to Kyoto (the former capital, with a proud history going back more than a millennium), I think we would realise that the life of the latter city still had a certain unity and harmony, which justified the use of the same expression. I know, however ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • The Heritage of Japanese Design (1984)

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      Abstract: DESIGN is one expression of man's powers of conception, and therefore has existed from the beginning of human history. Man, moreover, must by destiny live with and in close relationship to nature. In considering design in Japan, then, let us begin by observing what nature is like in this country. The land is made up of a chain of islands stretched out in a long arc from north to south. Its northern extremity lies in the subarctic zone, its southern extremity in the subtropical zone. The culture nurtured in such a land of varied climates must necessarily be rather unusual. Except for the United States, the Soviet Union, and China, which embrace immense land masses, most of the other advanced countries in the world ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Introduction to Modern Japanese Design (1987)

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      Abstract: 'Our aesthetic sense is our order'1For many people, the term Japanese design evokes the high level of aesthetic achievement of the country's traditional applied arts, from ceramics to lacquerwork to architecture. For others, it is associated with the strong visual appeal of the consumer gadgets that pour out of Japan's new, post-war production centres. These two parallel, and seemingly divergent, aspects make the concept of Japanese design difficult to define.The inherent problem in trying to discuss these two aspects of Japanese design in a single breath is that they function within different cultural and historical contexts and on different cultural levels. The former depends on the continued close link, within ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Wayo Style: The Japanization Mechanism (1992)

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      Abstract: We have to begin by asking why an exhibition like this should be held in London now. Suffice it to say that the UK organisers of the Japan Festival 1991 wanted a core exhibition that would unravel, in their eyes, the mystery of Japan and we in Japan were asked to fulfill this requirement. We may, in addition, ask why such an exhibition is necessary after the millions of words that have been written in the English language about Japan in the last decade, but obviously these have been insufficient.A plethora of forces is spewing forth from Japan—the globally expanding, invariably disproportionate forces of its economy; the bungling and farcical forces of its politics; the irrepressible forces of its culture still ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Japanese Design: From Meiji to Modern (1994)

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      Abstract: The Japanese, by geographic disposition and aesthetic temperament, have historically exhibited an extraordinary talent for learning and adapting from outside sources without sacrificing their age-old traditions and beliefs. When, with the introduction of Buddhism in the sixth century, the Japanese encountered Chinese civilization, they deliberately set about experimenting with aspects of China's sophisticated culture. They adopted Chinese dress at court, and elaborate Chinese models dominated the architecture of Buddhist temples and even entire city plans. The successive eighth-century capitals of Nara and Kyoto were laid out on a grid plan copied from China's early-seventh-century Tang dynasty capital of ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Japanese Design: A Survey Since 1950 (1994)

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      Abstract: Within a decade and a half after the Second World War, Japan had emerged from utter devastation to become one of the world's biggest industrial producers, and its finished products—motorcycles, cameras, radios, and television sets—were the visible measure of that success. Whereas immediately after the war and until the occupation formally ended in 1952, the words "Made in Japan" had meant goods that were cheap and poorly manufactured, they increasingly came to indicate a quality product. The American magazine Popular Photography reported in 1957, for example, that Japanese cameras were playing a significant role in building consumer confidence abroad for Japanese goods "as word of their quality and precision ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Japanese Design in the Twentieth Century: Tradition Encounters the Modern
           World (2009)

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      Abstract: The Japanese thing… is not outlined, illuminated;… around it, there is: nothing, an empty space.For over half a century, Japan has nurtured a distinctive and extraordinarily successful modern design culture. Holding firmly to tradition while simultaneously embracing all that contemporary visual and material culture has to offer, Japanese designers have evolved a design ethos and aesthetic that has increasingly exerted a strong international influence, affecting developments in architecture, interior design, product design, fashion, graphic design, and craft around the world. While neighboring countries—Korea, Taiwan, Singapore, and China, among them—have been working hard to emulate this success, in the early ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Introduction

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      Abstract: The purpose of this section, "Japan Housed in LA," is to highlight instances of "Japan"—its artwork, design, presentation, and at times mispresentation found in Los Angeles. Dianne Lee Shen's case study of Yamashiro, a 1911 castle-style private estate in the Hollywood Hills, historicizes Southern Californians' fascination with Japan and various things Japanese as an example of Hollywood Japonisme in the early twentieth century. Shen's study is juxtaposed with contemporary examples of "Japan" housed in the city nearly a century later at JAPAN HOUSE Los Angeles, which has been launched by the Japanese Ministry of Foreign Affairs to showcase "the very best" of Japanese arts and culture along with two other locations ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Utagawa Hiroshige and New Year's Eve Foxfires at Nettle Tree, Ōji from
           NATURE/SUPERNATURE: Visions of This World and Beyond in Japanese Woodblock
           Prints

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      Abstract: Utagawa Hiroshige (1797–1858)New Year's Eve Foxfires at Nettle Tree, Ōji, no. 118 from the series One Hundred Famous Views of Edo. Edo period (1603–1868), 1857. Full-color woodblock print, ink on paper 13 ¼ in. x 8 ⅝ in. (33.65 cm. x 21.91 cm.). Scripps College Collection, Gift of Mrs. James W. Johnson, 46.1.108.Meher McArthur is Art and Cultural Director, JAPAN HOUSE Los Angeles and the curator of NATURE/SUPERNATURE: Visions of This World and Beyond in Japanese Woodblock Prints (February 15, 2021–May 31, 2021).Image courtesy of Scripps College, Claremont, CA.Utagawa Hiroshige (1797–1858)New Year's Eve Foxfires at Nettle Tree, Ōji, no. 118 from the series One Hundred Famous Views of Edo. Edo period ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Izumita Yukiya and Fold from KESHIKI: The Landscape Within, Contemporary
           Japanese Ceramics from the Brodfuehrer Collection

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      Abstract: Izumita Yukiya (1966–)Fold, 2017. Glazed stoneware 12 ¾ × 19 ¾ × 15 ¾ in. (32.39 × 50.17 × 40.01 cm.). Los Angeles County Museum of Art, Gift of Gordon Brodfuehrer (M.2019.342.32).Hollis Goodall is Curator of Japanese Art at Los Angeles County Museum of Art and the curator of KESHIKI: The Landscape Within, Contemporary Japanese Ceramics from the Brodfuehrer Collection (April 17, 2019–June 20, 2019).© Izumita Yukiya, photo courtesy of Ippodo Gallery, New York.Izumita Yukiya (1966–)Fold, 2017. Glazed stoneware 12 ¾ × 19 ¾ × 15 ¾ in. (32.39 × 50.17 × 40.01 cm.). Los Angeles County Museum of Art, Gift of Gordon Brodfuehrer (M.2019.342.32).Hollis Goodall is Curator of Japanese Art at Los Angeles County ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Bruce Yonemoto: Made in Occupied Japan

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      Abstract: Bruce Yonemoto (1949–)Made in Occupied Japan (Sakasama Makasa), 1998. Ceramic mug and metal base 7 ½ x 8 ⅜ x 4 ¾ in. (19.05 x 21.27 x 12.07 cm.). The Museum of Contemporary Art, Los Angeles, Gift of Barbara Wise.© Bruce Yonemoto, Image courtesy of the artist.Bruce Yonemoto (1949–)Made in Occupied Japan (Sakasama Makasa), 1998. Ceramic mug and metal base 7 ½ x 8 ⅜ x 4 ¾ in. (19.05 x 21.27 x 12.07 cm.). The Museum of Contemporary Art, Los Angeles, Gift of Barbara Wise.© Bruce Yonemoto, Image courtesy of the artist.Conceptual and multimedia artist Bruce Yonemoto's (b. 1949) display of a group of mugs, cup-and-saucer sets, and porcelain figurines provokes a sense of bewilderment. Each object is colorful ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
  • Chromatic Metaphors: An Interview with Manika Nagare

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      Abstract: Known as an alchemist of chromatic effects, the painter Manika Nagare1 (1975–) explores in-betweenness by traversing seemingly untraversable chasms, between form and content, life and death, private and public, past and present.2 Trained at Joshibi University of Art and Design and a winner of the Tokyo Wonder Wall Awards Committee Chairman's Prize (2001), Nagare works independently as an oil painter. Her artistic investigations of color led to her ongoing project, Traces of Colors, which has been presented in exhibitions at the Pola Museum of Art and Yuka Tsuruno Gallery (both in 2018) and Nerima Art Museum (2020). Through this series, Nagare aspires to uncover the spirits of past artists by tracing the color ... Read More
      PubDate: 2023-01-06T00:00:00-05:00
       
 
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