Search Results (21)

This field statement reviews the sources, issues, approaches, and missions of Dunhuang architectural studies from 1926 to the present. The studies of Dunhuang architecture constitute a subfield at the intersection of Dunhuang studies, Silk Road archaeology, and studies of Chinese architectural history. Dunhuang architectural studies primarily investigate three corpses of materials, i.e., the images of architecture represented in mural paintings, the cave typology, and the timber-framed façade screening the caves. This study outlines the three phases in which scholarly concerns evolved from images to their material carriers, from forms to spaces, and from disciplinary to interdisciplinary. The first phase, 1926–1950, features Chinese, Japanese, and German scholars’ early explorations of the images of architecture, mostly based on photographic reproductions of murals and timber façades. They established connections between the Dunhuang materials and the modern studies of art and architectural histories. In the second phase, 1950–2000, scholars, mainly Chinese, explored the majority of the primary materials and managed to establish a research framework for research that is still valid today. Some others conducted refreshing studies from the perspective of spatial conception. The third phase, from 2001 to the present, witnesses the emergence of new materials, perspectives, and technologies, which stimulate interdisciplinary and innovative studies of the Dunhuang materials. Finally, this review reflects on the received conceptions the field has brought us to consider the architecture of a Dunhuang cave temple and points out issues of space for future investigations. Full article

In the region of Northeast Asia, Korea has been identified as a nation that has a distinctive affinity for tigers. Koreans’ lives are deeply ingrained with emotions and thoughts related to tigers, even though they have completely disappeared from Korea due to historical changes and urbanization. This study first connects the image of tigers in Korean creation myths and folk tales with cultural identity. The analysis uncovers that the satire and humor present in the literature and paintings depicting tigers were employed to surmount the realistic fears associated with these creatures. Subsequently, the study delves into historical perceptions and spatial concepts by examining folk tales and maps of the Korean Peninsula that are symbolized by tigers. During the Japanese colonial period, tigers were regarded as a symbol of Korean national consciousness, and since then, they have played a significant role in disseminating national spirit and identity discourse. Finally, the analysis of Korean proverbs related to tigers reveals the profound influence of these animals on the development of Korean concepts of seasons and time. This study thus demonstrates the significant role of tigers in shaping the cultural identity and conceptual framework of space and time in Korea. Full article

In the mid-seventeenth century, Chinese Chan master Yinyuan Longqi 隱元隆琦 (Jp. Ingen Ryūki, 1592–1673), accompanied by several disciples, traveled to Japan and established Ōbaku Zen, a new sect of Zen Buddhism in Tokugawa Japan. Ōbaku art, particularly portrait paintings of Ōbaku abbots and their spiritual predecessors, became critical representations of the sect and greatly influenced later Japanese Buddhist art. While much of the existing scholarship focuses on the artistic and stylistic aspects of Ōbaku portraiture, this paper emphasizes its religious context and doctrinal dimensions. Building on Elizabeth Horton Sharf’s inquiry into the “meaning and function” of Ōbaku portrait painting, the paper investigates how Ōbaku doctrine is expressed through these images. Using the Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan as a case study, this paper explores the role of portraiture in visually conveying Ōbaku teachings and the religious aspirations of those Chinese immigrant monks. By examining the integration of image, inscription, and seal as a unified “pictorial trinity”, the paper argues that Ōbaku portraiture embodies the sect’s distinct doctrine, rooted in Ming-era Chan practices such as beating, shouting, and strict dharma transmission. Moreover, the prominence of Bodhidharma in Ōbaku portraits, as illustrated in the triptych, reflects these Chinese immigrant monks’ desire to emulate Bodhidharma in spreading the dharma and expanding their sect’s influence in a new land. Full article

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. Full article

The Japanese textile tradition is renowned for its intricate designs achieved through a variety of dyeing techniques, including kasuri, shibori, and paste-resist dyeing. These techniques are often combined within a single textile, resulting in exceptionally elaborate creations. Our paper delves into the technical aspects and complexities of these methods, highlighting the dynamic interplay between tradition and innovation in Japanese textile production. Our scientific endeavour focused on some textiles dating between the 19th and 20th centuries and belonging to the Montgomery Collection of Japanese folk art. Employing non-invasive techniques such as visible reflectance spectroscopy and ER-FTIR spectroscopy, we uncovered key insights into the materials and methods utilized in the creation of these textiles. Our analysis revealed a diverse array of pigments and dyes, including plant-derived, inorganic, and synthetic variants. These findings illuminate the cultural syncretism between traditional Japanese practices and the adoption of new materials from the West, underscoring the dynamic nature of textile production in Japan. Furthermore, ER-FTIR spectroscopy elucidated the predominant use of cotton as the primary fibre in the textiles, aligning with historical records of Japan’s role as a major producer of cotton yarn. Analysis of white areas within the textiles revealed evidence of resist-paste dyeing techniques, particularly tsutsugaki and katazome, through the absence of dye penetration and the characteristic appearance of white lines. Confirmation of indigo dyeing techniques (aizome) was achieved through ER-FTIR spectroscopy, providing reliable identification of indigo and Prussian blue in various shades of blue present in the textiles. Additionally, the detection of Western-derived dyeing method (utsushi-yūzen) and free-hand painting (kaki-e), offers insights into the diversity of dyeing practices employed by Japanese artisans. The presence of proteinaceous materials and synthetic dyes observed in some textiles has implications for conservation practices, suggesting the need for tailored approaches to ensure the preservation of these culturally significant artifacts. Overall, these scientific results shed new light on the materials, techniques, and cultural contexts underlying Japanese textile production, advancing our understanding of this rich artistic heritage and informing future research endeavours in textile science and conservation. Full article

The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan. Full article

As power sources for Internet-of-Things sensors, thermoelectric generators must exhibit compactness, flexibility, and low manufacturing costs. Stretchable and flexible painted thermoelectric generators were fabricated on Japanese paper using inks with dispersed p- and n-type single-walled carbon nanotubes (SWCNTs). The p- and n-type SWCNT inks were dispersed using the anionic surfactant of sodium dodecylbenzene sulfonate and the cationic surfactant of dimethyldioctadecylammonium chloride, respectively. The bundle diameters of the p- and n-type SWCNT layers painted on Japanese paper differed significantly; however, the crystallinities of both types of layers were almost the same. The thermoelectric properties of both types of layers exhibited mostly the same values at 30 °C; however, the properties, particularly the electrical conductivity, of the n-type layer increased linearly, and of the p-type layer decreased as the temperature increased. The p- and n-type SWCNT inks were used to paint striped patterns on Japanese paper. By folding at the boundaries of the patterns, painted generators can shrink and expand, even on curved surfaces. The painted generator (length: 145 mm, height: 13 mm) exhibited an output voltage of 10.4 mV and a maximum power of 0.21 μW with a temperature difference of 64 K at 120 °C on the hot side. Full article

In this paper I propose to examine several poems by Elizabeth Bishop through the prism of the concept of letter delineated in “Lituraterre”, where Lacan explores the connection between the literal and the littoral in order to draw a key distinction between signifiers which are the semblances involved in ordinary communication, and the letter as a precipitate resulting from their breakdown. Insofar as the letter causes “writing effects that are structured around moments of vacillation of semblances” (M-H Roche), such effects may be traced in poems where Bishop focuses on how meaning is set adrift by eliding, displacing or transforming graphemes and phonemes. Her observation that “the names of seashore towns run out to sea” points to the littoral/liminal space of the poetic signifier that straddles enjoyment and meaning. I analyze Bishop’s painterly treatment of mist through the prism of Lacan’s discussion of Japanese calligraphy where the unary brush stroke, which “is the means to clear original Chaos” (E. Laurent), operates as the equivalent of the median void, often represented by fog in Chinese painting, i.e., as an avatar of the littoral that separates knowledge from enjoyment. I conclude with a reading of a poem where the semiosis of mortality hinges on the (dis-)appearance of certain phonemes, inviting us to question the literal/literary destiny of letters when they turn into Joycean litter, and prompting us to revisit Lacan’s familiar aphorism that “a letter always reaches its destination”. Full article

This essay performs a close reading of Morimura’s Portrait (Futago) to establish how the artist’s multi-media approach echoes 1980s declarations about the end of painting while also proposing alternatives for its historical and material afterlife. In many ways, the artist’s performances make the crises brought on by the emerging global economy visual, and as such pointed to a number of slow deaths: of painting, of capitalism, of Japanese tradition. But the images do not merely document the demise. Instead, they present a scenario in which multiplicities define contemporary being. By considering how the work engages with photography, performance, and painting, I argue that Morimura’s approach to modality pointed out inherently Western assumptions about painting as well as its incompatibility with a holistic global identity in the 1980s and 90s. Exploiting the stereotypes of his media, Morimura makes tangible painting’s complicity with Western hegemony and destabilizes it in ways that propose a new global subject. Full article

For the past 20 years, THz pulsed time-domain imaging has been used to study the internal structure of various paintings. The main advantage of this technique is that it can nondestructively provide depth profiles, as well as conditions of preparation and support layers, which are important in conservation planning. We have applied THz pulsed time-domain imaging to artworks with linings, which are additional layers of fabric or paper adhered to the back of an original painted work on canvas or paper to reinforce it, usually for conservation purposes. If the lining material or the interface between the lining and the original canvas or paper deteriorates over time, there is a risk of further problems. Therefore, THz pulsed time-domain imaging is expected to be suitable for examining lined paintings. In this paper, the investigation of artworks with lining layers using the THz pulsed time-domain imaging technique is presented, in addition to previous studies of Japanese panel screens and modern oil-canvas paintings with wax-resin linings, as well as a detached fresco painting mounted on a canvas by the “strappo” technique. Full article

This study analyzes the techniques and decorative motifs of several works made using barniz de Pasto, highlighting their characteristics in order to establish comparisons with artistic phenomena of Asia and Europe. A possible link can be observed between barniz de Pasto and the Namban and Pictorial style Japanese export lacquer works of the 17th and 18th centuries. A search for similarity is justified by the documentary and material evidence of Japanese works created in these styles being transported from Japan to the Viceroyalty of New Spain by Manila galleons via the trade route between Acapulco and Callao. Additionally, traces of the Spanish culture have been recognized in barniz de Pasto. For example, printed images that circulated in the Viceroyalty of Peru have been observed on a coffer. This appropriation, also observed in the mural painting of a Central Andean church, and the presence of the image of Amaru, a Quechua deity, on the same coffer, marks the Central Andes as one of the possible places where the practice of barniz de Pasto could have been established. All of this points to Central and South America’s great ability to appropriate foreign cultures and fuse them with their own during the viceregal period, as manifested in the art of barniz de Pasto. Full article

The nunnery Keikōin was a powerful Buddhist institution, famous in late-medieval Japanese history for its vigorous and successful fundraising campaigns on behalf of the Grand Shrine of Ise. Much is known about the nuns’ fundraising activities, but very little is known about their religious practice. A recently discovered painting, I believe, sheds some light on this long-standing question. It depicts an elderly nun invoking the deity Uhō Dōji in the form enshrined at Kongōshōji, a temple situated at the top of Asama Mountain, to the east of Ise’s Inner Shrine. Based on several of the iconographic elements, I argue the nun portrayed in the painting is from Keikōin and that she is shown engaging in esoteric Buddhist practices related to those carried out at Kongōshōji. Comparative analysis with other paintings and the historical record has, moreover, led me to propose that the Keikōin nuns performed these esoteric practices at Ise’s Kora no tachi, the hall where young shrine maidens prepared the daily food offerings for Ise’s deities. Full article

Using a sample coated with three types of carbon-based paints, namely single-wall carbon nanotube (SWCNTs), carbon black, and graphite, the amount of radio wave absorption for each was measured. SWCNTs proved to have the superior radio wave absorption effect in the millimeter band. Considering the change in the amount of radio wave absorption depending on the coating amount, three different coating thicknesses were prepared for each test material. The measurement frequency was set to two frequency bands of 28 GHz and 75 GHz, and the measurement method was carried out based on Japanese Industrial Standard (JIS) R1679 “Radio wave absorption characteristic measurement method in the millimeter wave band of the radio wave absorber.” As for the amount of radio wave absorption in the 28 GHz band, a maximum amount of radio wave absorption of about 6 dB was obtained when 35 m of CNT spray paint was applied. It was confirmed that the carbon black paint came to about 60% that of the SWCNT, and the graphite paint did not obtain much radio wave absorption even when the coating thickness was changed. Furthermore, even in the 75 GHz band, the radio wave absorption was about 7 dB when 16 μm of CNT spray paint was applied, showing the maximum value. Within these experimental results, the CNT spray paint has a higher amount of radio wave absorption in the millimeter wave band than paints using general carbon materials. Its effectiveness could be confirmed even with a very thin coating thickness of 35 μm or less. It was also confirmed that even with the same paint, the radio wave absorption effect changes depending on the difference in coating thickness and the condition of the coated surface. Full article

To test the effects of elevated CO₂ and soil N deficiency on N resorption efficiency (NRE) from senescing leaves in two non-N₂-fixing deciduous broadleaved tree species, Japanese oak (Quercus mongolica var. grosseserrata Blume) and Painted maple (Acer mono Maxim. var. glabrum (Lév. Et Van’t.) Hara), potted seedlings were grown in a natural daylight phytotron with either ambient or elevated CO₂ conditions (36 Pa and 72 Pa CO₂) and with two levels of N (52.5 and 5.25 mg N pot⁻¹ week⁻¹ for high N and low N, respectively). We examined the N content (N_mass) of mature and senescent leaves, as well as photosynthesis and the growth of plants, and calculated both the mass-based NRE (NRE_mass) and leaf area-based NRE (NRE_area). In both species, the N_mass of mature leaves decreased with high CO₂ and low N, whereas the leaf mass per area (LMA) increased under elevated CO₂, regardless of N treatments. In Q. mongolica, both the maximum rate of carboxylation (V_cmax) and the maximum electron transport rate (J_max) were reduced by elevated CO₂ and low N, but V_cmax exhibited an interactive effect of N and CO₂ treatments. However, in A. mono, both the V_cmax and J_max decreased under elevated CO₂, regardless of N treatments. The partitioning of N for the photosynthetic function within leaves was also significantly decreased by elevated CO₂ in both species and increased under low N in A. mono. The N_mass of senesced leaves decreased under low N in both species and exhibited an increase (Q. mongolica) or no effect (A. mono) by elevated CO₂. The NRE_area of Q. mongolica was affected by CO₂ and N treatments, with a decrease under elevated CO₂ compared to ambient CO₂ and under low N compared to high N. The NRE_area of A. mono was also affected by CO₂ and N treatments and decreased under elevated CO₂; however, unlike in the case of Q. mongolica, it increased under low N. We speculate that these interspecific differences in the responses of leaf N allocation, indicated by the photosynthetic (V_cmax and J_max) and morphological (LMA) responses to elevated CO₂, may have affected the NRE during defoliation under high CO₂ and soil N-deficient conditions. Full article

This paper demonstrates the method and meaning behind the argument that contemporary philosophers have found the key to “de-creation” in potentiality by implementing it in artwork. While creation in the usual sense seems to imply an active attitude, de-creation implies a passive attitude of simply waiting for something from the outside by constructing a mechanism to set up the gap to which something outside comes. The methods of de-creation are typically found in representations of reality using “Kakiwari,” which is commonly observed in Japanese art. Kakiwari was originally a stage background and has no reverse side; that is, there is no other side to the space. Mountains in distant views are frequently painted like a flat board as if they were Kakiwari. It shows the outside that is imperceptible, deviating from the perspective of vision. The audience can wait for the outside without doing anything (“prefer not to do”) in front of Kakiwari. It is the potentiality of art and it realizes de-creation. This paper extends the concept of de-creation by presenting concrete images and methods used in the author’s own works that utilized Kakiwari. This orients to the philosophy of the creative act by the artist herself. Full article