A study of the ways in which contemporary Japanese photographers visualized the Tōhoku disaster (the trifold disaster that destroyed the Tōhoku region in Japan in 2011). The concept of the sublime...Show moreA study of the ways in which contemporary Japanese photographers visualized the Tōhoku disaster (the trifold disaster that destroyed the Tōhoku region in Japan in 2011). The concept of the sublime functions as a theoretical framework, explored in relation to moral and aesthetic dilemmas that occur when representing death, disaster and trauma.Show less
This thesis describes and challenges current narratives surrounding two Japanese artists, Kano Tan'yu and Ogata Korin respectively, ragarding their thematic and stylistic versatility and their...Show moreThis thesis describes and challenges current narratives surrounding two Japanese artists, Kano Tan'yu and Ogata Korin respectively, ragarding their thematic and stylistic versatility and their patron network by comparing these narratives with current scholarship. It shall show how certain associations with these artists have their roots in either non-academic or perhaps dated sources and how these narratives are being both perpetuated and challenged within the academic world.Show less
Recently in Japan, regional art projects have been organized in ancient townhouses called machiya. This is part of a larger tendency in Japan since the 2000s whereby local governments and...Show moreRecently in Japan, regional art projects have been organized in ancient townhouses called machiya. This is part of a larger tendency in Japan since the 2000s whereby local governments and organizations work together in setting up art projects with historical preservation as a goal. In this thesis, I will investigate two of these art projects named 'Nara Machiya Art Festival Hanarart' in Nara prefecture and the 'Tatsuno Art Project' in Tatsuno city, Hyogo prefecture. Both of these projects seem to emphasize a certain nostalgia towards machiya by carrying out the theme of 'memories', suggesting that inviting people to machiya through art may give them a consciousness towards the history of these buildings. In this thesis I will analyze the artworks by two participating artists named Imamura Ryosuke (1982-) and Takeda Riki (1983-) and question in what way their works respond to machiya and its memories. Then I will suggest that these participating artists employ the theme of ' memories' in ways that offer a different approach of the machiya exhibition spaces than being suggested by the organizing commissions. They are able to trigger individual responses among viewers that are not so much nostalgic, but rather firmly located in the present, which will eventually lead to the creation of many new ' identities' of the ancient Japanese houses.Show less
This paper explores the photography of Araki Nobuyoshi by analysing the aspects of fact and fiction in the artist's work. Despite the diverse nature of his photography, Araki's work has primarily...Show moreThis paper explores the photography of Araki Nobuyoshi by analysing the aspects of fact and fiction in the artist's work. Despite the diverse nature of his photography, Araki's work has primarily been discussed within the context of pornography and Orientalism and has to a certain extent led to an essentialized view of Japanese society, Japanese sexuality and Japanese women. This thesis attempts to provide an alternative interpretation by exploring fact and fiction within the work of Araki. Furthermore, by specifically analysing images, layout and subject matter in the photo book 'Tokyo Lucky Hole' (1997), this essay attempts to highlight Araki's use of visual narrative.Show less
This thesis discusses the usage of animals as a means of satire in artwork of the late Edo period (1603-1868) . The research question is: What is the role of images of animals in satirical art of...Show moreThis thesis discusses the usage of animals as a means of satire in artwork of the late Edo period (1603-1868) . The research question is: What is the role of images of animals in satirical art of the late Edo period? I hypothesize that artists used animals in their prints to symbolize certain characters or events in a way that they could avoid censorship by the strict government. I also hypothesize that there is a reason for the choice to use certain specific animals and their symbolism to criticize certain events and historical characters. By examining sources that describe the artists life in Edo, texts about law (enforcement) and analyzing and interpreting works of art this thesis will establish a framework in which the reader will be able to understand the world of art in Edo Japan and the tools artists used to express certain opinions.Show less
Een kijk naar hoe door verscheidene mediavormen de Strijdende Staten periode van tegenwoordig nog steeds leeft door de representatie van de personages uit die periode in populaire media, alsmede...Show moreEen kijk naar hoe door verscheidene mediavormen de Strijdende Staten periode van tegenwoordig nog steeds leeft door de representatie van de personages uit die periode in populaire media, alsmede hoe de fans van deze media met deze geschiedenis omgaan.Show less
The paper studies Japanese early modern pilgrimages and focuses on Shikoku henro ezu (1807), a pilgrimage map collected by Philip Franz von Siebold and kept at the Leiden University Library....Show moreThe paper studies Japanese early modern pilgrimages and focuses on Shikoku henro ezu (1807), a pilgrimage map collected by Philip Franz von Siebold and kept at the Leiden University Library. Through the investigation of the map the author challenges common understanding of pilgrimage as an exclusively “religious” practice.Show less
Dit onderzoek richt zich op de politieke, sociale en culturele veranderingen in de overgang van de Tokugawa 徳川時代 (Tokugawa-jidai) (1603-1868) en de Meiji periode 明治時代 (Meiji-jidai) (1868-1912)....Show moreDit onderzoek richt zich op de politieke, sociale en culturele veranderingen in de overgang van de Tokugawa 徳川時代 (Tokugawa-jidai) (1603-1868) en de Meiji periode 明治時代 (Meiji-jidai) (1868-1912). Door gebruik te maken van contextuele en visuele analyse van de ukiyo-e prentenserie ‘Chiyoda no Ōoku’ 千代田の大奥 (Het Binnenpaleis van Chiyoda) (1895-1896) van de kunstenaar Yōshū Chikanobu 揚州周延en diverse andere secundaire bronnen, worden de veranderingen die tijdens deze periode plaatsvonden aangetoond.Show less
The Japanese constitution guarantees freedom from censorship. However, article 175 of the Japanese Criminal Code prohibits the production and distribution of obscenities. In an effort to still be...Show moreThe Japanese constitution guarantees freedom from censorship. However, article 175 of the Japanese Criminal Code prohibits the production and distribution of obscenities. In an effort to still be able to publish erotic manga, manga artists use a plethora of self-censorship techniques, trying to circumvent the law. In this thesis I try to investigate what exactly is deemed obscene under the Japanese law. By examining the works of Japanese erotic gay manga artist Tagame Gengoroh I try to establish whether certain techniques are more favorable than others according to different publication media. It turns out that Japanese judges tend to alter the definition of obscene to the opinions of society; the definition seems to change through time.Show less
The Nine Stages of Decay have often been discussed in debates on sexism. However, the role of men in these scrolls is usually disregarded. The appearance of men in Kusō-zu reframes the view of...Show moreThe Nine Stages of Decay have often been discussed in debates on sexism. However, the role of men in these scrolls is usually disregarded. The appearance of men in Kusō-zu reframes the view of women on these scrolls. Therefore the role of women is reassessed in this paper through research on the role of men.Show less
This thesis tries to contribute to the discussion of how Japanese contemporary artists place themselves on the Western art market. To be more precise, it will help us to understand how Japanese...Show moreThis thesis tries to contribute to the discussion of how Japanese contemporary artists place themselves on the Western art market. To be more precise, it will help us to understand how Japanese contemporary artists are playing on Japanese stereotypes through the Western gaze and how they use those stereotypes to their advantage.Show less
This BA thesis focuses on marketing strategies employed by designer and publisher to promote themselves as insiders of the popular Yoshiwara entertainment quarters and its brothels in Edo....Show moreThis BA thesis focuses on marketing strategies employed by designer and publisher to promote themselves as insiders of the popular Yoshiwara entertainment quarters and its brothels in Edo. According to research by Julie Nelson Davis , designer Kitagawa Utamaro (1753-1806) and publisher Tsutaya Jûzaburô (1750-1797) deliberately tried to create an “Utamaro persona” that would make Utamaro look like the ultimate insider of the abovementioned district in order to make more sales. I will elaborate on Davis’ thesis and analyze the main strategies that promoted Utamaro. Then works of other artists will be analyzed to see whether similar promotion can be found in their work as well. Davis indicates this possibility in her research as well, yet she focuses mainly on Utamaro and leaves other important artists by the wayside. In short, my main research focus will be the main self-promotional strategies of the Utamaro persona and whether these were unique in the commercial world of ukiyo-e publishing or whether they were tricks of the trade?Show less
In this thesis my research question is to find out how the male gaze influenced the relation between representations of female bodies in video games and sexualisation and weakness. Firstly I look...Show moreIn this thesis my research question is to find out how the male gaze influenced the relation between representations of female bodies in video games and sexualisation and weakness. Firstly I look at what other scholars have written about the representation of female characters in video games and note how objectification and the sexualised representation of women implicitly tends to be associated with the negative role stereotyping and passive gender roles. In questioning this, I take a different approach compared to previous research. Drawing from feminist and gender theories, I analyse three female characters that each depict a different relation between the body, male gaze and power. I show how the two characters who appear to be lesser sexualised, Zelda and Samus, appear to suffer more severely from the male gaze than Bayonetta does. Bayonetta, in turn, can be analysed as a critique towards the male gaze and masculine status. From the analysis I will conclud that it is not exclusively the visual appearance that determines whether a character is portrayed as weak or not, but that the gaze plays an important role as well.Show less
The work of the Japanese contemporary artist Nara Yoshitomo is followed by groups of loyal fans, which consist mainly of young women. In this thesis I will investigate the relationship between the...Show moreThe work of the Japanese contemporary artist Nara Yoshitomo is followed by groups of loyal fans, which consist mainly of young women. In this thesis I will investigate the relationship between the works by Nara Yoshitomo and these young female fans. These fans feel attracted to his work and at the same time engage with his work in various ways. This situation brings forth the following questions: what elements are there in the artistic language of Nara Yoshitomo that these fans find so appealing? How do they interpret the art by Nara Yoshitomo? And what is the relationship between Nara's art and these groups of young female fans? I will answer these research questions by discussing 'Your Childhood' (2001) and 'Aomori dog' (2005), two works by this artist that involved interaction with his fans. I will interpret these works from the eyes of its fans by observing their reactions on fan sites and blogs, applying the concepts of 'shoujo', 'nostalgia' and 'transitional object'. Eventually I will conclude that Nara’s fans appreciate the cute and nostalgic visual elements in Nara’s art as ‘shoujo’ or ‘nostalgic subjects’, as these young women are known for their consumption of cute and nostalgic things in order to escape temporarily from their social obligations. However, the belief that Nara’s fans act solely as passive consumers of his art may be challenged since they also play an active role as producers around Nara’s art via a wide range of participatory actions targeting his work.Show less
