In this thesis, I try to answer the research question “How were the samurai satirized through the usage of anthropomorphic animal imagery in visual art during the Bakumatsu period”. I aim to...Show moreIn this thesis, I try to answer the research question “How were the samurai satirized through the usage of anthropomorphic animal imagery in visual art during the Bakumatsu period”. I aim to explore the use of animals in visual art to depict samurai and the connection between the use of animals and the concept of parody. During these turbulent times from the 1840’s to the 1860’s an increase in political satire is seen in visual art, as such the usage of animal imagery to convey this satire is also seen during these years originating from the Tenpō reforms. Through the concepts of parody, historical context, and various analyses I will have enough material to formulate a conclusion. It shows that the decline of the shogunate did not result in a consistent nationwide rise in grotesque animal portrayals of the samurai. Factors such as place and the level of authoritative power also played significant roles.Show less
As a dedication to the necessary move away from cultural essentialism, this research explores one of its prominent counter-concepts, cultural hybridity, by combining the following research...Show moreAs a dedication to the necessary move away from cultural essentialism, this research explores one of its prominent counter-concepts, cultural hybridity, by combining the following research questions; What is meant by the concept of cultural hybridity? How does this concept apply to Kengo Kuma's (隈研吾) (1954-) life and his architecture? Labeling Kuma’s architecture as a continuation of an essential Japanese timeline through claims about the embeddedness of a ‘Japaneseness’, despite the relatively recent invention hereof after the Meiji revolution, could be legitimizing stereotyping of the past, and is questionable. When applying the concept of cultural hybridity one can acknowledge that the formation of Kuma’s architecture is influenced by numerous intercultural flows. It has been informed by practices and philosophies from in- and outside the Japanese island region, and is underlied by an entanglement of sub- and trans-national—as well as personal—influences.Show less
China had garnered so much success with the exportation of porcelain in Europe around the late 16th century, however much later towards the end of the 17th century there is an abrupt downfall. This...Show moreChina had garnered so much success with the exportation of porcelain in Europe around the late 16th century, however much later towards the end of the 17th century there is an abrupt downfall. This thesis aims to show how European ideology and advancement played a key role in the downfall of Chinese porcelain in Europe. China was a role model when it came to the making of porcelain, with their mysterious techniques and the use of ingredients not yet known to the Europeans. They were placed on a pedestal and regarded as one of the best at this craftsmanship. However, that mystery surrounding the production of porcelain died down after the Europeans figured out the techniques and the ingredients used. China was also highly regarded at one point in time by the Enlightened thinkers of Europe. However as the years progressed more negative views were brought to light and the once highly regarded China was now seen as inferior and backwards.Show less
In this thesis I will explore a set of landscape photographs made by Uchida Kuichi (1844-1875) in the 1870s. Uchida had become photographer under a Japanese master who had received education in the...Show moreIn this thesis I will explore a set of landscape photographs made by Uchida Kuichi (1844-1875) in the 1870s. Uchida had become photographer under a Japanese master who had received education in the field of chemistry from a Dutch institute in Nagasaki. He was requested to document the Meiji emperor’s grand tour of Japan in 1872. The pictures Uchida took were not a reportage in the modern sense of the word. Uchida Kuichi’s landscape photography shows the synthesis of early modern ideas about landscape depiction in a modern medium. The photographer seems to have made deliberate choices to soften the innate quality of this medium to produce ‘modern’ or ‘western style’ depiction with a vanishing point perspective, and he has avoided using a downward looking point of view. His landscape photos mostly have a level point of view and the vanishing point perspective is ‘flattened’ by stressing the horizontals and/or the vertical lines. Instead of linear perspective, depth is created by having large objects in the foreground. His landscape of the Nagasaki bay is to be understood symbolically, suggesting a harmonious relationship between modernity (a modern steam factory and foreign trading steam ships) and tradition (a Shinto shrine and a traditional village), while the gaze of the two traditionally dressed men under large pine trees (a traditional symbol of auspiciousness) is out towards the sea that in de Meiji era was opened. Thereby, he seems to have underlined the “Japaneseness” of the landscape in an era where the idea of state or nation was upcoming. The series can be read as showing a national landscape where modernity was firmly rooted in tradition, with the emperor – whose gaze was materialized – as the personification of continuity.Show less
A negative and controversial stigma shrouds the notion of tattoos globally. As of recently, societies globally have increasingly become more tolerant of the exposure of tattoos in public and in...Show moreA negative and controversial stigma shrouds the notion of tattoos globally. As of recently, societies globally have increasingly become more tolerant of the exposure of tattoos in public and in particular, professional environments or workplaces. This increased tolerance can predominantly be found in Western society. Often times, this increased tolerance is perceived to be applicable globally, credited largely to Western-dominated mainstream media. However, the negative stigma associated with tattoos persists in many East Asian societies and is largely regarded as taboo. These notions of taboo are largely attributed to associations with gangs, violence and criminal activities represented through different mediums like movies, newspapers, and word of mouth (see Figure 2). Despite this, East Asian societies like that of Japan's, still possess dedicated tattoo artist that practice tattooing, whether this is in "Japanese-style" tattooing or numerous other styles. The idea of Japanese tattoos is a largely sought-after style of tattooing not only within Japan but also in numerous Western societies, such as the United States (US) and the United Kingdom (UK). It would not be in the wrong to presume that in fact, Japanese-style tattoos are in greater demand outside of Japan than within and are seen in less-controversial limelight than that of Japan, which leads us to a possible inquiry and the investigation of this thesis, how can there be such a difference of perspective of tattoos between Japan and Western nations like the US and UK in Japan-style tattoos? I use aspects of Edward Said's notion of Orientalism (1978) and Primitivism as the theoretical framework into three distinct periods: Meiji era (1868-1912) and the Contemporary era (1945-2020), and implement Richard Rogers' theory of cultural appropriation (2006) as a methodology to dissect ukiyo-e art, diaries from royal "western" figures, interviews and documentaries that depict experiences with Japanese tattooing practices. In the postwar era (1945-) Japan underwent tremendous political, cultural, and economic change under the Allied powers as a result of World War II. It is for this reason that the contemporary era is framed from 1945-2020 to portray the approach Japan took when it came to Japanese-style tattoos. As well as how Western society, in particular the United States, exported Japanese-style tattoos to audiences globally, due to American tattoo artists coming in contact with Japanese tattoo artists first. The overall aim of the investigation will shed light on how the previous mediums have historically engaged with cultural appropriation and orientalism in Japan, to create what we know of today as Japanese-style tattoos.Show less
This thesis was inspired by a film. While watching James McTeigue’s V for Vendetta (2005), I came to notice the similarities between the film’s dystopian society and twentieth century totalitarian...Show moreThis thesis was inspired by a film. While watching James McTeigue’s V for Vendetta (2005), I came to notice the similarities between the film’s dystopian society and twentieth century totalitarian regimes—the Third Reich (1933-1945), Fascist Italy (1922-1943), and Soviet Russia (1922-1991)—and their respective treatment of art. In order to answer the question of how art is represented in films about totalitarianism, and contextualize this relationship historically, six films have been analyzed. These films have been selected for their depiction of fictional totalitarian regimes which bear resemblance to the aforementioned three historic ones. A discussion is created which analyzes how art and material culture in the films are used to indoctrinate the people and reaffirm the government’s power. This includes not only propaganda posters and images, but the use of symbols and sigils, as well as the use of art to establish the regime as a new religion. The desire for a “one true art form” to replace the degenerate arts and promote the regime, as seen in the Third Reich and Soviet Russia especially, is not seen in the films, which instead focus more on a holistic ban on art and culture. Finally, the way degenerate art is represented in the film shows it to provide support for the narrative. Most art seen in the films belongs to the characters who embody the rebellion or those with enough power and resources to exist above the illegality of art ownership.Show less
Starting around the twentieth century, technological innovations and shifting ideas in self-portraiture resulted in more body-focused self-representations, because access to every aspect of the...Show moreStarting around the twentieth century, technological innovations and shifting ideas in self-portraiture resulted in more body-focused self-representations, because access to every aspect of the body has become significantly easier. The relationship between the material self and social self has changed since artists started to incorporate medical procedures in their artistic practices, which allowed them to represent themselves through their internal body. Three self-portrait series that have been produced by incorporating medical procedures in the creating process will be discussed. These concern Body of Work (2019) by Itamar Gilboa, Self (1991-current) by Marc Quinn, and Self-Portraits (2012) by Angela Palmer. These artists have used the representation of their bodies as a starting point to produce sculptural self-portraits. The incorporation of medical procedures comes with its implications. By discussing these series, it will be demonstrated how the use of medical procedures goes hand in hand with a more scientific, transparent and malleable view on the body and the manners in which this challenges the notion of the self in self-portraiture. To get to a deeper understanding of the artworks, an analysis is performed using theoretical sources that reflect upon the intersection between the fields of art history and (medical) science. This analysis will provide a deeper understanding of how contemporary artists make use of procedures that derive from the medical field, how these explore the boundaries of self-portraiture, and how a new domain is opened up within the genre that challenges more traditional modes of representing the self.Show less
Restitution of art from abroad has been a useful tool to increase the soft power of China both abroad and domestically between 2009 and 2019. The Chinese government has dedicated large resources to...Show moreRestitution of art from abroad has been a useful tool to increase the soft power of China both abroad and domestically between 2009 and 2019. The Chinese government has dedicated large resources to recover art of Chinese origin from abroad, as well as conducted various projects that used art as a tool of soft power, for instance in the South China Sea or in international law enforcement cooperation.Show less
The Chinese art and antiques market is to a large extent influenced by nationalism. In contrast to other governments, the Chinese government is not very successful in the repatriation of Chinese...Show moreThe Chinese art and antiques market is to a large extent influenced by nationalism. In contrast to other governments, the Chinese government is not very successful in the repatriation of Chinese cultural heritage. Therefore, it supports individuals to do so by rewarding those who step in. Nationalism nowadays is a very important value in Chinese society encouraged by the government. Part of that is also to encourage people to show their nationalism by means of buying art. Donors are also encouraged by the rewards they get for their donations. When an object that has been stolen from China comes up for sale it always attracts a lot of attention in China. This is especially the case when it originates from the Yuanmingyuan, a place connected to the humiliation of China. Many think the sale of stolen objects should be forbidden and if the government does not succeed in stopping the sale, people will try to buy it in order to repatriate it to China. Which can result in a bidding war in which the price reaches unrealistic heights. Individuals outside of mainland have used antiques to construct their Chinese identity and to strengthen their ties with China by among others donating stolen art. This is a way for them to show they support Chinese nationalism. Something that has had an influence on the buying behaviour of the overseas on the Chinese art and antique market. Since the beginning of the 2000s buyers from mainland China with the same purpose have entered the market. This has had an enormous influence on the Chinese art and antiques market. Thus, the Chinese art and antique market is to a large extent influenced by nationalism.Show less
Dans le monde des musées, une nouvelle révolution a commencé : « la révolution de la restitution », comme l’historienne de l’art Bénédicte Savoy l’appelle. Des œuvres d'art acquises de manière...Show moreDans le monde des musées, une nouvelle révolution a commencé : « la révolution de la restitution », comme l’historienne de l’art Bénédicte Savoy l’appelle. Des œuvres d'art acquises de manière douteuse à l'époque coloniale doivent être restituées au pays d'origine par les musées occidentaux. À l'aube d'une nouvelle ère, où des changements dans la politique de restitution du patrimoine culturel africain sont en cours, il est également important de réfléchir sur le passé et d'en tirer des enseignements. Cela s’applique également et surtout au cas particulier de la France, puisque ce n'est pas la première fois que la république doit renoncer à des œuvres d'art acquis de manière illégitime. En effet, en 1815, un débat similaire a eu lieu. Après la perte de la bataille de Waterloo par Napoléon (1769-1821), plusieurs pays européens, dont la Prusse, l'Italie et les Pays-Bas, ont récupéré leurs trésors d'art spoliés par la France lors des guerres révolutionnaires et napoléoniennes. Actuellement, il n’existe pas assez d'attention pour ce précédent, car les musées français adoptent eux-mêmes une attitude dominante et restent sceptiques quant à la restitution de l'art colonial spolié, ainsi l’histoire semble se répéter. Cela soulève la question de savoir si la France a examiné son passé critiquement et a tiré des leçons de l'expérience acquise précédemment lors de la restitution d’art spolié. Afin de contribuer au débat actuel sur la restitution des œuvres spoliées aux pays africains, la restitution du cabinet de tableaux de Stathouder Guillaume V (1748-1806), spolié par la France en 1795 et exposé dans le Musée du Louvre jusqu’à 1815, a été retenue comme objet de recherche dans cette étude, qui tente de répondre à la question suivante : Dans quelle mesure, au cours du débat du 21e sur la restitution de l'art colonial spolié, les musées occidentaux s'en tiennent-ils aux idées de la France révolutionnaire ?Show less
The thesis investigates in what ways cultural institutions in the West provide a platform for the representation of Muslim identities and how this can be significant for the accommodation of Muslim...Show moreThe thesis investigates in what ways cultural institutions in the West provide a platform for the representation of Muslim identities and how this can be significant for the accommodation of Muslim communities within the Netherlands at large. It does so by re-evaluating existing political and aesthetic theories and by analysing four case studies on different art and culture instances within the Netherlands.Show less
After the Cuban Revolution, Fidel Castro installed an anti-western, one-party communist system. In Castro’s 'Speech to Intellectuals' in 1961 he spoke the famous words: “within the Revolution,...Show moreAfter the Cuban Revolution, Fidel Castro installed an anti-western, one-party communist system. In Castro’s 'Speech to Intellectuals' in 1961 he spoke the famous words: “within the Revolution, everything goes; outside the Revolution, nothing”. In the cultural sector this meant that artists, intellectuals, and writers had the freedom to express themselves, as long as it was in line with Castro’s ideology. I will look at the effect of this statement in the art world, taking the performance Tatlin’s Whisper #6 and its re-staging #YoTambienExijo by the Cuban artist Tania Bruguera as case studies. This thesis concludes that Cuban culture is used for two extremes: as political propaganda by Castro and as tool for political critique by Bruguera.Show less
The purpose of this research is to show how Asian countries appear to be aestheticized in documentary photographs, often considered as reliable evidence of reality, and to understand to what extent...Show moreThe purpose of this research is to show how Asian countries appear to be aestheticized in documentary photographs, often considered as reliable evidence of reality, and to understand to what extent this is influencing the knowledge “Western” countries have on Asia. Starting from the analysis of current theories on photography and art, I will see how they can be applied to documentary photography, regarded as a practice that only aims at informing the public. Then, tracing back to colonial photography, I will show how documentary photography appears to present an aesthetic of its own, which has had a fundamental role in the structuring and circulation of fantasies, sentiments and ideas between “Western” countries and Asia. Besides, I will determine to what extent this aestheticization of Asian countries has been fostered by contemporary magazines, such as National Geographic. Finally, through the analysis of some of the most iconic images by the documentary photographer Steve McCurry, I wish to show how in the name of artistry, the documentary practice is failing in providing the viewer with visual documents.Show less
