Dec 6, 2010
For a preview, information about the AAA, and to order the booklet, click HERE.
Sep 6, 2010
I often start by checking the auction market, and to do this I rely on a number of internet sites, some are free, others require payment by subscriptions. I like to look at the websites for large international auction houses where Asian art is regularly sold such as Bonham's, Christie's, and Sotheby's. Also, the main auction houses in China and Japan, and regional houses in Europe and the USA.
I also rely on databases of auction sales results. But among these, I have found no single site sufficient, each seems to specialize in different types of art or includes results from somewhat different worldwide auction houses. I list the ones I use most often for Asian art below, but I caution readers of this blog to realize that when I look at objects on these sites, I do so with greater knowledge than you possess about your materials, and so I am more easily able than you to make judgments regarding the quality of what I see in the sites' little online pictures.
Artron (in Chinese)
Anyone interested in the study and collecting of Japanese art is welcome to join. It is worth joining both, as they focus on different aspects of the Japanese art world.
JAPAN ART HISTORY FORUM (JAHF)
This organization was founded in 1997. It is affiliated with two professional societies in the United States, the College Art Association and the Association for Asian Studies. Membership is open to anyone worldwide with a serious scholarly interest in the study of Japanese art history, visual and material culture, including faculty and graduate students in art history and related fields, museum professionals, independent scholars, and serious collectors. Current membership: ca. 300 persons worldwide.
The organization's mission is to promote the study and understanding of Japanese art history, visual and material culture, by coordinating structured and informal opportunities for interchange and dialogue among members at special exhibitions and symposia of Japanese art and at other scholarly conferences in North America, and by encouraging research and dissemination of research, on our e-mail list-serve, to which members are automatically subscribed when they join our organization, and on the secure, members section of this web site.
In addition to the general information on the visitors side of the JAHF website, the much more extensive secure, password-protected, member section of the group's website contains a wealth of information of particular interest to professionals and students in our fields. Sections include information about individual members, bibliographies, course syllabi, practical professional advice, travel tips, photo acquisition sources, online reference material (including digital image databases and online exhibitions), archives of topical discussions from our email list, an organizational history where we post our annual activities, and official documents pertaining to our group.
JAPANESE ART SOCIETY OF AMERICA (JASA)
The Japanese Art Society of America promotes the study and appreciation of Japanese art. Founded in 1973 as the Ukiyo-e Society of America by collectors of Japanese prints, the Society's mission has expanded to include related fields of Japanese art. Through its annual lectures, seminars and other events, the Society provides a dynamic forum in which members can exchange ideas and experiences with experts about traditional and contemporary arts of Japan.
The Society also sponsors important exhibitions, such as Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680–1860, shown at Asia Society in New York City, Spring 2008. The society publishes a quarterly Newsletter for members and an annual journal, Impressions, recipient of the 2009 Donald Keene Prize for the Promotion of Japanese Culture, awarded by the Donald Keene Center, Columbia University.
Sep 5, 2010
"The Savior as Ascetic, Shakyamuni Undergoing Austerities by Kano Kazunobu." Register, Spencer Museum of Art, University of Kansas, (summer 2010): 12-29.
DOWNLOAD THE ARTICLE HERE
The second publication is major revisions to the Japan chapters of the new (4th) edition of Art History by Marilyn Stokstad and Michael Cothren. Upper Saddle River, NJ: Pearson-Prentice Hall, 2011. I contributed chapter 11: "Japan to 1333" and chapter 25: "Japan After 1333." I worked hard to try to update the chapters and present a balanced view of the main characteristics of Japanese art.
|Kasuga mandala, Burke collection|
|Eri Sayoko, Dancing with the Cosmos|
May 30, 2010
Asian Art Museum of San Francisco (has curator; excellent recent catalogue of the collection)
Metropolitan Museum of Art, NY (has curator; excellent recent catalogue of the collection)
Los Angeles County Museum of Art
Cleveland Art Museum
Royal Ontario Museum, Toronto
Portland Art Museum (catalogue of this and other Portland area collections)
Brooklyn Museum (1987 catalogue of the collection)
Art Institute of Chicago
Seattle Asian Art Museum
Museum of Fine Arts Boston
Freer-Sackler Gallery, Smithsonian Institution, Washington, DC
Birmingham Museum of Art, Alabama
Peabody-Essex Museum, Salem, MA
Musee Guimet, Paris (excellent catalogue of the collection)
Victoria and Albert Museum, London
catalogue recently written
Suk Joo-Sun Memorial Museum of Korean Folk Arts, Dankook University
National Museum of Korea, Seoul
National Folk Museum of Korea
Kyongju National Museum
Onyang Folk Museum, Asan, S Korea
Ho-Am Art Museum, Youngin, S Korea
Museum of Oriental Ceramics, Osaka (catalogues exist, especially of the famed Ataka collection of Koryo era celadons)
Tokyo National Museum
Old Buddhist temples throughout Japan have extensive collections of Korean Buddhist statues and paintings; catalogues exist in Korean and Japanese only)
May 19, 2010
Presented at the annual meeting of the Association for Asian Studies, April 5, 2008, on the panel: Centers/Peripheries in Medieval and Early Modern Japan
This paper examines the fate of Japan's preeminent Buddhist sculpture making workshops of Kyoto in the Edo period, whose hierarchy, patronage base, and market reach changed dramatically during this time. These developments occurred due to political and social changes instigated by the Tokugawa shogunate. Kyoto workshops specialized in the production of religious images, whose manufacture required high levels of technical skill that fostered the development of guild-like lineages. At their apex was the Seventh Avenue Atelier, which for centuries garnered commissions in the Kansai region from the highest echelons of the court and samurai and the important temples they supported.
Following Tokugawa Ieyasu's establishment of Edo as his capital, the Seventh Avenue Atelier began to produce imagery for Tokugawa temples there. By the late 17th century, the shogunate fortunes had declined so significantly that work dwindled. Many sculptors left this prestigious workshop to found new ateliers serving different groups of patrons, both commoners and daimyo, in Edo, Osaka, and elsewhere. Although scholars have long dismissed Kyoto's Edo period Buddhist sculpture as derivative, my paper refutes this bias using case studies that draw on recent research into the holdings of provincial temples in Takamatsu City and Aomori Prefecture. The permeation of the work of Kyoto Buddhist sculptors into the nation's periphery reflects their resilience and creativity. It also reveals changing patterns of wealth distribution and the desire of nationwide patrons of Buddhism to increase their cultural status through association with art styles of the imperial capital.
Paper Presented at the Annual Midwest Art History Society Conference in Kansas City, April 2, 2009, on the panel:
THE SPIRITUAL IN CONTEMPORARY ART: 1980S TO THE PRESENT
This talk addresses a subject absent from discussions about contemporary Japanese art amid the mania for contemporary Japanese artists inspired by pop art forms of anime and manga: the power of Buddhist spirituality to inspire artists both within and apart from Buddhist organizations. The existence of these artists refutes widespread misconceptions about the faith's intellectual demise in
Eri Sayoko and Nakamura Kokei: Transforming the Art of Ancient Japanese Buddhist Painting into a Modern Art-Craft
Paper presented at the conference: Places at the Table: Asian Women Artists and Gender Dynamics,
Kirikane, the graphic technique consisting of luminous, minute patterns in cut-gold leaf, often applied in conjunction with mineral colors, is a distinguishing feature of many of the finest Japanese Buddhist paintings and sculpture. This technically challenging art dates back to the seventh century C.E, when it was introduced from
Discussion of contemporary Japanese women artists rarely mentions women like Eri and Nakamura because of the structure of artists' organizations in
Presented at: the annual meeting of the Midwest Art History Society
Omaha, NE, April 9, 2010
on the panel: MONUMENTALITY IN MODERN AND CONTEMPORARY ASIAN ART AND ARCHITECTURE
My recent book, Faith and Power in Japanese Buddhist Art, 1600-2005, highlighted a wide body of Buddhist icons and structures neglected by most art historians who only consider Buddhist materials of much earlier eras as worthy of study and the core of Japan's traditional artistic canon. This paper considers one of the most ubiquitous types of recent Buddhist icons in Japan, monumental Buddhist statuary, that are universally derided by scholars as Japanese kitsch and not worthy of consideration. My paper charts the history of these large Buddha-buildings and argues for why they should be taken more seriously. Makers of giant statues in the modern period have become increasingly preoccupied with testing the limits of new technologies to create images of unprecedented height and many of these can be entered. Disregard of them, and virtually all of Japan's formal Buddhist art, on the part of scholars has occurred for a number of reason. First, when the Japanese artistic canon was created in the late 19th century, scholars focused on ancient and medieval Buddhist statuary because of its association with Japan's elite rulers—courtiers and powerful samurai --who demonstrated to the world that Japan possessed an elite culture like that of the European nations with whom they sought parity. As they strove to position modern Japan as superior to the backward culture of the nation's immediate past, where Buddhism and its art featured prominently, these men also disregarded modern Buddhist art because it did not emphasize Western concepts that valued originality and individual artistic creativity but instead stressed adherence to strict iconographic models to assure religious efficacy. Also, they and later scholars have ignored modern Japanese Buddhist art because of their widespread disdain for the formal practice of Buddhism in modern and contemporary Japan, considered no more than a business that makes money from masses of devotees who fork out large sums for funerary services for loved ones. Finally, because these new monuments incorporate new technology and contemporary religious values which to some seem more like entertainment than solemn devotional rituals, their cultural authenticity and religiosity are questioned. I believe this is a mistake, that these monuments deserve greater recognition—not only as technological achievements but as reflections of new ways practitioners engage with their faith. They are potent symbols of a modern, transnational Buddhist art.
1. your full name and where you live
2. the reason you want your art assessed (do you want to sell it, are you curious about what it is, do you need an insurance or estate appraisal, etc)
3. the type of art you have and the number of pieces
4. where you acquired the art
5. If you want me to assess your art from photos, please inform me about the type and quality of the photos you have.
PLEASE DO NOT SEND LARGE JPG ATTACHMENTS WITH YOUR INITIAL EMAIL QUERIES.