When Japan began to unify, looking to its most powerful neighbor for guidance was the best choice for the budding empire. Using centralized government policies found in the Tang Dynasty, Japan was able to centralize their nation very quickly. By eliminating clansman through legislature and then replacing them with administrators; Japan created a new, loyal aristocracy. By emulating Tang’ land reforms, Japan successfully enacted a taxation system that they could modify as the empire changed. Without China, especially the Tang Dynasty, Japan would not have formed such a stable nation in
America’s racist ideals were seeded way before the bombing of pearl harbor. Acts like the Naturalization Act of 1870, Chinese Exclusion Act of 1882, and the Immigration Act of 1924 grew racism towards Asians. (Notes). This would lead to the sentiment that Japanese people did not belong in America. In document 9, this is supported with the statement “The Chinese and Japanese are not bona fide citizens.”
He drew inspiration from the san serif texts of the Bauhaus movement and ancient Egyptian styes to create bold yet simple designs. In his famous typeface, “Bifur,” he simplifies capital letters by
Nguyen Tu Anh Topic: The duality in The Structure of Iki Among the ideals of Japanese aesthetics, iki is perhaps one of the most thoroughly analyzed, both as an abstract concept and a concrete expression, thanks to the influential work The Structure of Iki by Kuki Shuzo (1888 – 1941). Unlike other aesthetic ideals, which were usually reserved for the aristocrats, the warriors and the wealthy, iki originated among the urbane commoners of Edo, especially around the pleasure quarter in the eighteenth century. It is from this background, from the special relationship between the geisha and her patron that iki derives its unique characteristic – its duality. As this essay attempts to demonstrate, duality is the constant theme throughout Kuki’s analysis of iki, both in the content and the process of building the structure of this distinctive aesthetic concept.
The Japanese wanted to limit the western influences and maintain their independence which created the rise of nationalism. In 1866, the Tokugawa Shogun was overthrown by the feudal lords and samurai. The new emperor eliminated the government and reestablished the imperial throne, but the emperor did not have any political power and was seen as a political symbol. The Meiji Restoration began in 1868 to 1912 which transformed Japan society with western influence but maintaining their cultures and traditions.
Rothko’s infamous 1958 commission by the four season’s restaurant, for a series of paintings to muse its affluent dinners, is a prime example of the objectification which had taken place of these beacons of Greenbergian values of medium specificity. In the wake of the growing consumer culture within high art of the Modernist aesthetic had endured a “neutralisation as a merely aesthetic object” (p.92, Perry & Wood,
Japanese Internment Among all of the other countries, one had the courage to bomb the United States of America. Japan had attacked Pearl Harbor because of the threat the Navy had on the U.S. After that, America feared another attack or even worse, an invasion from Japan in the West Coast. In order to prepare for an invasion America decided to relocate all of the Japanese-Americans, mainly in the West Coast because they were the most threat. Many people debated whether relocating was the right thing to do.
Australian Arts and Crafts movement was strongly influenced by the formation of Aesthetic movement and Arts and Crafts exhibition societies and proliferation of design works in the 1880s through the 1890s across Europe and America. The Arts and Crafts movement has emerged to counter the industrial changes followed by the Industrial revolution in Victorian England in the mid-19th century. It was a social movement against the industrial changes that are producing inferior quality and cheap monotonous products manufactured in the factories. As a consequence, it recalled the traditional handicrafts by the skillful craftsman using natural forms, functional, and stylized simple lines . Also it referenced to the medieval Gothic styles and it is characterized by its flatness and simplified natural motifs that are showing the influence of Japanese Art.
Katsushika Hokusai was a Japanese artist specializing in ukiyo-e painting and printing. Ukiyo-e is a form of Japanese art which was popular in the 17th through 19th century. In English, ukiyo-e translates to “pictures of the floating world.” It is a wide range of paintings and woodblock prints such as faces, landscapes, flowers, and even erotica. Hokusai’s most famous painting is the Great Wave.
“Sakoku” is a Japanese word that means exactly “closing country”. In this era, nobody could go outside of the country neither other countries couldn’t come into the country. Sakoku was the best option and the way that Japanese Shogun had because Japan wasn’t trying to make the country of Japan bigger. Sakoku is well known as isolationism in other countries because of the different government of European countries. When Japan closed the country, European countries were in the “Age of Exploration” which means that every country wanted to have more wealth, territories and slaves.
Pearl Harbor was Japan 's way of showing the U.S. that they were done trying to make peace. President Roosevelt had been having meetings with Japan 's Minister of War to try to keep the U.S. out of the war (Sibilla). When Japan attacked the U.S. before declaring war, it ended the peace negotiations that everyone had hoped would become an agreement not to fight between the two countries.
PURPOSE: Born in England, Tom Eckersley is a known as a ‘modernist master’, due to his famous graphic and playful posters. He design original artworks from 1934-1995, with a bold simple style, using shapes, texture and flat colour. He breaks down intricate messages in a way where the audience can easily interpret them. Eckersley is inspired by the constructivists and Bauhaus whom feature the asymmetrical features.
A putting modification seems in Greek art of the seventh century B.C., the start of the Archaic amount. The abstract geometric patterning that was dominant between regarding 1050 and 700 B.C. is supplanted within the seventh century by an additional realistic vogue reflective important influence from the Middle East and Egypt. The commerce stations within the Levant and therefore the Nile Delta, continued Greek formation within the east and west, still as contact with japanese craftsmen, notably on island and Cyprus, impressed Greek artists to figure in techniques as numerous as gem cutting, ivory carving, jewellery creating, and metalwork. They introduced palmette and lotus compositions, animal hunts, and such composite beasts as griffins, sphinxes, and sirens. Greek artists quickly assimilated foreign designs and motifs into new portrayals of their own myths and customs, thereby shaping the foundations of Archaic and Ancient Greek art.
It is interesting that they were both written centuries apart, yet touch on the same topics. The article by Kaempfer is written from the perspective of the Dutch, while the article by Goodman is written from the perspective of the Japanese. Both demonstrate the Japanese interest in western ways, and the curiosity the Japanese had with the west. The purpose of both is to demonstrate how western culture impacted the Japanese, and what they were able to adopt from the west and work into their own