Re:Locations - Journal of the Asia-Pacific World最新文献_第2页

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-08-25 DOI: 10.33137/RELOCATIONS.V1I1.33506

Chaoqin Chu

{"title":"Capturing the South Sea Mirage","authors":"Chaoqin Chu","doi":"10.33137/RELOCATIONS.V1I1.33506","DOIUrl":"https://doi.org/10.33137/RELOCATIONS.V1I1.33506","url":null,"abstract":"Paul Jacoulet (1896–1960) is one of Japan’s most peculiar modern print artists, not only because of his identity as a French man but because of his profuse depictions of exotic natives from the South Sea islands. From the start of his artistic career, Jacoulet made several excursions to Japan’s recently acquired pacific colonies to record the people of Micronesia through drawing, which he published into colorful prints that showcase his iconic incorporation of both Western and traditional Japanese art. Scholars often described Jacoulet’s thematic interest as part of a larger trend of Japanese artists traveling overseas or the French artist’s personal fascination with Paul Gauguin’s travels to Tahiti. I argue, however, that the artist’s objective in his travels is to capture a disappearing culture that echos Japan’s own struggle with its evaporating culture in its transition into a modern colonial power. Even though Paul Jacoulet depicted various Asian- Pacific cultures within his prints, it was his South Sea series that especially resonated with his Japanese audiences as it portrayed the Pacific islands as a beautiful and simpler world that’s slowly fading away, conveying a sense of melancholy and nostalgia for a more colorful past for the Japanese. This paper combines art historical analysis with colonial studies to explore Japan’s cultural connection with its Micronesian colonies within the prints of Paul Jacoulet: how the artist purposefully incorporates Japanese artistic conventions in his portrayal of the South Sea that allows him to juxtapose two seemingly contrasting cultures and highlights the interactions between Japan and the South Seas as colonizer and colonized.","PeriodicalId":428625,"journal":{"name":"Re:Locations - Journal of the Asia-Pacific World","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126146024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Aping the Filipino Image 塑造菲律宾形象

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-06-21 DOI: 10.33137/RELOCATIONS.V1I1.33393

Maria Mendoza Camba

{"title":"Aping the Filipino Image","authors":"Maria Mendoza Camba","doi":"10.33137/RELOCATIONS.V1I1.33393","DOIUrl":"https://doi.org/10.33137/RELOCATIONS.V1I1.33393","url":null,"abstract":"Early American visual culture has played a substantial role in advancing American Imperialism in the early 1900s. Using publication as an instrument of expansionism, America’s distribution of visual images depicting its conquered nations, has resulted in consequences that have perpetually categorized its once-dominated territories as inferior. The Philippines reveal the consequences of this classification. Seized by the United States in 1899, the Philippines was repeatedly a subject of American print culture. Primarily, editorial cartoons were used to illustrate recurring images of Filipinos to justify its annexation. Employing illusive and sensational tropes, these cartoons were widely distributed through magazines and periodicals, informing the American population of debasing assumptions to characterize the Filipino individual. As a result, the Philippines gained false attributions and stereotypes brought upon by their erroneous portrayal in early American media. This research argues that the deceptive representation of the Philippines in early American visual culture, has aided in creating false Filipino stereotypes, hence, sustaining the nation in the periphery. Visual codings used in editorial cartoons repeatedly exemplified the Filipino character as incompetent and inferior. Filtration of Filipino representation is, likewise, apparent. By exaggerating damaging visual tropes that painted the Filipino individual as primitive and savage, and eliminating its progressive and modern characteristics, editorial cartoons helped reinforce the supposed ‘benevolent assimilation’ America used in defending its colonialism. Such reinforcement produced lasting consequences that not only perpetuated false Filipino stereotypes in the global platform, but also encouraged the Philippines’ inadvertent participation to cultural imperialism in present society.","PeriodicalId":428625,"journal":{"name":"Re:Locations - Journal of the Asia-Pacific World","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133319371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Racializing Apparatuses and Embodiment Performance 种族化装置和体现性能

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-05-06 DOI: 10.33137/RELOCATIONS.V1I1.33630

Hyeon-jin Oh

引用次数: 0

Kilo Hōkū 公斤Hōkū

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-04-21 DOI: 10.33137/relocations.v1i1.33861

Kari Noe

引用次数: 0

Nanban World Map Screens 南板世界地图屏幕

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-04-06 DOI: 10.33137/RELOCATIONS.V1I1.33629

Renata R Nagy

{"title":"Nanban World Map Screens","authors":"Renata R Nagy","doi":"10.33137/RELOCATIONS.V1I1.33629","DOIUrl":"https://doi.org/10.33137/RELOCATIONS.V1I1.33629","url":null,"abstract":"The following paper investigates the ways in which European cartography blended with Japanese Buddhist cosmology and created a hybrid form of maps during the period of Japan’s first cultural encounter with Europeans in the second half of the 16th century and the early 17th century. The maps of Dutch cartographers heavily influenced these so-called nanban world-map screens created by Japanese artists. Nevertheless, their companion screens often depicted a local map of Japan in the gyoki tradition deeply embedded in the Buddhist faith system. With a focus on a seventeenth-century pair of folding screens, called the Nanban-Bunka-kan, the study argues, on the one hand, that Japanese artists used the European world map model to reinvent Japan’s global significance, which had been diminished by Buddhist cosmology. On the other hand, the companion screens express Japan’s desire to retain its traditions within the Buddhist realm, and they also emphasize its rejection of any possible foreign colonization. The placement of these seemingly two contrasting world views side-by-side supported the nationalistic ideals of Japanese war lords, who exploited these hybrid maps to validate their unification goals of the archipelago and conquests of foreign lands based on Japan’s newly acquired significance. \u0000 ","PeriodicalId":428625,"journal":{"name":"Re:Locations - Journal of the Asia-Pacific World","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130188115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Mediating the Foreign 调解涉外纠纷

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-03-27 DOI: 10.33137/RELOCATIONS.V1I1.33508

Holly Chen

{"title":"Mediating the Foreign","authors":"Holly Chen","doi":"10.33137/RELOCATIONS.V1I1.33508","DOIUrl":"https://doi.org/10.33137/RELOCATIONS.V1I1.33508","url":null,"abstract":"In 1726, Dutch painter Willem van Royen’s painting: Birds and Flowers arrived in Japan as a gift from the Dutch East India Company to the Shogun Yoshimune. Subsequently, the painting was gifted to Gohyaku Rakanji, a Zen Obaku temple in Edo, where Japanese rangaku scholars: brothers Ishikawa Tairo and Moko and Tani Buncho encountered and copied the work. This article examines the translation in cultural meaning Van Royen’s painting underwent by analyzing transcultural remediations, or indigenous re-interpretations spawned by encounters with the work, and the persistence of the image due to its ability to be “visually trilingual,” that is, visually legible to three audiences: Dutch VOC merchants, Obaku worshippers, and Japanese scholars. Previous scholars have explored the meaning of the painting for Dutch and Japanese audiences, but I argue the devotional and hybrid cultural context of Rakanji as a Zen temple and the eclectic visual culture of the Edo period, in which viewers understood this object, is fundamental to a complete exploration of the painting’s reception. Since Edo natives considered the Obaku sect of Zen Buddhism an import from Ming-dynasty China, the image’s location surely impacted the viewer’s interpretation of the painting. Building on the pre-existing cross-cultural methodologies of visual bilingualism and transcultural mediation, Van Royen’s painting is a case study for how objects placed in culturally hybrid contexts may exhibit visual multilingualism. For works of art to translate in hybrid and foreign societies, these works must exhibit legibility to various groups and cultures which encounter it. Although most cross-cultural case studies focus on two cultures, expanding the purview of transcultural exchange from “bilingual” to “multilingual” allows for a more inclusive method to interpret cross-cultural, transnational, and hybrid works of art.","PeriodicalId":428625,"journal":{"name":"Re:Locations - Journal of the Asia-Pacific World","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117044793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

When Amadioha Wept by Ikechukwu 当Amadioha哭泣时，iechukwu

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-02-08 DOI: 10.33137/relocations.v2i1.40279

Ikechukwu Obiorah

引用次数: 0

Can I roll, slice, stack memories? 我可以滚动、切片、堆叠内存吗?

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2020-02-08 DOI: 10.33137/relocations.v2i1.40280

M. Han

引用次数: 0

The Royal Ontario Museum’s Asia-Pacific Collection 皇家安大略博物馆的亚太收藏

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2019-12-23 DOI: 10.33137/relocations.v2i1.33464

Brittany Myburgh, Ellen Zhang

引用次数: 0

Between the Religious Act and Art Commodity 在宗教法案和艺术商品之间

Re:Locations - Journal of the Asia-Pacific World Pub Date : 2019-05-15 DOI: 10.33137/RELOCATIONS.V2I1.31674

Xiaoyong Wang

{"title":"Between the Religious Act and Art Commodity","authors":"Xiaoyong Wang","doi":"10.33137/RELOCATIONS.V2I1.31674","DOIUrl":"https://doi.org/10.33137/RELOCATIONS.V2I1.31674","url":null,"abstract":"Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducted in Rebgong, consisting of observation and interviews with key players such as local Thangka masters, students, government officials and dealers, I argue that the models of technique transmission and commercialization have both drastically changed over the past decades, despite the continuation of some features of traditional master-disciple transmission. To justify these changes and compensate for the traditions they betrayed, the key players employed several moral strategies and negotiated with the Buddhist community to maintain a balance between Thangka as a religious object and as a pure commodity. Meanwhile, the sales of Thangka are essentially dependent on its religious meaning. The project attempts to contribute to our understanding of the transformation of religious art alongside modernization, especially the marketization of the economy, and problematize the dichotomy of its religious function and commodity nature. Equally intriguing in this case is how changes in the realm of religious art fundamentally reshaped a specific place and the associated social relations of particular religious and ethnic natures in modern China. \u0000 ","PeriodicalId":428625,"journal":{"name":"Re:Locations - Journal of the Asia-Pacific World","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127890398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0