Japan

Please join us tomorrow for the fourth VMPEA workshop of this quarter, featuring:

Anthony Stott

PhD Candidate, East Asian Languages & Civilizations and Comparative Literature, UChicago

“Context After the End of Monumental Public Space: Toward an Archipelagic Reimagining of Urban Resistance in the Theory and Design of Isozaki Arata”

Discussant: Zhiyan Yang

PhD Candidate, Art History, UChicago

Friday, November 18, 2022

6:00–8:00 pm CT, Zoom

Zoom Link: https://uchicago.zoom.us/j/99126706613?pwd=WUhpT1JxQjR2bHB3Zjd5VFIzNlVWZz09 

Please note the unusual date and time. This is a remote event.

**There are pre-circulated paper and slides for this workshop. You can find them in the other post with password “context”.

★Co-Sponsored by Art & Politics of East Asia workshop★

Jacques Derrida questioning Isozaki Arata and Asada Akira after Isozaki and Asada’s joint-presentation at the Anyone conference on May 11, 1991.

Abstract

The expulsion of protestors from Shinjuku Station West Exit Plaza in 1969 conventionally marks the end of monumental public space as a site for urban protests in Japan. Departing from this moment, this chapter explores the wanderings of the architect and theorist Isozaki Arata (1931–) in search of new sites for urban resistance. Isozaki builds on his earlier work on the environment and the cybernetic city to theorize this urban resistance as an alternative context that constructively short circuits the urban network, and he terms this “extra-context.” Putting into dialogue scholarship from across media studies, architectural theory, and urban history, I contend that Isozaki adopts extra-context not only to disrupt the unrestrained and homogenizing flows of information networks under globalization but also to oppose a transparency between built space and the environment as epitomized in imperialist architectural projects of the interwar period. Drawing on Isozaki’s writings in “Japanese-ness” in Architecture (Kenchiku ni okeru “nihonteki na mono,” 2003; first partially serialized in Critical Space between 1998 and 2000) and especially his extensive collaborations with the critic Asada Akira (1957–), I furthermore show how tracing Isozaki’s design via extra-context discloses a shift in his approach—from the eclectic citation of global forms in projects of the 1980s like Tsukuba Center, to the archipelagically derived performance halls of the 1990s. I thus aim to expand the critical possibilities of Isozaki’s work by attending to how the tethering of extra-context to the archipelagic resonates with and defies ecocriticism and other related discourses that explore the relation between ocean and media.

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Anthony Stott is a PhD candidate in East Asian Languages & Civilizations and Comparative Literature who specializes in contemporary Japanese literature, media, and thought. His dissertation considers formations of artists and intellectuals around the preeminent Japanese-language journal of theory and criticism Critical Space (Hihyō kūkan, 1991–2002) through the lens of critique and its limits.

Zhiyan Yang is a doctoral candidate specializing in the history of modern and contemporary East Asian Architecture. He is currently completing a dissertation on post-socialist architecture through the lenses of architectural media and cultural production, including exhibitions, journals, history surveys and its intersection with contemporary visual culture and art. He received his BA from Sarah Lawrence College in 2013 and MA from the University of Chicago in 2015. Zhiyan served as a researcher and overseas liaison of the Contemporary Chinese Art Yearbook Project spearheaded by Peking University and the University of Chicago since 2015. He has also previously interned at Xu Bing Studio in New York and the Art Institute of Chicago.

The recording of this event could be found HERE

Speaker: Yan Yang 

(Assistant Professor of Art History, Music and Art, Borough of Manhattan Community College CUNY)

“Tracing the Formation of a National Style: Yamato-e from World Fairs to Wartimes”

Discussant: Minori Egashira (PhD Candidate, Art History, UChicago)

April 20th, 2022 (Wednesday), 4:45 – 6:45 pm CT, Remotely via Zoom 

Please use this link to register for the zoom meeting. The password to this zoom session is “yamatoe”

Tale of Genji Picture Scroll, Sekiya Chapter. 12^th century. Tokugawa Art Museum

Abstract: How does a national style come into existence? Does it form through a consensus by a panel of experts or in some other way? Although yamato-e has been characterized as a national style of Japanese art since the 1930s by Japanese art historians, what led to this codification? This presentation examines primary sources produced before the 1930s, from government-sponsored exhibitions intended to teach a foreign audience about Japanese culture at World Fairs, to Japanese texts about surviving works of art that are celebrated as extant examples of yamato-e such as the Tale of Genji Picture Scrolls, in order to trace the formation of yamato-e as the pictorial embodiment of the Japanese national style.

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Yan Yang received her B.A and Ph.D degrees from Yale University. After teaching at the University of Tennessee in Knoxville and at Kyushu University in Japan, she is currently at Borough of Manhattan Community College, City University of New York. Her primary field of interest in Japanese art historiography and epistemology. She has published on the 20th-century codification of the concept of Japanese art known as yamato-e. This presentation is an extension of a larger project that explores the formation of yamato-e before the 20^th century.

Minori Egashira is a PhD candidate studying under Dr. Chelsea Foxwell at The University of Chicago. Her research focuses on Meiji-period (1868–1912) sculpture, and Japan’s artistic interactions with the world in modern and contemporary times. Her broader interests include East Asian sculptural art and other three-dimensional objects, World Fairs, and investigating non-orthodox narratives of Japanese art history.

Speaker: Professor Melissa McCormick (Professor of Japanese Art and Culture, Harvard University)

“Calligraphy and Haptic Poetics in the Art of Ōtagaki Rengetsu”

Discussant: Professor Chelsea Foxwell (Associate Professor of Art History and the College, The University of Chicago)

Friday, March 12th, 2021

4:45 – 6:45 pm CST, Zoom meeting (please find the registration link below)

Abstract:

The early modern Japanese nun-artist, Ōtagaki Rengetsu (1791-1875), left nearly one thousand waka poems, a number multiplied by their repeated inscription on all manner of surfaces, from pottery to poem sheets to hanging scrolls with accompanying paintings. This vast body of poetic work speaks to Rengetsu’s use of the ancient thirty-one syllable form as her primary mode of creative expression and intellectual ordering of the world. The vitality and social immediacy of the nun’s poetry open up onto a vibrant world of waka, and its theorization in the Tokugawa period, countering notions of waka’s stagnation since the medieval period, when it gave way to forms such as renga, and subsequently haikai in the early modern era. Although Rengetsu left no poetic treatises or theoretical texts of her own, her vast oeuvre of verses and inscribed art works in their totality amount to a waka poetics of practice that rewards analysis for its richness and complexity of allusion, subject position, and medium specificity.

This talk offers a meditation on the embodied qualities of Rengetsu’s work, from her use of a subject position in which the presence of the poet seems to dominate, to the haptic presentation of her waka calligraphy incised into her pottery. It then turns to an analysis of one of Rengetsu’s most famous poems, instantiated in word and image, to show the multiplicity of poetic subject positions she employs, as well as, ultimately, an embodied self rhetorically undermined.

Zoom Registration Link:

https://uchicago.zoom.us/meeting/register/tJwucu-tpj4uGt1E1RQVB5g_TYVkIWDXzcZK

After registering, you will receive a confirmation email containing information about joining the meeting (Recently, Zoom confirmations also tend to be categorized as Spam. Please also check your spam box for the confirmation email.). This talk will possibly be recorded.

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Professor Melissa McCormick is the Professor of Japanese Art and Culture at Harvard University, earned her B.A. from the University of Michigan (1990) and her Ph.D. in Japanese Art History from Princeton University (2000). Before moving to Harvard, she was the Atsumi Assistant Professor of Japanese Art at Columbia University (2000-05) in the Department of Art History and Archaeology. Much of her research focuses on the relationship of art and literature, as well as forms of visual storytelling, and their integration with social and intellectual history. Her first book, Tosa Mitsunobu and the Small Scroll in Medieval Japan (University of Washington, 2009), argued for the emergence of a new picto-literary genre around the fifteenth century, and it used a methodology of envisioning the intellectual horizons of real or hypothetical viewers in the circle of the artist Tosa Mitsunobu and the scholar-courtier Sanjōnishi Sanetaka.

Several articles reconstruct the interpretive communities of female readers, writers, and artists in the late medieval period by focusing on ink-line (hakubyō) narrative paintings, which Professor McCormick argues, functioned as an alternative space for creative expression from a female gendered subject position. Her ongoing work on the eleventh-century narrative The Tale of Genji has resulted in over a dozen publications in both English and Japanese. Her research on the Genji Album in the Harvard Art Museums was featured on an NHK documentary (2008), and became the basis for her book, The Tale of Genji: A Visual Companion (Princeton University Press, 2018), which provides fifty-four essays on each chapter of the tale. In 2019 she guest curated the international loan exhibition The Tale of Genji: A Japanese Classic Illuminated, at the Metropolitan Museum of Art.

Professor Chelsea Foxwell is the Associate Professor of Art History and the College at The University of Chicago. Her scholarship ranges from the medieval through modern periods of Japanese art with special emphasis on the 19th and 20th centuries. She is the author of Making Modern Japanese-Style Painting: Kano Hōgai and the Search for Images (2015). In 2012 she co-curated the exhibition Awash in Color: French and Japanese Prints with Anne Leonard at the Smart Museum of Art.

Her work focuses on Japan’s artistic interactions with the rest of East Asia and beyond, nihonga and yōga (Japanese oil painting); “export art” and the world’s fairs; practices of image circulation, exhibition, and display; and the relationship between image-making and the kabuki theater.

A member of the Committee on Japanese Studies and the Center for the Art of East Asia, she is a contributor to the Digital Scrolling Paintings and the Reading Kuzushiji projects.

Speaker: Or Porath (Post-Doctoral Researcher Department of East Asian Languages and Civilizations)

“Japan’s Forgotten God: Jūzenji in Literature and the Visual Arts“

Discussant: Ian Cipperly (PhD student, Department of History)

Wednesday, December 2nd, 2020

4:45-6:45 pm, Zoom meeting (please find the registration link below)

* Collaboration with the APEA (Art and Politics of East Asia): https://voices.uchicago.edu/artpoliticseastasia/

Abstract:

The paper will explore the deity Jūzenji 十禅師 of the Sannō pantheon of Hie Shrine in Shiga prefecture. Lost during the separation of Buddhism and Shinto in the Meiji period, Juzenji’s medieval importance has been all but forgotten. Through the examination of textual and visual evidence, the paper will argue that powerful and influential people, such as the Tendai monk Jien (1155-1225) and the chroniclers lineage (kike) of Mt. Hiei, decided to actively promote Jūzenji for their own ends, and in effect, elevated him to the status of supreme divinity, rivaling his own godhead. The paper will show that while it is often assumed Shinto doxa and praxis were entirely subsumed under Buddhist hegemony, it is possible to detect non-Buddhist tendencies becoming increasingly dominant in medieval Japanese religion—as demonstrated by doctrinal articulations that centered on the forgotten god Jūzenji. The cult’s elevation of Jūzenji as part of its kami-centrism can be seen as an assertion of Shinto innovation—which opened new ways for thinking about kami.

Zoom Registration Link: 

https://uchicago.zoom.us/meeting/register/tJwqd-qorTgoGNPjLFII3U0aNfhgo_URVm5a

After registering, you will receive a confirmation email containing information about joining the meeting. Furthermore, this talk will be recorded.

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Or Porath is a scholar of Buddhist studies with broad interests in East Asian religions, the history of gender and sexuality, and monasticism. Porath specializes in the religions of Japan, specifically the influential school of Tendai Buddhism, its doctrines and practices, and the intersection between the Buddhist worldviews and issues of gender and sexuality. His current book project, The Dharma of Sex: Initiation and Deification in Japanese Religion, examines the “consecration of acolytes” (chigo kanjō), a sexual initiation that was doctrinally sanctioned in orthodox Buddhist teachings. Porath investigates in his work how male-male sexual acts were sanctified and grounded in Tendai doctrinal concepts, and the manner in which they shed light on the Buddhist assimilation of local forms of worship including Shinto.

He is the author of “The Cosmology of Male-Male Love in Medieval Japan: Nyakudō no Kanjinchō and the Way of Youths,” in Journal of Religion in Japan (2015), the article “Nasty Boys or Obedient Children? Childhood and Relative Autonomy in Medieval Japanese Pedagogical Texts,” in Child’s Play: Multi-sensory Histories of Children and Childhood in Japan (2017), and “Sexuality” in The Bloomsbury Handbook of Japanese Religions (2021).

Ian Blaise Cipperly is a PhD student in the University of Chicago History department. He received his BA with High Honors from The University of California at Berkeley in 2011 and his MA from The Department of History at The University of Oregon in 2016. This year, he acted as panel organizer for the 49th Meeting of the Southwest Conference on Asian Studies “Profane voices in Sacred Discourse: Re-centering the Periphery Through the Materiality of Religious Traditions of East Asia,” where he presented his paper “Contradictions in ordering the Sacred: The Entropy of Numinous Authority in Early Modern Japanese Festivals.” Additionally, he presented his individual paper “Ordering the Sacred: Numinous Authority in Early Modern Japanese Festivals” at the 69th Midwest Conference on Asian Affairs. While his main interests are in Japanese history (Azuchi-Momoyama and Edo period Japan (1568-1868)), he also has an interest in early modern formulations of Tendai through his research on Tōshōgū and Tokugawa Ieyasu. For more information regarding Ian and his academic interests, please refer to his department’s website (https://history.uchicago.edu/directory/ian-blaise-cipperly) and his CV.