Review of Japanese Culture and Society, vol. 26 (2014)

Distributed for Jōsai International Center for the Promotion of Art and Science, Jōsai University


1 Guest Editors’ Introduction
Bert Winther-Tamaki and Kenichi Yoshida, 1



2 Six Episodes of Convergence Between Indian, Japanese, and Mexican Art from the Late Nineteenth Century to the Present
Bert Winther-Tamaki, 13

3 Picasso as Other—Koyama Fujio and the Polemics of Postwar Japanese Ceramics
Yasuko Tsuchikane, 33

4 Pictures of Beautiful Women: A Modern Japanese Genre and Its Counterparts in Europe, China, Korea, and Vietnam
Kojima Kaoru, 50


5 A “Pirates’ View” of Art History
Inaga Shigemi, 65

6 From The Sea Beyond: Hōsui, Seiki, Tenshin and the West
Sea of Hybridization: In Dispute over Urashima
Takashina Erika, translated by Christina M. Spiker, 80

7 From The Representation of “Japan” in Wartime World’s Fairs
Modernists and “Japaneseness”
Yamamoto Sae, translated by Aoki Fujio, Jessica Jordan, and Paul W. Ricketts, 104

8 Resources, Scale and Recognition in Japanese Contemporary Art: “Tokyo Pop” and the Struggle for a Page in Art History
Adrian Favell, 135


9 Four Projects
Ozawa Tsuyoshi, 154

10 From The Sideshow Called Fine Art
Kinoshita Naoyuki, translated by Michael P. Cronin, 165

11 Reality Within and Without: Surrealism in Japan and China in the Early 1930s
Chinghsin Wu, 189

12 Fukuhara Shinzō and the “Japanese” Pictorial Aesthetic
Karen M. Fraser, 209


13 From Temple of the Eye: Notes on the Reception of “Fine Art”
Kitazawa Noriaki, translated by Kenneth Masaki Shima, 228

14 From Van Gogh as Intellectual History: The Reception of Reproductions and Imagination
Kinoshita Nagahiro, translated by Kevin Singleton, 242

15 Minor Transnational Inter-Subjectivity in the People’s Art of Kitagawa Tamiji
Yuko Kikuchi, 266

16 The Imagined Map of the Nation: Postwar Japan from 1945 to 1970
Hayashi Michio, 285


17 A Place to Bury Names, or Resurrection (Circulation and Continuity of Energy) as a Dissolution of Identity: Isamu Noguchi’s Memorial to the Dead of Hiroshima and Shirai Sei’ichi’s Temple Atomic Catastrophes
Okazaki Kenjirō, 304

18 Deactivating the Future: Sawaragi Noi’s Polemical Recoil from Contemporary Art
Kenichi Yoshida, 318

19 From Art and Identity: For Whom, For What? The “Present” Upon the “Contemporary”
Satō Dōshin, translated by Sarah Allen, 341

Art in Focus

20 in memoriam On Kawara
Section Editor Reiko Tomii, 363

On the Contributors, 366