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Essay / Research Paper Abstract
A 5 page research paper that discusses contemporary Japanese art, which is a mixture of all of the influences that have come before it, which includes influences from the past and also those of the contemporary era. This factor of Japanese art is particularly evident in regards to how the human body as it is portrayed by Japanese artists. Examining this feature of contemporary Japanese art reveals differing patterns of embodiment. Bibliography lists 7 sources.
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5 pages (~225 words per page)
File: D0_khbodjp.rtf
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the contemporary era. This factor of Japanese art is particularly evident in regards to how the human body as it is portrayed by Japanese artists. Examining this feature of contemporary
Japanese art reveals differing patterns of embodiment. Japanese art historian, Nobuo Tsuji outlined a radical conceptualization of art in postwar Japan (Murakami 188). This study encompassed a "lineage of
artists with expressionistic tendencies from the Edo period whose shared characteristic was the production of eccentric and fantastic images" (Murakami 188). Tsuji praises these artists for being the "avant-garde"
of their era and indicates that their work bears a resemblance to Japanese contemporary "manga and poster art" (Murakami 188). Yoshinori Kanada brought the "eccentric" compositional style of
Tsujis Edo artists to the process of animation (Murakami 194). This statement does not mean to suggest that the animators in Kanadas studio were consciously molding their images after models
offered by Japanese art; nevertheless, the dynamic of their art is similar to the "eccentric" artists "to a startling degree" (Murakami 194). In a manner similar to the form and
function of the "cresting waves used by Hokusai in his Thirty-six Views of Mt. Fuji," Kanadas work shows that he has been drawn to the human form (Murakami 194). The
approach of these animators, led by Kanada, was "extremely Japanese," as drawing a "single-perspective painting" never crossed their minds (Murakami 195). They drew their images "along vertical and horizontal
lines," and, in so doing, rather than offering balance to the primary picture, they created a "minimum balance that reaches out toward each of the four corners of the square"
(Murakami 195). This extreme planarity facilitated the viewers in reconstructing the image in reconstructing the "image in their minds from the fragments they gathered scanning the image" (Murakami 195).
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