Giving an extraordinarily loose definition of art here:_, some artists I like:
Absolutely Abby Keen
Abel Gower
Emperor Ai
Akazome Emon
Alan Booth
Alan Watts
Alfred East
Alice Hart & Ernest
Algernon Bertram Freeman-Mitford
Anna Brassey
Antonio Gramsci [9]
Arthur Hart-Synnot & Masa Suzuki
Arthur Waley
Asai Ryoi
Basil Hall Chamberlain
Bernard Leach
Billie Holiday
Carmen Blacker
Cargill Gilston Knott
Charles Holmes
Charles Maries
Charles Rennie Mackintosh
Charles William Bartlett
Christopher Dresser
Collingwood Ingram
Douglas Sladen
Edith Craig
Edith Garrud
Edmund Morel
Edward Atkinson Hornel
Edward William Godwin
Edwin Lester Linden Arnold
Ellen Terry
Elizabeth Keith
Elizabeth Tudor
Ernest Henry Wilson
Ernest Mason Satow
Ernest Thomas Bethell
Felice Beato
Frank Morley Fletcher
Frank Toovey Lake [18]
Frederick Ringer
Frederick William Sutton
Fujishima Takeji
George Bailey Sansom
Gnyuki Torimaru
Gonnoske Komai
Gordon Ambrose de Lisle Lee
Grace James
Gunji Koizumi
Hamada Shoji
Harry Smith Parkes
Hayashi Gonsuke
Helen Caddick
Helen Waddell
Henry Dyer
Henry Faulds
Henry Spencer Palmer
Irene Clyde
Isabella Bird
Ise no Miyasudokoro
Ishibashi Kazunori
Iso Mutsu & Mutsu Hirokichi
Ivan Morris
Iwasa Matabei
James Murdoch
Jang Bogo
Jia Nanfeng
J. G. Ballard
John Batchelor [15]
John Black Reddie
John F Lowder
John Harington Gubbins
John Milne & Tone Horikawa Milne
John William Robertson Scott
Josiah Conder
Kamisaka Sekka
Kawai Kanjiro
Ken'ichi Yoshida
Kishichiro Okura
Empress Koken
Kokki Miyake
Empress Komyo
Kowada Shoryo
Kumasaku Tomita
Kunisawa Shinkuro
Li Bai
Masabumi Hosono
Masataka Taketsuru and Rita Taketsuru
Matilda Chaplin Ayrton
Marianne North
Mary Margaret Busk
Michael Buckworth Bailey
Minoru Genda
Mixi Zia
Murasaki Shikibu
Natsume Soseki
Neil Gordon Munro
Noel Coward
Otome Sakamoto
Rachel Agatha Keen
Ranald Macdonald
Reginald Horace Blyth
Reginald Farrer
Renée Vivien
Richard Cocks
Ronald Victor Courtenay Bodley, MC
Rutherford Alcock
Ryuson Chuzo Matsuyama
Sadayakko Kawakami
Sakamoto Ryoma
Samuel Cocking
Sei Shonagon
Sessue Hayakawa
Shangguan Waner
Sherard Osborn
Shimomura Kanzan
Prince Shotoku
Suematsu Kencho
Princess Taiping
Takuya Kishi ( きし夛句弥 )
Tama Kurokawa
Tatsuno Kingo
Thomas Bake Glover
Thomas Wright Blakiston [16]
Timon Screech
Tomimoto Kenkichi
Tori Busshi
Tsuda Umeko
Tsuru Aoki
Ukida Ikkei
Uriemon Eaton
Utako Shimoda
Walter Crane
Wey Ling Nanzi
William Anderson
William Burges
William Edward Ayrton
William Empson
William George Aston
William Kinnimond Burton
William Robert Broughton
William Shakespeare
Wu Zetian
X [6]
Xi Shi
Yakumo Koizumi
Yanagi Soetsu
Yang Guifei
Yasodhara
Yei Theodora Ozaki
Yoshida Shoin
Yoshio Markino
Yuefu writers
Yuzuru Hiraga [7][8]
Empress Zhang
Zhou Fang
Bibliography
[1] https://tokyoartnavi.jp/en/column/40466/
[2] https://arboretum.harvard.edu/expeditions/expedition-to-japan/
[3] https://books.google.co.jp/books?id=BZ1BAQAAMAAJ&pg=PA228&dq=Gonnoske+Komai&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi6maKnleSNAxXNs1YBHYQkDvEQuwV6BAgEEAc#v=onepage&q=Gonnoske%20Komai&f=false
[4] https://cetapsrepository.letras.up.pt/items/52de4b32-6c36-490a-9fe8-e3bb206c773e
[5] https://en.wikipedia.org/wiki/Sen_Yan%27s_Devotion
[6] https://mainichi.jp/english/articles/20201230/p2a/00m/0na/016000c
[7] https://warshipprojects.com/2018/04/24/the-yamato-class-genesis/#:~:text=The%20Imperial%20Japanese%20Navy's%20Yamato%20class'%20design%20history.&text=These%20British%20companies%20offered%20many%20designs%20up%20until%20at%20least%201920
[8] https://www.avalanchepress.com/Yamato.php
[9] https://en.wikipedia.org/wiki/Subaltern_(postcolonialism)
[10] 文化変容 | Cultural Acculturation | 500CE-1000CE | Essay #12 | CA Miniseries B
[10] Extract
Cultural Appropriation
EX: Erasure of acknowledgement of Tang aesthetics as simply Wamono by the later centuries
Cultural Appreciation: the acknowledged or appropriate adoption of the practices, customs, or aesthetics of one social or ethnic group by members of another community or society
EX: The adoption of Buddhism in Japan in 552
Cultural Assimilation: the process in which a minority group or culture comes to resemble a dominant group or assume the values, behaviors, and beliefs of another group
EX: Kimono takes on the form of the Tang Chinese court dress
Pizza Effect: the phenomenon of elements of a nation's or people's culture being transformed or at least more fully embraced elsewhere, then re-imported to their culture of origin, or the way in which a community's self-understanding is influenced by foreign sources.
EX: Hiogi culture being exported to China and returned to Japan as part of Buddhist aesthetics in turn affecting popular motifs[1]
Transculturation: the phenomenon of merging and converging cultures
EX: Kasane-no-irome (襲の色目|coloured layering) which adhered to the Chinese calendar of 72 seasons became fashionable as indoor wear for women on their Junihitoe[4]
Cultural Heterogeneity: the differences in cultural identity related to class, ethnicity, language, traditions, religion, sense of place etc, that can make it more or less difficult for people to communicate, trust and co-operate with each-other
EX: An increasing distancing away from China on Japans behalf as they went from being the 'dwarf' nation, to the 'harmony' nation of Wa, which is reflected in the increasing interest in local Japanese folklore and dress is affected by adopting Wamono literature of the Manyoshu (600-759) and Kokin Wakashu (887-920) anthologies being used to make reference to Japanese landscape scenes on textiles rather than the Chinese classics[2]
Cross-cultural competence: a persons ability to understand people from different cultures and engage with them effectively
EX: The competence of Junihitoe wearers could be seen in their ability to understand classical references to Chinese poetry and aesthetics
Cultural Diffusion: the spread of cultural items—such as ideas, styles, religions, technologies, languages—between individuals, whether within a single culture or from one culture to another e.g- the spread of Western business suits in the 20th century
EX: In this time period, technologies for creating new textile goods and decoration would emerge, one of which was embroidery which came from China into Japan by the 6th century.[5] This technique which was first used to decorate Emperors trinkets and Buddhist Mandalas, eventually becoming key to decorating Junihitoe and was spread by Korean embroiderers as well
Cultural pluralism: the practice of various ethnic groups collaborating and entering into a dialogue with one another without having to sacrifice their particular identities
EX: During this time, this became increasingly less interesting to the growing Japanese nobility who had begun to care more about their lands than shiny gifts and trinkets from abroad. An example may be the adoption of Kesa aesthetics and textiles, which became increasingly more lavish and gold as time wore on[6]
Polyculturalism: the ideological approach to the consequences of intercultural engagements within a geographical area which emphasises similarities between, and the enduring interconnectedness of, groups which self-identify as distinct, thus blurring the boundaries which may be perceived by members of those groups. Multiculturalism instead thought to emphasise difference and separateness, being divisive and harmful to social cohesion.
EX: Buddhism aesthetics in the formation of how space and desire played a role in beauty, such as embracing Mujou ( Impermenant Transition | ) qualities such as admiring falling cherry blossom and the appropriate placement of space in a composition or design, which transferred over to KTC by the Heian era[7][8][9]
Multiculturalism: the coexistence of people with many cultural identities in a common state, society, or community, also though in the prescriptive sense to refer to the political theory framework that individual cultures, groups or ethnic peoples be given their own space in the wider society which has led some to criticise policymakers use of multiculturalism as divisive (should only be considered post 1996 world due to the times tightening of immigration, the enforcing of borders and encouragement of national identity rather than encouraging individuals to think of themselves as global citizens)
EX: Korean immigrants in this era having to take on Japanese identities in the Japanese legal framework
Cultural diversity: the quality of diverse or different cultures, as opposed to monoculture, the global monoculture, or a homogenization of cultures, akin to cultural evolution. The term cultural diversity can also refer to having different cultures respect each other's differences.
EX: In contributing to KTC at this time, cultural diversity is represented by the increasing number of works including Buddhist figures from India and China who were represented in the new aesthetics influenced in turn by a mixture of Buddhist and Shinto aesthetics
Monolithic culture: a societal construct or organisation like religion which often has negative connotations in our society. For example, the percived rigidity and homogeneity of a monolithic culture that is not open to new ideas, these is their truest form are the few hunter-gatherer societies or uncontacted societies like those few found in the Amazon rainforest.
EX: Women often in this time had a better understanding of Wamono than some men in high positions, particularly in the art of writing or Onnade ( womens writing | 女手 ). The Nikki ( diary | 日記) of these nobles, for men the Tosa Nikki ( Tosa Diary | 土佐日記 | 935 ) and women authors the Kagerō Nikki ( Mayfly Diary | 蜻蛉日記 | 974) gave rise to the first uniquely Wamono genre as such Nikki Bungaku ( Diary Genre | 日記文学 )[3] This was a catalyst for KTC in the later Heian period, which through Onnade created Wamono and Wafuku points of reference originating in the Monolithic writings of 'Japanese' upper class court noblewomen
[11] Onna-E ( 女絵 | Womens pictures ) refers to the Nara, Heian and early Kamakura ( 710-1333CE ) practice of drawing women in elongated Hand scrolls, which today are regarded as feminine gender coded Art. Some of these narratives depict the lives of women, their extra diaries, or the literature they wrote. The Onna-E style derives from how mostly Heian women represented themselves and others as a performed self in these scrolls, drawing from their lives indoors at their and the imperial abodes. Whilst a limited number of women could read Kanji, they also used their knowledge of Chinese culture to create and inspire their own culture; the first truly Wamono aesthetics; and it was with these preconditions that Onna-E became established in the Japanese art scene alongside Yamato-E and Oshi-E.
11 Isometric Projection Fukinuki Yatai
[11] https://www.khanacademy.org/humanities/art-asia/art-japan/nara-period/a/the-shsin-repository-and-its-treasure
[12] https://rmda.kulib.kyoto-u.ac.jp/en/item/rb00013523/explanation/otogi_08
[13] https://en.wikipedia.org/wiki/Traditional_colors_of_Japan
[14] Hikime and Kagihana
[15] https://www2s.biglobe.ne.jp/~matu-emk/bachel.html
[16] https://www.ulethbridge.ca/lib/digitized_collections/ourheritage/index_page_stuff/Following_Trails/Blakiston/Blakiston_Japan1.html
[17] https://grahamthomasauthor.wordpress.com/2022/02/17/lake-solving-the-mystery/
[18] https://japan-forward.com/the-british-in-bakumatsu-japan-the-tozenji-incident/
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