Japanese Art – Transcultural Perspectives

Melanie Trede is Professor of Japanese Art History at University of Heidelberg.Mio Wakita is Head of Asian Collection and Curator at the MAK – Museum of Applied Arts, Vienna.Christine M. E. Guth was head of the Asian specialism in the history of design program at the Royal College of Art and Victoria and Albert Museum from 2007-16.

• AcknowledgmentsList of FiguresList of TablesNotes on ContributorsNotes to ReaderJapanese Art: Transcultural PerspectivesMelanie Trede, Mio Wakita and ChristineM.E. GuthPart1 Methodologies, Texts, and DiscoursesCommentaryMonica Juneja1 The Origin of Species and the Rise of World Art History: Ernst Grosse’s Encounter with the Beginnings of ArtIngeborg Reichle2 Inverting the Cultural Order: Naitō Konan and East Asian Art HistoryTamaki Maeda3 Artifactual Hybridity and the Dynamics of Global IntegrationChristineM.E. Guth4 A View of the Avant-Garde from Postwar Japanese CalligraphyEugenia Bogdanova-Kummer5 How to Build a World Art History on Stones: Robert Smithson, Horikawa Michio, and 1960s Art in JapanReiko TomiiPart2 Images, Imaginations, and Visions: Japan and BeyondCommentaryBernd Schneidmüller6 The Uncultured in the Photography of Miyamoto Tsuneichi: Its Historical Complexity and Affective DimensionMichio Hayashi7 Stripes and Feathers: Trade and the Spatial Imaginary in Late Seventeenth-Century JapanRadu Leca8 Japan, Cartography, and the Art of World-MakingD.Max Moerman9 The World of Mount Sumeru Diagrams: Representations and DiscoursesKomine KazuakiPart3 Artifacts and MaterialitiesCommentaryCraig Clunas10 Japanese Export Porcelain for the Chinese and Korean Markets in the Meiji PeriodMaezaki Shinya11 Lacquerware as a Global Commodity: Distribution and Imitation of Maki-eHidaka Kaori with Sono Yuan Werhahn12 Mediating Tradition: Japanese Copperplate Printing and Art Reproduction in 1880s ShanghaiLai Yu-chih13 Asahi Gyokuzan: Defining Sculpture in an Age of ChangeMartha Chaiklin14 Gao Jianfu’s Aesthetic of Dilapidation: Modern Chinese Visuality and Its Relations to Japan and the Stele SchoolAidaYuen Wong15 Fields of Contested Vision and Materiality: Globetrotter Tourism, Living Dolls, and Meiji Souvenir PhotographyMio Wakita16 A World Somewhere between the New World and AsiaSofía SanabraisPart4 Collecting and Display: Authority and Eccentricity of Japanese Art in Transcultural FieldsCommentaryNoriko Murai17 Comparing East and West: The Collections of Enrico CernuschiSilvia Davoli18 Hayashi Tadamasa, Art Historian, Collector, and Dealer: Negotiating the Concept of “Fine Arts” in Europe and “Bijutsu” in JapanYamanashi Emiko19 Collecting and Exhibiting Japanese Art in the German Empire (1871–1918)Doris Croissant20 An Evolving Appreciation of Japanese Premodern ArtThe 1910 Japan-British Exhibition in London and the 1939 Exhibition of Old Japanese Art in BerlinYasumatsu Miyuki21 Exhibiting Manga, Representing “Japan”Jaqueline Berndt22 Ganbare, Nippon: Curator’s Notes for the Japan Pavilion at the Venice Biennale—A Map of the WorldKuraya MikaIndex