How do the visual phenomena of Japan live in transnational communities today? How can they embrace international tropes, while retaining the distinctly local sensibilities of Yamato-e, kana calligraphies, or ukiyo-e? This paper examines the apparent paradox of these questions through the divergent projects of Katsushika Hokusai, Kusama Yayoi, and Masami Teraoka. It examines the ways each has developed their own synthesis of conventions of local and international cultural currencies. It finds, within the transnational relocations of visual arts of Japan, the retention of distinct (and distinctly independent) sensibilities of Yamato pasts.
David Bell, University of Otago, New Zealand
Stream: Arts - Arts Theory and Criticism
This paper is part of the ACAH2018 Conference Proceedings (View)
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