Beatrice Shoemaker - Academia.edu (original) (raw)
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Papers by Beatrice Shoemaker
Andon, 2022
Ōoka Shunboku (1680-1783), best known as a compiler of painting manuals and pioneer of full-colou... more Ōoka Shunboku (1680-1783), best known as a compiler of painting manuals and pioneer of full-colour printing, was also an accomplished painter, running a successful studio serving religious institutions, aristocratic and merchant-class patrons. This paper examines Shunboku’s role as disseminator of the Chinese influences making their way through Nagasaki to Ōsaka, as recorder-teacher of Japan’s artistic heritage, in the context of his position within the city’s cultural and intellectual elite.
Erratum: p. 12: Yi Seongrin, gō ‘Sojae’, was the official painter-envoy of the Korean embassy; Choe Buk took part, as recorded by a farewell poem, but not in any official capacity. With thanks to Prof. Burglind Jungmann.
Andon 110, 2020
At the behest of aristocratic patrons, Hayami Sōtatsu (1727-1809) revived forms of tea practice d... more At the behest of aristocratic patrons, Hayami Sōtatsu (1727-1809) revived forms of tea practice dating back to the Ashikaga era, using elegant, mainly contemporary tea-wares. The Hayami-ryū style found favour with Emperor Kōkaku (1771-1840) and with those members of his court most closely associated with nascent nativist ideas and moves to restore the dignity of the Imperial line. Prominent until the Meiji Restoration, Hayami-ryū remains active, teaching and practicing an unchanged temae.
Andon 108, 2019
This paper traces the journey of a Hayami-ryū teahouse from Japan to Georgian Court, George Jay G... more This paper traces the journey of a Hayami-ryū teahouse from Japan to Georgian Court, George Jay Gould estate in Lakewood, N.J. (now Georgian Court University), via the great Japan-British Exhibition at White City in 1910.
Andon 107, 2019
A descriptive analysis of the shōhekiga in the kyakuden at Yugasan-Rendaiji, Okayama-ken. Commiss... more A descriptive analysis of the shōhekiga in the kyakuden at Yugasan-Rendaiji, Okayama-ken. Commissioned by the retired daimyo of Bizen, Ikeda Harumasa (1750-1818), to honour high-ranking guests, the paintings by Ranrinsai Suga Shōboku and Shibata Gitō use images of reclusion from Chinese legend to evoke the daimyo's involvement in controversial events of the Kansai era.
Andon, 2018
Street art and hip-hop as a means to spread the Dharma in Japan - an aperçu of the work of Gomyō,... more Street art and hip-hop as a means to spread the Dharma in Japan - an aperçu of the work of Gomyō, an American Shingon Buddhist priest based in Okayama-ken.
Andon , 2017
An investigation of E.S. Morse's pioneering and largely forgotten collection of Japanese pottery ... more An investigation of E.S. Morse's pioneering and largely forgotten collection of Japanese pottery in the context of the craze for Japonisme. The vexed question of the 'real' as opposed to 'export' Japan is examined in the light of contemporary aesthetic controversies and divergent market prices.
Part 2 identifies the divinities of the taizokai mandara embodied within the iconography of each ... more Part 2 identifies the divinities of the taizokai mandara embodied within the iconography of each room's shohekiga.
Kameisan Daijōji, a Shingon temple-shrine complex (miyadera), located in Kasumi, northern Hyōgo, ... more Kameisan Daijōji, a Shingon temple-shrine complex (miyadera), located in Kasumi, northern Hyōgo, is chie y known today as the repository of a visual ‘atlas’ of rst generation Maruyama-Shijō painting. Its guest hall (kyakuden), built and decorated between 1787 and 1795, displays sliding door paintings (shōhekiga), screens (byōbu) and scrolls (kakejiku) by Maruyama Ōkyo, Matsumura Goshun and eleven of their “best pupils”.1 This is the rst instalment of a two-part article proposing to read the kyakuden as a mandala – an interpretation which lends coherence to an ostensibly random sequence of themes treated in a variety of styles.
Published in Andon 99, the Journal of the Society for Japanese Arts, spring 2015. This paper exa... more Published in Andon 99, the Journal of the Society for Japanese Arts, spring 2015.
This paper examines Ōkyo's 'Skeleton' in the context of its commission for the Daijōji, a sub-temple of the Zuishin-in, relating its iconography to 'kusōzu' imagery, to the Shingon 'keka' ritual and the notion of 'sokushin jōbutsu'.
This paper aims to reinterpret the meaning of Ōkyo’s kakejiku known as “Skeleton Performing Zazen... more This paper aims to reinterpret the meaning of Ōkyo’s kakejiku known as “Skeleton Performing Zazen Above the Waves” within the context of its commission. Painted for a Shingon temple with metropolitan and courtly affiliations, it will be argued that in the light of its patronage and specific location, the image does not belong to the contemplative tradition of kūsoku. Its function and meaning as a devotional aid and ritual object will be examined in relation to Shingon rituals and as a possible representation of hongaku, or inherent enlightenment.
Andon, 2022
Ōoka Shunboku (1680-1783), best known as a compiler of painting manuals and pioneer of full-colou... more Ōoka Shunboku (1680-1783), best known as a compiler of painting manuals and pioneer of full-colour printing, was also an accomplished painter, running a successful studio serving religious institutions, aristocratic and merchant-class patrons. This paper examines Shunboku’s role as disseminator of the Chinese influences making their way through Nagasaki to Ōsaka, as recorder-teacher of Japan’s artistic heritage, in the context of his position within the city’s cultural and intellectual elite.
Erratum: p. 12: Yi Seongrin, gō ‘Sojae’, was the official painter-envoy of the Korean embassy; Choe Buk took part, as recorded by a farewell poem, but not in any official capacity. With thanks to Prof. Burglind Jungmann.
Andon 110, 2020
At the behest of aristocratic patrons, Hayami Sōtatsu (1727-1809) revived forms of tea practice d... more At the behest of aristocratic patrons, Hayami Sōtatsu (1727-1809) revived forms of tea practice dating back to the Ashikaga era, using elegant, mainly contemporary tea-wares. The Hayami-ryū style found favour with Emperor Kōkaku (1771-1840) and with those members of his court most closely associated with nascent nativist ideas and moves to restore the dignity of the Imperial line. Prominent until the Meiji Restoration, Hayami-ryū remains active, teaching and practicing an unchanged temae.
Andon 108, 2019
This paper traces the journey of a Hayami-ryū teahouse from Japan to Georgian Court, George Jay G... more This paper traces the journey of a Hayami-ryū teahouse from Japan to Georgian Court, George Jay Gould estate in Lakewood, N.J. (now Georgian Court University), via the great Japan-British Exhibition at White City in 1910.
Andon 107, 2019
A descriptive analysis of the shōhekiga in the kyakuden at Yugasan-Rendaiji, Okayama-ken. Commiss... more A descriptive analysis of the shōhekiga in the kyakuden at Yugasan-Rendaiji, Okayama-ken. Commissioned by the retired daimyo of Bizen, Ikeda Harumasa (1750-1818), to honour high-ranking guests, the paintings by Ranrinsai Suga Shōboku and Shibata Gitō use images of reclusion from Chinese legend to evoke the daimyo's involvement in controversial events of the Kansai era.
Andon, 2018
Street art and hip-hop as a means to spread the Dharma in Japan - an aperçu of the work of Gomyō,... more Street art and hip-hop as a means to spread the Dharma in Japan - an aperçu of the work of Gomyō, an American Shingon Buddhist priest based in Okayama-ken.
Andon , 2017
An investigation of E.S. Morse's pioneering and largely forgotten collection of Japanese pottery ... more An investigation of E.S. Morse's pioneering and largely forgotten collection of Japanese pottery in the context of the craze for Japonisme. The vexed question of the 'real' as opposed to 'export' Japan is examined in the light of contemporary aesthetic controversies and divergent market prices.
Part 2 identifies the divinities of the taizokai mandara embodied within the iconography of each ... more Part 2 identifies the divinities of the taizokai mandara embodied within the iconography of each room's shohekiga.
Kameisan Daijōji, a Shingon temple-shrine complex (miyadera), located in Kasumi, northern Hyōgo, ... more Kameisan Daijōji, a Shingon temple-shrine complex (miyadera), located in Kasumi, northern Hyōgo, is chie y known today as the repository of a visual ‘atlas’ of rst generation Maruyama-Shijō painting. Its guest hall (kyakuden), built and decorated between 1787 and 1795, displays sliding door paintings (shōhekiga), screens (byōbu) and scrolls (kakejiku) by Maruyama Ōkyo, Matsumura Goshun and eleven of their “best pupils”.1 This is the rst instalment of a two-part article proposing to read the kyakuden as a mandala – an interpretation which lends coherence to an ostensibly random sequence of themes treated in a variety of styles.
Published in Andon 99, the Journal of the Society for Japanese Arts, spring 2015. This paper exa... more Published in Andon 99, the Journal of the Society for Japanese Arts, spring 2015.
This paper examines Ōkyo's 'Skeleton' in the context of its commission for the Daijōji, a sub-temple of the Zuishin-in, relating its iconography to 'kusōzu' imagery, to the Shingon 'keka' ritual and the notion of 'sokushin jōbutsu'.
This paper aims to reinterpret the meaning of Ōkyo’s kakejiku known as “Skeleton Performing Zazen... more This paper aims to reinterpret the meaning of Ōkyo’s kakejiku known as “Skeleton Performing Zazen Above the Waves” within the context of its commission. Painted for a Shingon temple with metropolitan and courtly affiliations, it will be argued that in the light of its patronage and specific location, the image does not belong to the contemplative tradition of kūsoku. Its function and meaning as a devotional aid and ritual object will be examined in relation to Shingon rituals and as a possible representation of hongaku, or inherent enlightenment.