For AWWs interaction with the government-
by Skypeing over the Internet, talk to foreigners he breaks the commitments he had to make.
In the very worst case, he might get executed as an exempel- I don’t believe they actually set him free without anypunishment if he really did break the law so severely as he wants to make most westeners believe.
What will happen after he got killed?
What is chinese law saying about his failures?
Contemporary Chinese Art Exhibitions Open In South Africa, Canada
Diverese: Zhang Huan: „12 Square Metres“, 1994. Travelled to the West in 1990s, performing (fish and oil honey covered)
Penny Siopis: Ambush, 2008 – Hokusai Fishermans wife dreams, octopus
This book made my day. It’s the 2005 german translation of 『한국미의 조명 (An Exploration of Korean Aesthetic Beauty)』, 1999 by Cho Yo-Han 조요한 . It’s worth a look if you’re into transcultural aspects of theoretical art history with a focus on Korea. Besides giving a good overlook on European Art History theorems, it introduces Korean thought on Art History. The German translation is astonishingly well written and easy to read (but hard to truly understand, which I prefer over the other way round). It’s 278 pages and I got it for €19,80 from the publisher.
A newer work concentrating on Cho’s life and accomplishments can be found here, 『연구 논문 : 조요한 예술철학 연구 시론영문제목 (A Preliminary Research for Yohan Zoh’s Philosophy of Art)』, 2010 by Lee In-Beom 이인범.
I saw this picture in a presentation about Money in Art yesterday. I saw some curiosa in the background, and I wonder if there actually is what I think I saw;
a chinese string of 文 (貨幣) wen (coin, cash) on a red rope.
a chinese bronze mirror
I finished my censorship paper. I’m thinking about uploading it, hence there’s quite few information on this particular topic. Highly recommendable nevertheless is an exhibition catalogue on Ukiyo-e and censorship by Sarah E. Thompson and H. D. Harootunian, „Undercurrents in the floating world“ (1991).
I spent three weeks in the UK, mainly to drink tea and play with the dog of my parent’s friends living there. My last days were in London, where I literally lived at the V&A/ National Art Library. It’s great and if you have the chance going to London, don’t miss the V&A. Notes for the next visit:
*For observing objects closely, you can actually preorder several objects from the British Museum. (at least one month in advance)
*DO NOT fly Ryanair.
This semester, I’ll spent some time with African Art. I’ll have to prepare papers and PPP for
*Ife Art and
*a selection of works by Willie Bester.
Still pending:
*Last makeup on Shino and Raku
*wait for reply on kambodian buddha
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UPDATE 14.09.2010
I signed on Scripd and uploaded my paper. You can find it here:
UPDATE 17.04.2012
I quit my Scripd Account but uploaded it on my blog here: 2010: Zensurstempel auf yakusha-e von den Kansei-Reformen bis zur Meiji-Zeit (1791-1868) (.pdf)
I am overly happy about having recieved a new packet of the best toothpaste. 🙂
I am currently working on my paper about censorship. What I am wondering about, is that there is no such bok on „censorship on ukiyo-e“. Maybe I should write one, haha. There’s just too less information available here… a pity. I found some information in japanese history books, and… in books about japanese erotic prints (shunga) because they had to deal a lot with censorship, of course.
Whatever works, is I thinking. I’m still feeling arkward quoting scientific books on pornography. Hope to find better sources…
in order of accepting the idea on getting my BA wasn’t too bad after all, i finally decided to make up a schedule of ALL courses i have visted during the last (fruitful, beloved, erudite) 7 semesters. first, why didn’t i start this earlier? second, i found out i started writing papers just during the last semester; before, i took every course as a lecture. i loved it that way, but it might get me into bureaucracy trouble.
gaijin in kimono. a difficult topic.
women sewing all night and day to compress their bodies in selfmade victorian corsets. same thing.
i believe you can take a thing and develop it into something new.
my new obsession is kanzashi (hair ornaments), especially the type びらびら簪 bira bira kanzashi (dangling ones).
i would love to get the chance possessing one. same thing with victorian garment, i love the looks, i would also love to touch and feel it… but going out wearing that? no way.
authenticity is not my main focus. i don’t like making fun out of people playing with authenticity because i see no point in that, people always took traditions and developed them into something new, until those eventually became tradtional looks, and so forth… as we live, we’re already part of history.
still, seeing pictures of those women gives me similar shivers as when i’m at the museum.
i am very thankful i was born in the 21st century, and even if there was some time machine, i would not even dare going 30 years back in time.
fashion of every couleur is pleasurable to look at for me,
the items i like to wear are usually of one kind: plain and simple. when i was younger, i broke that unwritten rule sometimes; but for now, i like a non-distracting, reduced style on myself best.
https://www.kanzashigarden.com/briefintro.html
https://www.kanzashigarden.com/basic.html
making tsumami kanzashi
https://kurokami-kanzashi.deviantart.com/art/Kanzashi-Tutorial-Part-I-43067797
https://www.vivcore.com/kanzashi_core.html
https://www.kanzashigarden.com/howtofold.html
a very lovely piece
https://myloko.deviantart.com/art/The-Visitor-From-Kyoto-53509122
Ehi, well, I am member of TeaChat.com Forum. I just browsed through the „matcha tea bowl“ thread and some other threads on the beauty of tea bowls… mhmm… I can outline a total japanophilia when it comes to labelling those bowls. even though most of them are contemporary works and I’m pretty unsure if you can attach „ancient“ labels on those. They’re all very shiny and glossy too, remembered me of what John Clark stated at the farewell party at Münzsalon; that all the new things need to scream at you instead of giving a quiet warmth.
I also find that they have some members who like to sell stuff imported directly from japan (mhm… no chinese and korean ware so far), and people appreciate the „big labels“ such as hagi and shino. But the bowls… they dont look like what I consider as hagi/shino AT ALL…
Second point is gongfu tea and yixing pots. you got say, two groups there, the matcha lovers and the yixing lovers. so yixing is also a big point of discussion, and some people post their pots there and ask what kind it is, if its ancient, what’s the inscription on the stamp etc. Hmmm… i still don’t know WHY yixing is so „en vogue“. for some reason, „gongfu tea“ seems to be linked to „yixing“. i don’t know much about either, maybe that is why it makes me wondering.
I’ve seen some shops specialized on tea and teaware here in berlin, maybe i should write my application there and see what it’s like to sell. :\
I’ll meet Seongiu on Dec 9th. She’s very lovely indeed and agreed to help me out a little. I’m pretty glad. The general outline of my paper will be as follows…
1.Grunddaten bekanntgeben:
–1a. Aussehen beschreiben,
–1b. Geschichtlicher Hintergrund in Korea,
–1c. Verwendung solcher Schalen in Korea (zB trinken von makari? dieser Cidre-Art, Nationalgetränk… essen von Reis, Gerichten, usw. ganz Alltägliches)
2. Koreanische Sicht– Bewertung der Schale aus koreanischer Sicht (Einordnen: deombeong?, eingetauchte Glasur, usw…)
3. Japanische Wertschätzung der Schale (kurz fassen)
–3a. Vergleich zu Ido – Kizaemon – eine koreanische Schale ist Nationalschatz in Japan
4. Persönliche Ästhetik, Berwertung der Schale
question of heritage
Es muss generell differenziert werden zwischen:
I. In Korea hergestellter Ware
II. In Japan von Koreanern hergestellter Ware und
III. Von Japanern nach Korea in Auftrag gegebene Ware
question of use in a japanese context
Teeschalen der japanischen Teezeremonie lassen sich prinzipiell nach drei Fragestellungen betrachten:
i. Ist die Schale für koicha (dicken) oder usucha (dünnen Tee)?
ii. Ist es ein Typ der karamono (China), kōraimono (Korea), wamono (Japan) oder nambam (Barbarisch)?
iii. Wenn vorhanden, von welchem Ofen bzw. Künstler stammt das Stück?
questions i still cannot answer
– on the japanese side: what’s the primary source? where are all those fuzzy termini written down, and in which context? who made them up, and when?
– on the korean side: how mcuh were they aware that the japanese claim certain cultural values as their own and how was this being discussed by korean literati?
– on my side: what exactly is the crux of this piece,… where lies the beauty? why is it unique? and what of all that jazz is worth being written down? -_o
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My „Korean Book of Tea“ has arrived. I am not as glad as I’m supposed to be. I’ll write a more detailled review later. Actually, the coffee table book alert is ON. Lots of white space in the pages, which I personally do not prefer to pages stuffed up with ink up to the dog’s ear.