BETWEEN EAST AND WEST: REPRODUCTIONS IN ART (PROCEEDINGS OF THE CIHA COLLOQUIUM IN NARUTO, JAPAN, 15th – 18th JANUARY 2013)
BETWEEN EAST AND WEST: REPRODUCTIONS IN ART (PROCEEDINGS OF THE CIHA COLLOQUIUM IN NARUTO, JAPAN, 15th – 18th JANUARY 2013)
Edited by Shigetoshi Osano (with special collaboration of Milosz Wozny)

Cracow 2014
257 x 200 mm, 436 pages
numerous illustrations in colour, laminated hardback
ISBN 978-83-89831-24-8

Cover photo: Naizen Kano, «The Arrival of the Portuguese»,

one of a pair of six-panel folded screens, colour on gold-decorated paper, 154.5 × 363.2 cm, late 16th - early 17th c., Kobe City Museum

95 EURO
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These are the proceedings of the 2013 CIHA colloquium – Between East and West: Reproductions in Art – held at the Otsuka Museum of Art in Naruto, Japan, on 15–18 January. This colloquium was organized by the Japanese Committee for CIHA, the Otsuka Museum of Art, and the Japan Art History Society. It was sponsored by the Otsuka Fine Arts Foundation and the Kajima Foundation for the Arts, and supported through special collaboration with the University of Tokyo’s Graduate School of Humanities and Sociology. The main organizer and the editor of the publication is professor Shigetoshi Osano from the University of Tokyo. Thirty speakers and 133 participants from fourteen different countries took part in this colloquium, which was intended as a continuation of the CIHA colloquium, Japan and Europe in Art History, held in Tokyo in 1991.

At the Naruto colloquium, the term “reproduction” was interpreted in the broadest sense, encompassing the notions of copy, replica, remake, and even the fake. Despite the centrality of this topic, no international congress or colloquium held by CIHA had addressed reproductions in a comprehensive manner from a global perspective. In sum, the colloquium aimed to re-examine and deepen exploration of the issues surrounding reproduction. Its purview included not only Western art but also that of Japan and East Asia, encompassing comparative and cross-cultural studies in art history. It also addressed corollary issues such as authenticity and originality, aiming both to re-examine and define them more clearly. The ultimate goal was to re-evaluate the notion of reproduction and assess with greater precision its status within the art of the past and the present.

                                            

                                                                               (Shigetoshi Osano, Professor of the University of Tokyo)  

                                                

 

 

 

CONTENTS

Introduction (Shigetoshi Osano)

 

Part I:

Western Art

 

Stephen Bann – Imitation or Substitute? The Dilemma of Reproductionin Western Art

Marco Quabba – Battista Naldini’s Imitatio: Repositioning the Drawn Copy within the Context of Cinquecento Artistic Imitation

Jeanette Kohl – Face Value: The Renaissance Portrait as Multiple

G. Ulrich Großmann – The Original and Reproduction in the Architecture of Central Europe

Romana Filzmoser – Conceptualizing the Copy: Abraham Bosse’s Sentimens sur la distinction des diverses manières de peinture, desin et gravure et des originaux d’avec leurs copies

David Maskill – Versailles Abandoned: Copying for the Court in Early Eighteenth-Century France

Carla Mazzarelli – Raphael, Annibale Carracci, and Guido Reni “In Copy”: The Cultural Impact of Roman Artworks in the Galleries of Copies of England and North America in the Eighteenth and Nineteenth Centuries

Adina Kamien-Kazhdan – Remaking the Readymade: Marcel Duchamp and Man Ray in the Galleria Schwarz

Anna Anguissola – In Search of a Language for Copies: The Greek and Latin Sources

Barbara Baert Nymph: The Reproduction of a Phantom. A Contribution to the Study of Aby Warburg (1866–1929)

Peter J. Schneemann – The Copy as a Reflection of Modes of Perception: Contemporary Artistic Practices and the Construction of Anagrammatic Images

Viktor Oliver Lőrincz The Myth of Originality, the Copy, Reproduction, and the Multiple in Art History and the Western Legal Tradition – A Comparative Approach

 

Part II:

East Asian and Japanese Art

 

Tadashi Kobayashi – The Influence of European Painting on Ukiyo-e

Hsueh-man Shen – Copies without the Original: King Aśoka’s 84,000 Stupas and Their Replications in China

Seinosuke Ide Standing on the Fringes: A Broader Perspective on Sohon Buddhist Paintings in Japanese Collections

Kensuke Nedachi The Intermediary Song-style Iconography of the Tōdai-ji Great South Gate Kongō Rikishi Sculptures

Olivia Meehan – Considering the Role of Utsusu 写す in Nanban Byōbu 南蛮屏風

Hans Bjarne Thomsen Reproduction and the Copy in the World of Shasei 写生

Akira Takagishi – From Painting to Print to Painting: The Yūzūnenbutsu Engi Handscrolls and the Muromachi Shoguns

Sarah Ng – The Reception of Rubbing Collections in Ming China

 

Part III:

Comparative and Cross-Cultural Approaches in Art History

 

Jonathan Hay – The Reproductive Hand

Catherine B. Asher – Copying a Masterpiece at Home and Abroad: The Taj Mahal

Hiroko Ikegami – Who Is Afraid of Pop? Remaking American Pop by Ushio Shinohara and Elaine Sturtevant

Frederick M. Asher – Replicating Bodhgaya

Yoshie Kojima – Reproduction of the Image of Madonna Salus Populi Romani in Japan

Anja Grebe – Albrecht Dürer in Asian Art: Paradigms of Cross-Cultural Reproduction and Transformation

Thierry Dufrêne – Neo-caves: Becoming Art through Reproduction

 

Conclusion

Jaynie Anderson – What a “Copy” May Mean in the East and the West

Profiles of the Authors