{"id":6449,"date":"2024-12-15T11:54:35","date_gmt":"2024-12-15T16:54:35","guid":{"rendered":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/?p=6449"},"modified":"2024-12-15T11:55:29","modified_gmt":"2024-12-15T16:55:29","slug":"threads-of-tradition","status":"publish","type":"post","link":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/essay\/threads-of-tradition\/","title":{"rendered":"Threads of Tradition"},"content":{"rendered":"\n

Author: Quentin Drucker<\/p>\n\n\n\n

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This exhibition explores the gaze\u2014both traditional and modern\u2014as it weaves its way through Edo period aesthetics and the contemporary reinterpretations of them in the context of Japanese fashion. The \u201cgaze\u201d, a term popularized in feminist and cultural theory, refers to the act of viewing and the power dynamics it entails, particularly the ways in which women have historically been framed by societal or patriarchal perspectives. In pairing works from the Edo period with modern reinterpretations of them, one may begin to examine how traditional Japanese attire, once symbols of societal roles and oppressive beauty standards, transform into expressions of individualism, resistance, and feminist critique. Each pairing highlights a re-contextualized aspect of the traditional: the samurai’s disciplined strength (Item #3 \u2013 Pair 2), the kimono’s elegant symbolism (Item #1 \u2013 Pair 1), and the courtesan’s allure (Item #5 \u2013 Pair 3) are reimagined through modern mediums (such as photography), challenging the male gaze and at the same time, acknowledging female liberty and creative power. My exhibition aims to invite viewers to consider how historical traditions are both influenced and reimagined by progressive thinking and contemporary feminist and cultural discussions, revealed by virtue of the various pairings of Japanese art and fashion that will be on display.
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Item #1<\/strong> – Traditional \u2013 Japanese Kimonos:<\/p>\n\n\n\n

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Creator: Ando Hiroshige (1797-1858)
Title of the Work: Winter Triptych, from the series Beauties in the Fashions of the Four Seasons
Date: c. 1845
Period: Edo
Medium: woodblock print
Dimensions: 14 1\/2 x 30 inches
Repository: Denver Art Museum
Source: Jstor
Credit: Image and original data from Asian Art Photographic Distribution Project (AAPD), University of Michigan
URL: https:\/\/www.jstor.org\/stable\/community.14527663<\/figcaption><\/figure>\n\n\n\n

This is a classic example of a woodblock print from the Edo period, where three prints are arranged as a triptych. Each print depicts a well-dressed woman under an umbrella in a tranquil snowscape. The scene has subtle gradation, and a palette comprised mainly of cooler tones, with a colorful hint of warmth emanating from the horizon, beyond the lake and structures centered in the background. Considering that each statuesque figure strikes a differing pose and wears a disparately decorated kimono, suggests that each figure represented boasts an admirable sophistication and dignified presence in Japanese society at the time. The gazes of these women seem rather neutral with a hint of disinterest. Each figure is either gazing downward or horizontally while at the same time a pleasant fa\u00e7ade is depicted overtop of this seemingly pessimistic gaze. Both the kimonos and the umbrellas have intricate patterns and color schemes, eliciting a different emotion in each panel of the triptych.
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Note for Original Item #2<\/span>: Regarding the display of this items, proper permissions were not achieved in order to showcase it within this publication. Although, for those who already have preexisting access and permission, the three individual URLs that were used to cultivate this triptych may be found here: <\/p>\n\n\n\n

1) https:\/\/www.jstor.org\/stable\/community.17424855<\/a>
2) https:\/\/www.jstor.org\/stable\/community.17424854<\/a>
3) https:\/\/www.jstor.org\/stable\/community.17424856<\/a><\/p>\n\n\n\n

Image label:<\/em>
Creator: Eikoh Hosoe
Titles of the Works, respectively: Kimono #2 | Kimono #3 | Kimono #4
Date: 1963
Period: Post World War II
Medium: Gelatin silver print
Dimensions: Overall, Primary Support: 14 x 10 15\/16 in. (35.5 x 27.8 cm); Image: 12 3\/8 x 8 3\/16 in. (31.4 x 20.8 cm)
Repository: University of Arizona Purchase, with matching funds from Hitachi America, Ltd.
Source: Jstor
Credit: Center for Creative Photography

The three women in these gelatin silver prints are showcased in with purely monochromatic tones, where the viewer can only appreciate the light and dark values of each image. Each image has a light source and corresponding luminosity exuding from a different angle in every shot, with the center image demonstrating the highest brightest and contrast of the three. Given the lack of color that this early rendition of the camera yields, these pieces seem to have an intimate, underlying narrative about the personal expression that each figure retains. Like Item #1, each figure takes a unique stance in each panel with the middle one leaving a trail of kimono components behind her, solidifying the modern recontextualization of the kimono and how there is not as much rigidity when it comes to societal standards when woman wear this article of clothing. When taking into account the range of disparate gazes that these women wear, as well as the lack of a definitive story in Hosoe\u2019s images, challenge the viewer to dynamically interpret the role of kimonos relative to their own personal knowledge and experience.<\/p>\n\n\n\n

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Item #2<\/strong> – Modern \u2013 Kimonos Recontextualized: (Open access alternative<\/span>)
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Creator: Unspecified
Title: \u201cKimono from Honeymoon 1\u201d
Date: 2017
Period: Modern day
Medium: Digital Model Photography
Dimensions: 2632 x 3418 px
Repository: CUNY Fashion Studies Public Collection
Source: JSTOR
Credit: Queen\u2019s College, CUNY Fashion Studies Public Collection
URLs:https:\/\/www.jstor.org\/stable\/community.22327785 https:\/\/www.jstor.org\/stable\/community.22327786<\/p>\n\n\n\n

This diptych presents modernized renditions of the traditional Japanese kimono, blending Edo-period aesthetics with seemingly other Westernized influences. The left garment features intricate embroidery and classical Japanese motifs, alluding to traditional heritage with its structured silhouette and dramatic sleeves, while the right garment incorporates fluid fabric, emphasizing contemporary art and abstraction. The model\u2019s confident posture challenges historical depictions of women in kimonos, transforming the attire into a symbol of empowerment and modern identity. This notion of confidence is reinforced by virtue of the model\u2019s gaze. The gaze is directed upward symbolizing self-confidence and a certain self-authority. The way the light reflects off the model gives off a magical and angelic feeling. By merging traditional craftsmanship with avant-garde elements, the garments explore cultural hybridity, reflecting on how the kimono evolves as a canvas for individualism and also, feminist expression, in a globalized context beyond just Japan.
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Pair #1 Visual Comparison:<\/strong><\/p>\n\n\n\n

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Item #3<\/strong> – Traditional – Samurai Ensemble:<\/p>\n\n\n\n

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Creator: Unknown
Title of the Work: Armor (Gusoku)
Date: 19th century
Period: Edo
Medium: Iron, leather, lacquer, silk, copper alloy
Dimensions: as mounted, approx.: H. 77 in. (195.6 cm); W. 26 in. (66 cm); D. 16 1\/2 in. (41.9 cm)
Repository: The Metropolitan Museum of Art
Source: The Met online catalog
Credit: Rogers Fund, 1904
URL: https:\/\/www.metmuseum.org\/art\/collection\/search\/22020<\/figcaption><\/figure>\n\n\n\n

In this example, an armor stand supports a traditional samurai ensemble (referred to as Gusoku) from the Edo period that embodies the strength, dignity, and resilience which samurai traditionally protected and upheld. It is situated in an upright, commanding position, evoking an air of dignity and discipline. And yet the gaze is obscured by the strong helm piece which contrasts this notion of dignity and strong certainty or clarity. The craftmanship employed the usage of various natural resources such as iron, copper alloys, leather, animal fur, silk, and other linking components to bind it all together. These materials provide flexibility and maneuverability in action while also retaining the necessary defensive capabilities. The highlight of this piece is the conical helmet adorned with detailed motifs on the facemask and the polished dragon that floats atop the apex of the helmet, weaving its way between the V-shaped brass crest.<\/p>\n\n\n\n

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Item #4<\/strong> – Modern – Cloaked Ensemble:<\/p>\n\n\n\n

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Photographer Name: Dick Thomas Johnson (Tokyo, Japan)
Title of the Work: \u201cHarajuku Fashion Street Snap\u201d
Date Shot: October 08, 2017
Medium: Digital photograph (using a Canon EOS 5D Mark III)
Dimensions: 3072 \u00d7 2048 px (intrinsic size)
Image Location: Harajuku district\u2014Shibuya, Tokyo, Japan.
Repository: Photographer\u2019s collection (personal photograph)
Source: Flickr
Credit: Dick Thomas Johnson, photograph creator.
URL: https:\/\/www.flickr.com\/photos\/31029865@N06\/46649176021<\/figcaption><\/figure>\n\n\n\n

In this photo, urban city lights contrast the figure\u2019s dark hooded attire. The subject strikes an asymmetric stance, tilting his body weight onto his left foot, thereby grounding himself. His right leg expressively outstretches with fingertips resting atop his head, ultimately enshrouded by this ensemble\u2019s distinctive conical hood. The subject boasts an attire consisting of leather, black high-heeled boots, a royal blue under shirt and an accompanying vibrant green belt, which is seen wrapped around his stomach as a highlight to his darker collective attire. The pose, intense stare at the camera lens, and visual contrast in this image allude to the subject\u2019s assured self-confidence, individual pride, and diligent focus. Unlike the samurai ensemble item, this figure displays a potent gaze with unwavering clarity directly at the viewer which reinforced this reimagined sense of confidence that is expected of a samurai figure in a more traditional setting. These traits are in line with what a traditional Japanese samurai from the Edo period.<\/p>\n\n\n\n

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Pair #2 Visual Comparison:<\/strong><\/p>\n\n\n\n

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Item #5<\/strong> – Traditional \u2013 Male Gaze Fashion:<\/p>\n\n\n\n

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Creator: Nishikawa Sukenobu \u897f\u5ddd\u7950\u4fe1 (1671\u20131750)
Title of the Work: Courtesan with a Kitten
Date: early 18th century
Period: Edo period (1615\u20131868), probably Ky\u014dh\u014d era (1716\u201336)
Medium: Hanging scroll; ink, color, and gold on silk
Dimensions: Image: 13 1\/8 \u00d7 20 3\/4 in. (33.4 \u00d7 52.8 cm) Overall with mounting: 52 1\/4 \u00d7 26 3\/8 in. (132.7 \u00d7 67 cm) Overall with knobs: 52 1\/4 \u00d7 28 1\/2 in. (132.7 \u00d7 72.4 cm)
Repository: The Metropolitan Museum of Art
Source: The Met online catalog
Credit: Gift of Sue Cassidy Clark, in honor of Barbara Brennan Ford, 2020
URL: https:\/\/www.metmuseum.org\/art\/collection\/search\/752009<\/figcaption><\/figure>\n\n\n\n

This piece, framed with an elegant blue and gold border, captures an intimate setting where a courtesan is seated leisurely. Her arm rests on a table, a lacquered smoking tray sits in front of her, and a three-stringed shamisen lies beside her, a collared kitten clings to her attire near her chest, and presumably her male client is somewhere out of view. Similar to previous examples with traditional female fashion, her gaze is directed downward in a figuratively \u201cpassive and restricted\u201d manner. Her layered attire\u2014a vibrant red kimono with faux tie dyed patterns, a gray-patterned uchikake, and a white under-robe\u2014exemplifies the traditional beauty standards during this time period.<\/p>\n\n\n\n

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Item #6<\/strong> – Modern \u2013 Feminist Fashion Commentary: (Not open access<\/span> \u2013 no alternative for this item presently<\/em>)

Similar to a previous example, given that this image is not permissible to be showcased in this publication I will leave the link to view it for those who already have preexisting permission to access and view it:
https:\/\/www.jstor.org\/stable\/community.13580680<\/a><\/p>\n\n\n\n


Image label:<\/em>
Creator: Kusama, Yayoi, (1929-present)
Title of the Work: Driving Image show
Date Shot: 1964
Period: Post World War II
Medium: Gelatin silver print
Dimensions: 627×1024 px (digital size)
Repository: University of California, San Diego
Source: Artstor
Credit: Visual Arts Legacy Collection
URL: https:\/\/www.jstor.org\/stable\/community.13580680

This image depicts Kusama Yayoi herself, serving as a mannequin, standing on tattered wooden flooring, that holds up a dress covered in dried pasta. Behind her, a mass of phallic objects can be seen positioned around the environment in a deliberate state of disarray. The backdrop has a spotted wallpaper and the floor beneath Yayoi is constructed from hardwood. The article of clothing that is presented in this image is not designed to be worn but rather serves as a feminist commentary on the male gaze and how female fashion is often designed around this central notion of \u201cconsumption\u201d\u2014hence the pasta on her garbs. This shot of Yayoi and her dress challenges the viewers expectations and perception on traditional, male dominated, fashion standards.<\/p>\n\n\n\n

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`Pair #3 Visual Comparison<\/strong>` cannot be shown due to item #6 not being open access. However, please feel free to reach out to qdruck@conncoll.edu<\/span> for any questions that you may have about these items and I will be sure to circle back and address them.
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Initial Context<\/strong>: <\/strong>The exhibition will focus on this notion of the \u201c<\/em>gaze<\/strong>\u201d. It will employ the usage of mirrors as a conceptual and spatial device to emphasize the duality and interconnectedness between Edo period aesthetics and their contemporary reinterpretations. Mirrors, given their obvious symbolism of \u201dreflection\u201d, will serve to encourage viewers in considering how the past (<\/em>traditional) informs the present (<\/em>modern) and how traditional forms are sometimes reinterpreted via a modern lens.<\/em><\/p>\n\n\n\n

Exhibit Entrance<\/strong>: \u201cAn Anachronistic Mirror of Time\u201d<\/strong>
To kick things off, a flashy entrance will feature a mirrored archway of sorts with engraved motifs inspired by Edo-period patterns as well as contemporary geometric designs. A central statement stone plaque will be suspended from two anchor points above the arch and inscribed with the exhibition\u2019s title to greet whoever is intending to view the exhibit. There is no \u201chighlight\u201d per se in this exhibition, given that I will be showcasing items in pairs, so instead I elected to have a flashy entrance to the exhibition.<\/p>\n\n\n\n

1. The Exhibition Gallery Sections<\/strong>: Reflected Pairs in Contrast with One Another<\/strong>
Each pairing of art pieces will be displayed in opposition\u2014directly opposite each other\u2014which I hope will establish an almost surreal visual dynamic and dialogue between the two of them (contrasting the past with the present and reflected with mirrored\/stone walls surrounding each item).<\/p>\n\n\n\n