The Transformation of of Japanese Woodblock Prints’ Identity

$19.95

Add to cart
Essay #: 068065
Total text length is 13,904 characters (approximately 9.6 pages).

Excerpts from the Paper

The beginning:
Transformation of Japanese Woodblock Print Identity: From Context to Display
The purpose of this paper is to mount an argument for the following thesis: That the original aesthetic and utilitarian functions of the
Toyokuni
Woodblock Prints have been almost perfectly recreated in their museum display context. The argument hinges on the following two points: (a) That the
Tokoyuni
Woodblock Prints served a function as bourgeois goods in their original context and remain so now and (b) that appreciation of the
Tokoyuni
Woodblock Prints depended on an appreciation of various niceties of late eighteenth and early nineteenth century Japanese culture that the museum display preserves. In making this argument, the following points will be covered:...
The end:
.....source of possible critique is that the Van
Vleck
Collection has removed the prints from commercial circulation. These prints were meant to have a certain kind of mobility of which they have now been deprived. In a way, then, the museum display context can only be faulted for turning to semi-communal property what was meant to be private property, but then one must respect the fact that the prints’ original owners sold then to Van
Vleck
freely.
References
Ames, Michael A. Cannibal Tours and Glass Boxes: The Anthropology of Museums. Vancouver: University of British Columbia Press, 1992.
Information from the MOA Museum. “
Utagawa
Toyokuni
Woodblock Print.”
Mueller, Laura. “Establishing a Lineage: The
Utagawa
School and Japan’s Print Culture.”