Professional Documents
Culture Documents
Doris Croissant
1
Ellen P. Conant, ed., Nihonga. Transcending the Past: Japanese-Style Painting, 1868-
1968 (St. Louis: The St. Louis Art Museum 1995); Victoria Weston, Japanese Painting
and National Identity: Okakura Tenshin and his Circle, (Ann Arbor: The Center for Japa-
nese Studies, The University of Michigan, 2004).
2
Sharon H. Nolte and Sally Ann Hastings, “The Meiji State’s Policy Toward
Women, 1890-1945,” in Gail Lee Bernstein, ed., Recreating Japanese Women, 1600-
1945 (Berkeley: The University of California Press, 1991), pp. 151-174
266 doris croissant
3
See the chapter by Melanie Trede in this volume.
4
See John Stevenson, Yoshitoshi’s Women. The Wooblock-print Series Fåzoku SanjånisÙ
(Seattle: University of Washington Press, revised edition, 1995), p. 6.
5
For an overview of bijinga, see Hamanaka Shinji, “Bijinga no tanjÙ, soshite
gen’ei” [The birth and origin of bijinga], in Yamatane Bijutsukan, ed., The birth of
Bijinga (Bijinga no tanjÙ) (Tokyo: Yamatane Museum of Art, 1997), pp. 6-19 and p. 63;
Helen Merritt, Nanako Yamada, eds., Woodblock Kuchi-e Prints: Reflections of Meiji Cul-
ture (Honolulu: University of Hawai’i Press, 2000), pp. 125-132.
6
Tsuruta Migiwa, “Bunten to bijinga” [Bunten and bijinga], in Yamatane Bijut-
sukan, ed., The Birth of Bijinga, pp. 160-168; see also Asahi Shinbun-sha ed., Kindai
Nihon gaka ga egaita rekishi to roman no josei-bi ten [Feminine beauty in history and ro-
mances as painted by modern Nihonga artists] (1989); and Nakamura Giichi, “Bijutsu
ni okeru sei to kenryoku—ratai-ga ronsÙ” [Power and sexuality in art—the dispute
on nude painting], in Nakamura Giichi, Nihon kindai bijutsu ronsÙ-shi [The history of
the dispute surrounding modern Japanese art] (Tokyo: KyåryådÙ Library, 1981),
pp. 57-93. See also the essay by Jaqueline Berndt in this volume.