Reflections: Writing Comics into Art History in Contemporary Japan

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Notes

1 In his art-sociological monograph Shakai to tsunagaru bijutsushi-gaku: Kingendai academism to media, goraku (Tokyo: Yoshikawa kobunkan, 2015), Ōta Tomoki describes the development of these collections (pp. 51–81).

2 Following Japanese, and Japanological, custom, Japanese names are given in the form of surname preceding given name without separation by comma. For the romanization of Japanese words, the revised Hepburn system is used. Accordingly, Japanese terms are given without “s” in the plural form.

3 Nihon bijutsu zenshū, dai-19kan: sengo – 1995 kakuchō suru sengo bijutsu, edited by Sawaragi Noi, Tokyo: Shogakukan, 2015.

4 Sawaragi Noi, “Yomigaeru »sengo bijutsu«: shikashi kono kuruma wa moto kita hōkō e hasshiteiru de wa nai ka”, in id., ed., 2015, pp. 183–184 [170–187]. The Japanese expression “postwar” (sengo) applies to a longer period than the immediate years following WWII, that is, usually from 1945 to 1989 (when the Shōwa emperor passed away).

5 Cf. Ronald Stewart, “Manga as Schism: Kitazawa Rakuten’s Resistance to «Old-Fashioned» Japan”, in Jaqueline Berndt & Bettina Kümmerling-Meibauer, eds, Manga’s Cultural Crossroads, New York: Routledge, 2013, pp. 27–49.

6 Miyamoto Hirohito, “The Formation of an Impure Genre: On the Origins of Manga”, transl. Jennifer Prough, Review of Japanese Culture and Society, Jōsai University, Tokyo, Vol XIV, December 2002, pp. 39–48.

7 Cf. Jaqueline Berndt, “Manga Studies #1: Introduction”, Comics Forum (academic website for Comics Studies, Leeds University), 2014. http://comicsforum.org/2014/05/11/manga-studies-1-introduction-by-jaqueline-berndt/ (last accessed 20 September 2016).

8 The discursive interrelation of manga and art (from premodern to contemporary) in manga criticism subsided after the 1960s. Exceptional for Japanese manga studies, Sasaki Minoru traces the history of panelling from a crosscultural and aesthetic point of view in Mangashi no kiso mondai: Hogarth, Töpffer kara Tezuka Osamu e, Tokyo: Office Helia, 2012. As for the discourse on manga traditions, cf. Jaqueline Berndt, “Permeability and Othering: The Relevance of »Art« in Contemporary Japanese Manga Discourse”, in Livia Monnet, ed., Approches critiques de la pensée japonaise du XXe siécle/Critical Readings in Twentieth Century Japanese Thought, Montréal: Les Presses de l’Université de Montréal, 2001, pp. 349–375, and “Drawing, Reading, Sharing: A Guide to the Manga Hokusai Manga Exhibition”, in Manga Hokusai Manga: Approaching the Master’s Compendium from the Perspective of Contemporary Comics, exh.cat., The Japan Foundation, 2016, pp. 3–38; https://www.academia.edu/22879183/HEAVY_FILE_Drawing_Reading_Sharing_A_Guide_to_the_Manga_Hokusai_Manga_Exhibition_ (last accessed 20 September 2016).

9 Cf. Sano Midori in conversation with Tsuji Nobuo, “Taidan: emaki no yūgisei to tanoshimikata”, in Iwasugi Junji, ed., Emakimono no kanshō kiso chishiki, Tokyo: Shibundō, 1995, p. 137 [pp. 132–144].

10 Yamashita Yūji, ed., Nihon bijutsu zenshū, dai-20kan: 1996 – genzai Nihon bijutsu no genzai, mirai, Tokyo: Shogakukan, 2015. This volume contains manga images from Okazaki Kyōko’s Helter Skelter (2003), Matsumoto Taiyō’s Ping Pong (Vol 5, 1997), and Araki Hirohiko’s JoJo’s Bizarre Adventures (JoJo no kimyōna bōken, part 6, 2003).

11 Itō Gō, “Manga to bijutsu no »aida«”, in Sawaragi, ed., 2015, pp. 195–198.

12 id., Tezuka izu deddo: Hirakareta manga hyōgenron e, Tokyo: NTT Publ., 2005.

13 Tan’o Yasunori, “Shinpojiumu hōkoku Bijutsushi kara manga o kangaeru”, Bijutsushi (Journal of the Japan Art History Society), #145, Vol 48, No 1, Oct. 1998, pp. 190–196.

14 Suzuki Masao, ed., Manga o ‘miru’ to iu taiken, Tokyo: Suiseisha, 2014.

15 Suzuki, “Shunkan wa sonzai shinai: mangateki jikan e no toi”, in id., ed., 2014, pp. 66–67 [57–86].

16 Scott McCloud, Understanding Comics, the Invisible Art, New York: Harper Perennial, 1994 (1993¹), p. 115.

17 Izumi Nobuyuki, Manga o meguru bōken 1, no place: Piano Fire Publ., 2008, pp. 39–44.

18 Suzuki, 2014, p. 82.

19 Kajiya Kenji, “Manga to bijutsu: Gendai bijutsu hihyō no shiten kara”, in Suzuki, ed., 2014, pp. 159–182; see also id., “Ishiko Junzō no chikakuron-teki tenkai: Manga hihyō o chūshin ni”, Bijutsu Forum 21, No 24, 2011, pp. 104–112.

20 Saitō Tetsuya, “Bunretsu suru frame: Surrealism ‘to’ manga”, in Suzuki, ed., 2014, p. 128 [123–156].

21 In Natsume Fusanosuke et al., Manga no yomikata, Tokyo: Takarajimasha, 1995, p. 209.

22 Tsuji Nobuo, “Early Medieval Picture Scrolls as Ancestors of Anime and Manga”, in Nicole Coolidge Rousmaniere, ed., Births and Rebirths in Japanese Art, Leiden: Hotei, 2001, p. 54 [53–82].

23 Tsuji Nobuo, “Tanioka manga no art-sei”, in Yasuji no mettametagaki dōkōza, Tokyo: Jitsugyō no Nihon-sha, 2004, pp. 282–285 [279–290].

24 Yamamoto Yōko, “Manga izen no Nihon kaiga no jikan to kūkan hyōgen: Manga no koma to no taihi ni oite”, Meisei daigaku kenkyū kiyō, No 12, March 2004, pp. 113–126. The article was reprinted together with others in id., Emaki no zuzōgaku: “E soragoto” no hyōgen to hassō, Tokyo: Bensei shuppan, 2012.

25 Yamamoto, 2004, p. 125.

26 Yamamoto, 2012, pp. ii, iv.

27 Cf. Berndt, 2014, pp. 28–32.