| Creator |
|
| Language |
|
| Publisher |
|
|
|
| Date |
|
| Source Title |
|
| Vol |
|
| First Page |
|
| Last Page |
|
| Publication Type |
|
| Access Rights |
|
| Crossref DOI |
|
| Abstract |
In Japanese culture, the corpse in nine phases of disintegration is presented in certain visual and textual contexts as a locus for Buddhist contemplation. In pictorial representations this is called ...kusōzu. This essay questions conventional interpretations of contemporary artist Matsui Fuyuko’s paintings and sketches of kusōzu and related imagery as reworkings of premodern Buddhist depictions. It proposes an alternative cultural genealogy for her work and demonstrates that Matsui’s influences are more readily situated in depictions of anatomical dissection, the nude, and notions and images of self-mutilation or suicide. Of pivotal significance is the art of Itō Seiu, who casts Buddhist motifs in the aesthetic of eroguro (“erotic grotesque”). Presentations of aestheticized dismemberment and the gaze(s) galvanized by them are part of both kusōzu and eroguro imagery. The grotesque was an inherent element of modernity in Japanese visual culture.show more
|
| Table of Contents |
1.Introduction 2.Scriptural origins of Kusōzu genre and Japanese Kusōzu 3.Gender, Image Function, and Ways of Seeing 4.Kusōzu in Twentieth-century Japanese Visual Culture, and in Itō Seiu's Work 5.The Nude, the Classical and the Grotesque 6.Kusōzu and the Erotic-Grotesque 7.Matsui's Kusōzu Series 8.Conclusion
|
Export Mendeley
p015