2024-03-28T14:23:20Zhttps://kuscholarworks.ku.edu/oai/requestoai:kuscholarworks.ku.edu:1808/298622019-12-31T22:24:48Zcom_1808_1029com_1808_1260col_1808_14395col_1808_1951
The life and art of Ōtagaki Rengetsu
Johnson, Lee
Ōtagaki Rengetsu was a poetess, potter, calligrapher and painter. The aim of this thesis is to describe the general characteristics of her style in each of these fields, particularly those which give some insight into her personality. Since Rengetsu's artistic development is most clearly defined in the area of calligraphy, analysis of her calligraphic style and its change through time plays a key role in this paper. Previous scholarship has examined the development of Rengetsu's calligraphic line, but other elements such as composition of the lines and their placement have never been discussed in relation to her overall development. These elements reveal a distinct change between her works of her sixties and early seventies and those of the last ten years of her life. Another omission to scholarship has been in the area of signature analysis. Although charts have been published illustrating her signature at different ages, there has been little discussion of the development displayed in the signature. This paper will discuss the development of Rengetsu's signature which, except for some minor variations, does follow a clear progression and can be used to define different periods within her art.
University of Kansas
1988-12-31
Thesis
http://hdl.handle.net/1808/29862
https://kuscholarworks.ku.edu/bitstream/1808/29862/1/johnson_1988_1194622.pdf
63599b9aefdf168911d5d8f8ad79b66f
https://kuscholarworks.ku.edu/bitstream/1808/29862/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/29862/5/johnson_thesis_agreement_form.pdf
12a4d12d264d90b89ae9044c629c9ea9
https://kuscholarworks.ku.edu/bitstream/1808/29862/3/johnson_1988_1194622.pdf.txt
364fe058754002c251feca6ef171a8b5
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
oai:kuscholarworks.ku.edu:1808/107022020-08-13T13:43:26Zcom_1808_1029com_1808_1260col_1808_14395col_1808_1951
Postcolonial Architecture through North Korean Modes: Namibian Commissions of the Mansudae Overseas Project
Kirkwood, Meghan
Haufler, Marsha
Since the 1970s the North Korean design firm, the Mansudae Overseas Project, has completed commissions for public sculptures and buildings in eight different African nations. Though these commissions incorporate subject matter specific to their location, the works replicate an aesthetic that is distinctly North Korean. Examples of this visual parallel may be observed in iconic Mansudae works found in Windhoek, the capital of Namibia: the new Namibian State House (2006), the Heroes' Acre Memorial (2002) and the Independence Museum (under construction). This paper argues that the decision by Namibian leaders to award architectural tenders to the Mansudae Overseas Project was not based on economic concerns or preference for Mansudae designs, but was instead motivated by a desire to emulate the authority, cohesiveness and directed nature of a visual culture specific to Pyongyang. Here, the construction of Mansudae-designed buildings and monuments asserts a decisive break with architecture and memorials associated with colonial regimes, and in doing so foregrounds the authority and modernity of the postcolonial government. Thorough consideration of commissions of the Mansudae Overseas Project in urban capitals such as Windhoek expands the limited body of research on the establishment of a postcolonial vernacular in African urban settings.
University of Kansas
2011-05-31
Thesis
en
http://hdl.handle.net/1808/10702
https://kuscholarworks.ku.edu/bitstream/1808/10702/1/Kirkwood_ku_0099M_11463_DATA_1.pdf
c9524937343a2cf4f49a679b6189725d
https://kuscholarworks.ku.edu/bitstream/1808/10702/2/Kirkwood_ku_0099M_11463_DATA_1.pdf.txt
6580c35bd067b2a2f1d6a38d971d5cf1
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
Art history
Sub-saharan Africa studies
Asian studies
Architecture
Namibia
North Korea
oai:kuscholarworks.ku.edu:1808/241762018-01-31T20:07:52Zcom_1808_1029com_1808_1260col_1808_14395col_1808_1951
A Parade of Pictures: An Examination of the Illustrated Evolution of Gion Matsuri Throughout Japanese History
Miller, Sasha J.
Fowler, Sherry
This study of the Japanese festival known as Gion Matsuri examines a range of images, from seventeenth century painted screens of the capital and its environs to early twentieth century woodblock prints, based on their political and economic relationship with society. By viewing the illustrations through a political lens, in contrast to previous scholarship that focused on the religious evolution of the celebration, I show how the Japanese government utilized images of a traditional festival to bolster its authority over the city of Kyoto. Through iconographical and iconological analysis, I found that representations of the festival were directly tied to shifts in political eras throughout history and, in some cases, they functioned as false claims of prosperity. I also consider the impact Westernization had on the portrayal of the Matsuri. The incorporation of Western style features and imagery into the images aligns with the transformation of the festival from a religious celebration into a contemporary tourist and commercial holiday experience.
University of Kansas
2016-12-31
Thesis
en
http://hdl.handle.net/1808/24176
https://kuscholarworks.ku.edu/bitstream/1808/24176/2/Miller_ku_0099M_15014_DATA_1.pdf.txt
c5e0fd752d1d1df961937f472c5bccbf
https://kuscholarworks.ku.edu/bitstream/1808/24176/4/24176.pdf
d11c1326cda55486ec465ea31884d0e8
https://kuscholarworks.ku.edu/bitstream/1808/24176/1/Miller_ku_0099M_15014_DATA_1.pdf
626f302e34f1e646e61e2c7e6dc39745
Copyright held by the author.
Art history
Asian studies
Asian history
Gion Festival
Gion Matsuri
goryō
Kyoto
rakuchū rakugai zu
oai:kuscholarworks.ku.edu:1808/124842020-10-16T14:12:27Zcom_1808_1029com_1808_1260col_1808_14395col_1808_1951
The Kansas University Hours of the Virgin
Foster, Sharon L.
Stokstad, Marilyn
A Book of Hours in the Special Collections Department at the University of Kansas has been dated circa 1445, from the region of Langres. The manuscript, which is specifically an ''Hours of the Virgin," has been attributed to the workshop of the so-called Master of the Duke of Bedford. This group of miniaturists, active as late as the middle of the fifteenth-century in France, adhered to the stylistic traditions of this Bedford Master, who was so-named after two major works which he executed for John of Lancaster, Duke of Bedford and Regent of France (1422-1435). The purpose of this study is to establish a general attribution for these Kansas University miniatures and to place then in their proper historical setting.
University of Kansas
1965
Thesis
http://hdl.handle.net/1808/12484
https://kuscholarworks.ku.edu/bitstream/1808/12484/1/Foster_Hours_of_the_Virgin_Medium.pdf
b85ea5ae535df18607d9a616f3a8c350
https://kuscholarworks.ku.edu/bitstream/1808/12484/2/license.txt
c51a2a8181b7df93e55a9d6314ced7e1
https://kuscholarworks.ku.edu/bitstream/1808/12484/3/Foster_Hours_of_the_Virgin_Medium.pdf.txt
75d07ce51a07dbbb2e05096e19c59c24
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.