INAGA Shigemi \u7a32\u8cc0\u7e6b\u7f8e (\u00e9d.), Dent\u00f4 k\u00f4gei saik\u00f4, miyako no uchisoto : kako hakkutsu, genj\u00f4 bunseki, sh\u00f4rai tenb\u00f4<\/em>,\n \u4f1d\u7d71\u5de5\u85dd\u518d\u8003\u30fb\u4eac\u306e\u3046\u3061\u305d\u3068 : \u904e\u53bb\u767a\u6398\u30fb\u73fe\u72b6\u5206\u6790\u30fb\u5c06\u6765\u5c55\u671b (\u00ab La renaissance des arts et artisanats\n traditionnels, dans et hors de Ky\u00f4to : red\u00e9couverte du pass\u00e9, analyse \ndu pr\u00e9sent, perspectives d\u2019avenir \u00bb), Ky\u00f4to, Shibunkaku shuppan \u601d\u6587\u95a3\u51fa\u7248, \n2007 ; 463 p. CHARRIER Isabelle, La Peinture japonaise contemporaine de 1750 \u00e0 nos jours, Besan\u00e7on<\/em>, La Manufacture, 1991, 197 p. HIROSE Midori, L\u2019influence r\u00e9ciproque entre la France et le Japon dans l\u2019industrie textile pendant l\u2019\u00e8re Meiji<\/em>,\n th\u00e8se sous la direction de J.J. Tschudin soutenue \u00e0 l\u2019universit\u00e9 \nParis-Diderot , publi\u00e9e \u00e0 Lille, Atelier national de Reproduction des \nTh\u00e8ses, 2003. CHARRIER Isabelle, \u00ab La r\u00e9action nationaliste dans les milieux artistiques \u00bb, in HAMON Claude et TSCHUDIN Jean- Jacques, La Nation en marche, \u00e9tudes sur le Japon imp\u00e9rial de Meiji<\/em>, Arles, \u00e9ditions Philippe Picquier, 1999, p.163-180. CONANT Ellen, Nihonga, Transcending the past : Japanese-style painting, 1868-1968<\/em>. Bibliographie \u00e9tablie par Arthur MITTEAU<\/p>\n","protected":false},"excerpt":{"rendered":" Compl\u00e9ment : Etudes en langue japonaise INAGA Shigemi \u7a32\u8cc0\u7e6b\u7f8e (\u00e9d.), Dent\u00f4 k\u00f4gei saik\u00f4, miyako no uchisoto : kako hakkutsu, genj\u00f4 bunseki, sh\u00f4rai tenb\u00f4, \u4f1d\u7d71\u5de5\u85dd\u518d\u8003\u30fb\u4eac\u306e\u3046\u3061\u305d\u3068 : \u904e\u53bb\u767a\u6398\u30fb\u73fe\u72b6\u5206\u6790\u30fb\u5c06\u6765\u5c55\u671b (\u00ab La renaissance des arts et artisanats traditionnels, dans et hors de Ky\u00f4to : red\u00e9couverte du pass\u00e9, analyse du… Lire la suite<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[263],"tags":[],"class_list":["post-17","post","type-post","status-publish","format-standard","hentry","category-bibliographies"],"_links":{"self":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/17","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17"}],"version-history":[{"count":1,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/17\/revisions"}],"predecessor-version":[{"id":18,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/17\/revisions\/18"}],"wp:attachment":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nKANBAYASHI Tsunemichi \u795e\u6797\u6052\u9053, Kindai Nihon \u00ab bigaku \u00bb no tanj\u00f4<\/em> \n\u8fd1\u4ee3\u65e5\u672c\u300e\u7f8e\u5b66\u300f\u306e\u8a95\u751f (\u00ab La naissance de l\u2019\u00a0\u00bbesth\u00e9tique\u00a0\u00bb dans le Japon moderne \u00bb), \nTokyo, Kodansha(collection gakujutsu bunko), 2006, 317 p.
\nKINOSHITA Naoyuki \u6728\u4e0b\u76f4\u4e4b, Bijutsu to iu mise mono <\/em> \u7f8e\u8853\u3068\u3044\u3046\u898b\u305b\u7269 (\u00ab Cet objet de spectacle d\u00e9nomm\u00e9 \u00ab\u00a0art \u00a0\u00bb \u00bb), T\u00f4ky\u00f4, Heibon-sha \u5e73\u51e1\u793e, 1993, 401 p.
\nKITAZAWA Noriaki \u5317\u6ca2\u61b2\u662d, Me no Shinden. \u00ab bijutsu \u00bb juy\u00f4-shi n\u00f4to<\/em>. \n\u76ee\u306e\u795e\u6bbf\u2015\u300c\u7f8e\u8853\u300d\u53d7\u5bb9\u53f2\u30ce\u30fc\u30c8, (\u00ab le Temple de l\u2019OEil. Notes pour une histoire de la \nr\u00e9ception de l\u2019\u00a0\u00bbart\u00a0\u00bb au Japon \u00bb). T\u00f4ky\u00f4, Bijutsu shuppansha \u7f8e\u8853\u51fa\u7248\u793e, 1989,\n 338 p.
\nNAKAMURA Giichi \u4e2d\u6751\u7fa9\u4e00 Nihon kindai bijutsu rons\u00f4-shi<\/em> \u65e5\u672c\u8fd1\u4ee3\u7f8e\u8853\u8ad6\u4e89\u53f2 (\u00ab Histoire des pol\u00e9miques dans l\u2019art moderne japonais \u00bb). T\u00f4ky\u00f4, Ky\u00fbry\u00fbd\u00f4 \u6c42\u9f8d\u5802, 1982, 2 volumes.
\nTAKI Teiz\u00f4 \u7027\u608c\u4e09, Nihon kindai bijutsu jikenshi <\/em> \u65e5\u672c\u8fd1\u4ee3\u7f8e\u8853\u4e8b\u4ef6\u53f2, (\u00ab Histoire \u00e9v\u00e9nementielle de l\u2019art moderne japonais \u00bb). \u00d4saka, T\u00f4h\u00f4 shuppan \u6771\u65b9\u51fa\u7248, 1993, 447 p.
\nSAT\u00d4 D\u00f4shin \u4f50\u85e4\u9053\u4fe1 ; Nihon Bijutsu Tanj\u00f4<\/em> \u300e\u65e5\u672c\u7f8e\u8853\u300f\u8a95\u751f (\u00ab La Naissance de l\u2019\u00a0\u00bbart japonais\u00a0\u00bb \u00bb), T\u00f4ky\u00f4, K\u00f4dansha \u8b1b\u8ac7\u793e, 1996, 244 p.<\/p>\n\n\n\nSources en langue occidentale : ouvrages collectifs, histoires et monographies<\/strong><\/h3>\n\n\n\n
\nCONANT Ellen (dir.), Challenging Past and Present \u2013 the Metamorphosis of 19th Century Japanese Art<\/em>, Honolulu, University of Hawaii Press, 2006, 292 p.
\nFOXWELL Chelsea, Making Modern Japanese-Style Painting : Kano H\u014dgai and the
\nSearch for Images<\/em>, Chicago\/Londres, University of Chicago Press, 2015, 281 p.
\nGUTH Christine, Art, Tea and Industry : Masuda Takashi and the Mitsui Circle, <\/em> Princeton, Princeton U.P., 1993, 231 p.
\nLUCKEN Michael, L\u2019Art du Japon au XXe si\u00e8cle : pens\u00e9e, forme, r\u00e9sistances<\/em>. Paris, Hermann,2001, 270 p.
\nLUCKEN Michael. Les fleurs artificielles : cr\u00e9ation, imitation et logique de domination<\/em>, Paris, Presses de l\u2019Inalco, 2016, 278 p.
\nMARRA Michael F. (ou Michele) (dir.), A History of Modern Japanese Aesthetics, Honolulu<\/em>, University of Hawaii Press, 2003, 398 p.
\nRIMER J. Thomas et MCCALLUM Toshiko M. (\u00e9d.) Since Meiji : Perspectives on the Japanese Visual Arts, 1868-2000<\/em>, Honolulu, University of Hawaii Press, 2012.
\nTSENG Alice, The Imperials Museums of Meiji Japan : Architecture and the Art of the Nation<\/em>. Seattle, University of Washington Press, 2008, 285 p.
\nWESTON Victoria, Japanese Painting and National Identity : Okakura Tenshin and his
\ncircle<\/em>. Ann Arbor, Center for Japanese Studies, The University of Michigan, 2004, 322 p.<\/p>\n\n\n\nTh\u00e8ses<\/h3>\n\n\n\n
\nMARQUET Christophe, Le Peintre Asai Ch\u00fb (1856-1907) et le Monde des arts \u00e0 l\u2019\u00e9poque Meiji<\/em>. Th\u00e8se de doctorat, sous la direction de J.J. Origas, Paris, INALCO, 1995,784+104 p.<\/p>\n\n\n\nArticles<\/strong><\/h3>\n\n\n\n
\nGUTH Christine, \u00ab Kokuh\u00f4, from dynastic to artistic treasures \u00bb, in Cahiers d\u2019Extr\u00eame-Asie<\/em>, N\u00b09, Paris, 1996, p. 313 \u2013 322.
\nGUTH Christine, \u00ab Meiji Response to Bunjinga \u00bb, in CONANT Ellen P., Challenging Past and Present \u2013 the Metamorphosis of 19th Century Japanese Art<\/em>, Honolulu, University of Hawaii Press, 2006. p. 177-193.
\nINAGA Shigemi, \u00ab Un destin de pens\u00e9e : l\u2019impact d\u2019Okakura Kakuz\u00f4 \n(Tenshin) sur le d\u00e9veloppement de l\u2019histoire de l\u2019art en Inde et au \nJapon au d\u00e9but du XXe si\u00e8cle. \u00bb in MONNET Livia, Approches critiques de la pens\u00e9e japonaise du XXe si\u00e8cle<\/em>, Montr\u00e9al, P.U. de Montr\u00e9al, 2001, p. 329-348.
\nINAGA Shigemi, \u00ab Cognitive Gaps in the Recognition of Masters and \nMasterpieces in the Formative Years of Japanese Art History 1880-1900 \u00bb,\n In MARRA Michael. F. (dir.), Japanese Hermeneutics : Current Debates on Aesthetics and Interpretation<\/em>, Honolulu, University of Hawaii Press, 2002, p. 115-126.
\nLUCKEN Michael, \u00ab L\u2019\u00e9volution du statut de l\u2019oeuvre d\u2019art au d\u00e9but du \nXXe si\u00e8cle au Japon \u00e0 travers les expositions et les soci\u00e9t\u00e9s d\u2019art \u00bb, \nin BLANCHON Flora, La Question de l\u2019art en Asie Orientale<\/em>, Paris, PUPS, 2008, p.133-149.
\nMARQUET Christophe, \u00ab Conscience patrimoniale et \u00e9criture de l\u2019histoire \nde l\u2019art national \u00bb, in HAMON Claude et TSCHUDIN Jean- Jacques, La Nation en marche, \u00e9tudes sur le Japon imp\u00e9rial de Meiji<\/em>, Philippe Picquier, Arles, 1999, p. 143-162.
\nMARQUET Christophe, \u00ab Le Japon moderne face \u00e0 son patrimoine artistique \u00bb, in Cipango<\/em> ; hors-s\u00e9rie \u00ab Mutations de la conscience dans le Japon moderne \u00bb, Paris, INALCO-CEJ, printemps 2002, p. 243-304.
\nMARQUET Christophe, \u00ab D\u00e9fense et illustration de l\u2019art national \u00e0 la fin\n du XIXe si\u00e8cle : la cr\u00e9ation de la revue Kokka \u00bb, compte rendu d\u2019une \nsession d\u2019\u00e9tude du CEEJA (2001 – 2003), Aurillac, Presses Orientalistes \nde France, 2005, p. 289-314.
\nSHIRANE Haruo, \u00ab Issues in Canon Formation \u00bb, in SHIRANE Haruo et SUZUKI Tomi, Inventing the Classics : modernity, national identity and Japanese literature<\/em>. Stanford, Stanford University Press, 2000, p. 1-31.<\/p>\n\n\n\nCatalogues<\/h3>\n\n\n\n
\nSaint Louis (Mo)\/ Toky\u00e0, Mus\u00e9e d\u2019art de Saint Louis (Mo)\/ Japan Foundation, 1995, 351 p.
\nMus\u00e9e des arts de Los Angeles (Los Angeles County Museum of Art), Museum\n national de Tokyo (T\u014dky\u014d Kokuritsu Hakubutsukan), Nihon H\u014ds\u014d Ky\u014dkai, \nNHK Purom\u014dshon, Mus\u00e9e municipal des arts d\u2019\u00d4saka (\u00d4saka Shiritsu \nBijutsukan), et Mus\u00e9e municipal de Nagoya (Nagoya-shi Hakubutsukan), Japan Goes to the World\u2019s Fairs : Japanese Art at the Great Expositions in Europe and the United States, 1867-1904<\/em>, Los Angeles (Ca), LACMA, Tokyo National Museum, NHK, 2005, 144 p.
\nNaikoku kangy\u00f4 hakurankai \u2013 Meiji bijutsu no makuake<\/em> \n\u5185\u56fd\u52e7\u696d\u535a\u89a7\u4f1a\u30fb\u660e\u6cbb\u7f8e\u8853\u306e\u5e55\u958b\u3051, (\u00ab Les Expositions Nationales pour l\u2019Encouragement de \nl\u2019Industrie – Lever de rideau pour l\u2019art de l\u2019\u00c8re Meiji \u00bb), Tokyo, \nSannomaru sh\u00f4z\u00f4kan \u4e09\u306e\u4e38\u5c1a\u8535\u9928 (\u00ab Mus\u00e9e des Collections Imp\u00e9riales \u00bb), 2012, \n87 p.
\nT\u014dky\u014d geijutsu daigaku, daigaku bijutsukan \u6771\u4eac\u85dd\u8853\u5927\u5b66. \u5927\u5b66\u7f8e\u8853\u9928 (Mus\u00e9e de
\nl\u2019Universit\u00e9 des Beaux-Arts de Tokyo), et Nagoya Bosuton Bijutsukan \u540d\u53e4\u5c4b\u30dc\u30b9\u30c8\u30f3\u7f8e\u8853\u9928 (Mus\u00e9e des Beaux-Arts de Nagoya-Boston), (\u00e9d.), Daburu Impakuto : Meiji Nippon no bi <\/em> \u30c0\u30d6\u30eb\u30fb\u30a4\u30f3\u30d1\u30af\u30c8 : \u660e\u6cbb\u30cb\u30c3\u30dd\u30f3\u306e\u7f8e : \u30dc\u30b9\u30c8\u30f3\u7f8e\u8853\u9928x \u6771\u4eac\u85dd\u8853\u5927\u5b66 (Double impact : the art of Meiji Japan<\/em>),\n Tokyo, Geidai Bijutsukan My\u016bjiamu Shoppu : Rokumonsha \u85dd\u5927\u7f8e\u8853\u9928\u30df\u30e5\u30fc\u30b8\u30a2\u30e0\u30b7\u30e7\u30c3\u30d7 :\n \u516d\u6587\u820e (Rokumonsha, presses du Mus\u00e9e de l\u2019Universit\u00e9 des Beaux-Arts de \nTokyo) , 2015, 199 p.<\/p>\n\n\n\n