Evolving visions of Japan: Tracing the transmission of knowledge and material culture between the national and the provincial in Britain (1860-1920)

日本不断演变的愿景：追踪英国国家和地方之间知识和物质文化的传播（1860-1920）

• 批准号: 2082143
• 金额: --
• 依托单位: Royal College of Art
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2082143
• 关键词: Evolving; visions; Japan; Tracing; transmission

Scholars have produced careful research around the V&A's Japanese collection (Earle, 1986; Irvine 2009, 2015), the material agency of objects and cultures of collecting that shaped late nineteenth century East-West relations (Guth 2004, Cheang, 2008), the V&A's Circulation Department post war (Weddell, 2016) and the significant presence of Japan in the industrial North-East (Conte-Helm, 1989). However, to date the material agency of Japanese artefacts outside the capital and the V&A's role in mediating this has been largely overlooked.Following self-imposed isolation, Japanese policies limiting export led to collections and knowledge based on relatively modern objects. This defined British displays of Japan during the 1860s as visual, rather than historicist, thus embodying the founding aim of the South Kensington Museum through 'the practical application of the principles of design in the graceful arrangement of forms and the harmonious arrangement of colours'. This study will consider the changing nature of public and privately arranged displays of Japanese material in light of new attention to "The value of a specimen as an instructive or educational implement...depend[ing] very much on the perfection of its display." (Ruschenberger, 1876). Drawing on ideas of transculturation, it will analyse Japanese material as a new, abstract aesthetic alongside interpretation contemporary to the time, in order to chart the changing nature of its agency through creative deployment in a Western Museum context, 1860-1920. This study will consider the institutionalising of practices and strategies in place at South Kensington, many of which are summarised in the Circulating Collections, as innovations of the Museum. Through a comparative analysis of two key collections it will chart the trajectory and transfer of Japanese material, from 1860 at the V&A to the point at which private-public and inter-institutional exchange coincide at the Laing Art Gallery, Newcastle, during the first two decades of the twentieth century. Newcastle was among the cities first receiving the South Kensington Museum's Circulating Collections, in 1856 and 1857 respectively. In this context, the founding aim of the Museum - for the 'benefit of manufacturers, artisans and the public in general' - took the form of classified displays of industrial art, of which, Japan featured in four: porcelain, japanned or lacquered work, basket work and miscellanea. Based on industrial expertise, cities like Newcastle formed direct relationships with Japan at a national level, generating an exchange of product and personnel and creating a local fascination for Japan. Disseminating the aims of the V&A through the physical object, the second objective of the Circulating initiative was to encourage the formation of art museums. The condition of supplementing displays with private local loans was particularly apposite at the Laing, which opened in 1904 without a founding collection. The V&A lent items of industrial design to the Laing's inaugural exhibition, after which time the Laing became Newcastle's tour venue for the V&A's circulation, with material almost always on loan from this scheme and to Laing-curated exhibitions. As such, loans and gifts of Japanese material were a significant feature of discussions and displays from the Laing's inception. Research will be based primarily on, but not limited to, the Japanese collections at the V&A, and the unstudied Japanese collection at the Laing Art Gallery, Newcastle. The project will draw on the V&A's collection (Asia Department), Archive (Circulation, loan and acquisition records), National Art Library (exhibition and auction catalogues), the Laing's, and other collections and archives.

学者们对V&A博物馆的日本藏品（Earle, 1986; Irvine 2009, 2015）、塑造了19世纪后期东西方关系的物品和收藏文化的物质代理（Guth 2004, Cheang, 2008）、V&A博物馆战后的流通部门（Weddell, 2016）以及日本在工业东北的重要存在（Conte-Helm, 1989）进行了仔细的研究。然而，迄今为止，东京以外的日本文物的实物代理机构和V&A在调解这一问题上的作用在很大程度上被忽视了。在自我封闭之后，日本限制出口的政策导致了以相对现代的物品为基础的收藏和知识。这定义了19世纪60年代英国对日本的展示是视觉的，而不是历史主义的，因此通过“在优雅的形式安排和和谐的色彩安排中实际应用设计原则”体现了南肯辛顿博物馆的创始目标。这项研究将考虑公开和私人安排的日本材料展示的变化性质，根据新的关注“标本作为教育或教育工具的价值……在很大程度上取决于其展示的完美性。”(Ruschenberger, 1876)。利用跨文化的思想，它将分析日本材料作为一种新的，抽象的美学，同时解释当代的时间，以便通过在1860-1920年西方博物馆背景下的创造性部署来绘制其代理机构的变化性质。本研究将考虑南肯辛顿的实践和策略的制度化，其中许多都总结在循环收藏中，作为博物馆的创新。通过对两个重要藏品的比较分析，它将描绘出日本材料的发展轨迹和转移，从1860年的V&A到20世纪头20年纽卡斯尔Laing艺术画廊私人-公共和机构间交流的巧合。纽卡斯尔分别于1856年和1857年成为首批接收南肯辛顿博物馆流通藏品的城市之一。在这种背景下，博物馆的成立目标——为了“制造商、工匠和公众的利益”——采取了工业艺术分类展示的形式，其中日本有四种：瓷器、日本漆或漆器、篮子和杂项。基于工业专长，像纽卡斯尔这样的城市在国家层面上与日本建立了直接的关系，产生了产品和人员的交流，并使当地对日本产生了迷恋。通过实物传播V&A博物馆的宗旨，循环计划的第二个目标是鼓励艺术博物馆的形成。在1904年开幕的莱恩博物馆，用当地私人借来的藏品来补充展览的条件尤为合适。V&A将工业设计的物品借给了Laing的首次展览，之后，Laing成为了V&A在纽卡斯尔的巡回展览场所，这些材料几乎总是从这个方案和Laing策划的展览中借来的。因此，日本材料的出借和赠予从博物馆成立之初就成为讨论和展示的重要特征。研究将主要基于（但不限于）V&A博物馆的日本藏品，以及纽卡斯尔莱恩美术馆（Laing Art Gallery）未经研究的日本藏品。该项目将利用V&A博物馆的藏品（亚洲部）、档案馆（流通、借阅和收购记录）、国家艺术图书馆（展览和拍卖目录）、莱恩博物馆（Laing’s）以及其他藏品和档案。