戦後の日本前衛書道と欧米抽象絵画における余白の概念について
- Submitting institution
-
The University of East Anglia
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 182640059
- Type
- C - Chapter in book
- DOI
-
-
- Book title
- 〈書の美学〉の伝統と変容
- Publisher
- Sangensha
- ISBN
- 9784883034055
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2016
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- -
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- This chapter is dedicated to the transcultural negotiations of the concept of artistic space between Japanese post-war calligraphers and Euro-American abstract painters. In particular I discuss the notion of negative space and its intertwining with the traditional Zen concept of blank space yohaku as a visual manifestation of Buddhist idea of Nothingness. Based on recordings of discussions between calligraphers and painters, I argue that in the 1950s the Zen concepts started to merge, visually and conceptually, with visual vocabulary of contemporary art, demonstrating how tools of premodern East Asian calligraphy both adapted and enriched global abstract art movements.