Organized Panel Session
The narrative of modern Japanese art history is usually structured around the development of media, such as painting, prints and ceramics. This panel seeks to reconsider the intermedial aspect of art production. In most cases, the media-crossings were in response to the expanding cultural market within and outside Japan since the late 19th century. Artists frequently redefined media and mixed ideas for refreshing visual effects. Eriko Tomizawa-Kay's paper analyzes the intertwined relationship between nihonga painting, channels of distribution and the growing number of middle-class collectors through the case study of Hishida Shunsō. Stephanie Su's paper explores the emerging model in the printing industry through the case study of Imao Keinen, who collaborated with the textile company to provide new designs, aiming to boost domestic and overseas sales. Kendall Brown investigates sheet music illustrations, which were designed to enhance sensory experiences and stimulate consumption desires. The above examples demonstrate productive interaction between art and commerce in different fields, constantly shaping the notion of art. But this relationship can be precarious. Meghen Jones's paper presents another case study of artists who intentionally challenged existing markets to pursue the shared value systems of Expressionism across media. Her example focuses on the 1911 exhibition organized by artists engaged in creative prints and ceramics who reconceptualized modern Japanese interiors. Together, these four papers reveal a complex and fluid relationship between art and market, between creativity and commerce, and between media and modernity in Japan and beyond.