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This thesis is a supporting paper for three of my 3D animations created and presented for a Master of Fine Arts graduate exhibition. It discusses how the two realms of graphic design and 3D animation helped me to develop my heuristic techniques of creating animations. Using the three animations as examples, I make an attempt to explain how linear and figurative images influence each other in the creative process of creature/character development. I also discuss the various influences and cumulative explorations behind the imageries of animation. A brief discussion about Asian Indian aesthetic concepts and the general methodology of creating 3D animation using Alias|Wavefront Maya is also included.

京都大学 / 新制・課程博士 / 博士(文学) / 甲第25035号 / 文博第940号 / 新制||文||740(附属図書館) / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 横地 優子, 教授 VASUDEVASomdev, 教授 宮崎 泉 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DGAM

The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.

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<p>Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.</p><p>Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.</p><p>The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.</p>

This study is a comparative examination of the age, authorship and interpretation of aboriginal rock painting sites situated on the shores of the Churchill River of northern Saskatchewan and Manitoba. The twenty presently known sites were recorded in the years 1965, 1966, 1967 and 1969 by the author.<p>The study combines written descriptions of the sites and their settings with reproductions of the symbols found at each site. Techniques for recording and reproducing rock paintings, developed during the course of the field studies, are described.<p> Geographical and stylistic relationships of the paintings to other rock painting occurrences in the Canadian Shield are examined. Data derived both directly and indirectly from native Indian residents of the area is incorporated, along with historical observations on the occurrence and interpretation of the paintings.<p> Several sets of the Churchill River paintings are at least 150 to 200 years old, while others may be considerably more recent. Specific dates of origin cannot presently be assigned to most of the sites; the potential applicability of various dating techniques is discussed.<p> Evidence given supports an Algonkian (undoubtedly Cree) inspiration and authorship for these rock paintings, with religious observance being the basic motivation for their creation.

This study is a comparative examination of the age, authorship and interpretation of aboriginal rock painting sites situated on the shores of the Churchill River of northern Saskatchewan and Manitoba. The twenty presently known sites were recorded in the years 1965, 1966, 1967 and 1969 by the author.<p>The study combines written descriptions of the sites and their settings with reproductions of the symbols found at each site. Techniques for recording and reproducing rock paintings, developed during the course of the field studies, are described.<p> Geographical and stylistic relationships of the paintings to other rock painting occurrences in the Canadian Shield are examined. Data derived both directly and indirectly from native Indian residents of the area is incorporated, along with historical observations on the occurrence and interpretation of the paintings.<p> Several sets of the Churchill River paintings are at least 150 to 200 years old, while others may be considerably more recent. Specific dates of origin cannot presently be assigned to most of the sites; the potential applicability of various dating techniques is discussed.<p> Evidence given supports an Algonkian (undoubtedly Cree) inspiration and authorship for these rock paintings, with religious observance being the basic motivation for their creation.

In this dissertation, I chart the conflicting and shifting assertions of meaning for Northwest Coast objects in Canada through a series of representational projects implemented between 1922 and 1961, beginning in January 1922, with the prosecution by the Department of Indian Affairs of participants in the Cranmer potlatch. The intersection between the concept of the 'fatal impact' or death of First Nations societies under European modernization, federal assimilationist policies, the government's exercise of disciplinary control, and the expansion of public museum collections was explicitly illustrated when the Lekwiltok, Mamalillikulla, and the Nimpkish peoples surrendered over seventeen cases of ceremonial objects in exchange for suspended sentences for violating the potlatch ban. The dissertation concludes by examining the Gitanyow agreement, engineered between 1958 and 1961, in which Gitanyow laws, histories and territories would be published by the government of British Columbia in exchange for the removal and replication of four crest poles. The raising of the poles' replicas in 1961 coincided with Canadian parliament's approval of the enfranchisement of First Nations people, the theoretical end to the era of assimilation in Canada. These events bookend a period in which representation continued to be entwined with politica and social conditions created by the Indian Act that depended on promulgating views that First Nations lifeways were vanishing. However, production of Northwest Coast objects retained significance throughout this period, such objects playing complex and multifaceted roles. Because of the symbolic and financial value many Euro-Canadians attached to First Nations objects, "art" proved an avenue for communicating First Nations-related social, political and economic issues. The objects produced or displayed between 1922 and 1961 operated through the projects I describe in the intertwined transformative processes of identity construction and boundary marking among individual First Nations groups and within Canadian national identity. Through these projects, important steps were taken in formulating two major characteristics of the post-1960 period: 1. a burgeoning market in Northwest Coast objects constructed as "traditional;" and 2. First Nations activism for land claims and self-determination using "tradition" and "art" as a platform in activism for land claims and self-determination.

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