A la fin du XIXe siècle et au début du XXe siècle, les artistes japonais s’installant à Paris sont peu nombreux. Cependant, après la Première Guerre mondiale, à partir de 1920, un grand nombre d’artistes japonais arrivent en France. Au total deux cent huit artistes japonais ont figuré dans les Salons parisiens durant la décennie entre 1920 et 1929. La plupart de ces artistes choisissent comme lieu de résidence le quartier de Montparnasse. A cette époque à Paris, dans le milieu des artistes travaillant la peinture à l’huile, dite « yô-ga », nous pouvons distinguer trois courants : Le premier circule autour de Foujita Tsugouharu, artiste de renom associant la peinture occidentale et l’art traditionnel du Japon. Le second regroupe un certain nombre de jeunes artistes, dont Saeki Uzo, attirés par la peinture occidentale et la peinture moderne de Montparnasse. Le troisième courant est de nature académique : dans la lignée de Kuroda Seiki, les artistes suivent l’enseignement des Académies parisiennes. D’autres artistes choisissent la voie d’un art plus indépendant, à l’instar de Tanaka Yasushi, Hasegawa Kiyoshi ou bien Oka Shikanosuke, mais leur nombre reste limité, comme par ailleurs ceux exerçant la technique de la peinture japonaise, dite « nihon-ga », et également ceux pratiquant la sculpture, la gravure, la laque et la tenture. Le résultat suite au dépouillement mené dans les centres de documentation et les fonds photographiques au Japon et en France prouve l’importance de la présence des artistes japonais sur la scène artistique à Paris durant les années 1920 et permet de comprendre les motivations et créations de ces artistes. / During the end of the 19th century and the beginning of the 20th century, not many Japanese artists settled in Paris. However, after the First World War, starting from 1920, a large number of Japanese artists arrived in France. In total two hundred and eight Japanese artists appeared in Parisian Salons during the decade between 1920 and 1929. Most of these artists choose Montparnasse district as their residence. In Paris those days, amongst artists who worked on oil painting called « yô-ga » we can distinguish three movements. The first circulated around Fujita Tsuguharu, a renowned artist who associated the Western painting and the traditional Japanese art. The second gathered a certain number of young artists, such as Saeki Yuzo, who were attracted by the Western painting and the modern painting of Montparnasse. The third movement was of an academic nature: as Kuroda Seiki did, artists were following the teaching of Paris Academies. Other artists choose the route of a more independent art, following the examples of Tanaka Yasushi, Hasegawa Kiyoshi or Oka Shikanosuke, but the number of these artists remains limited, same as those who practiced the technique of Japanese painting, i.e. « Nihon-ga », and also those who practiced sculpture, engraving, lacquer painting, and hangings. The result of going through the data of the documentation centres and photography funds in Japan and in France proves the importance of the presence of Japanese artists on the artistic scenes in Paris during the 1920’s and allows us to comprehend the motives and creations of these artists.

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Ohno Yoshito iniciou sua carreira com a obra Kinjiki (Cores proibidas), considerada a primeira performance de butoh, criada por Hijikata Tatsumi, em 1959, de quem se tornou discípulo durante a década de 1960. Posteriormente, tornou-se o principal parceiro de seu pai, Ohno Kazuo, com quem trabalhou por mais de três décadas. Da parceria com os fundadores do butoh surgiu o espetáculo Hana to Tori: mirai no watashi e no tegami (Flor e pássaro: uma carta para meu futuro eu), de 2013, primeira obra solo de Ohno Yoshito após a morte de Ohno Kazuo, em 2010. Assim, a presente pesquisa, ao traçar a trajetória de Ohno Yoshito junto ao desenvolvimento do butoh no Japão, traça um panorama dos anos iniciais que o levaram até a obra Kinjiki, assim como do período em que se estabeleceu o ankoku butoh (dança da escuridão) por Hijikata Tatsumi, fundamental na formação artística de Ohno Yoshito. Em seguida, debruça-se sobre a reconstrução de Admirando La Argentina, obra prima de seu pai, de 1977, refeita por Ohno Yoshito e parte de sua obra Hana To Tori. / Ohno Yoshito began his career with the work \"Kinjiki\" (Forbidden Colors), considered the first butoh performance, created by Hijikata Tatsumi in 1959, of whom he became a disciple during the 1960s. Subsequently, he became the main partner of his father, Ohno Kazuo, with whom he worked for more than three decades. From the partnership with the founders of butoh, the play \"Hana to Tori: mirai no watashi e no tegami\" (Flower and bird: a letter to my future self) of 2013, Ohno Yoshito\'s first solo work after the death of Ohno Kazuo, in 2010. Thus, the present research, tracing Ohno Yoshito\'s trajectory with the development of the butoh in Japan, gives an overview of the initial years that led to the work \"Kinjiki\", as well as the period in which the ankoku butoh (dance of darkness) by Hijikata Tatsumi, fundamental in the artistic training of Ohno Yoshito. He then looks at the reconstruction of \"Admirando La Argentina\", his father\'s masterpiece, 1977, remade by Ohno Yoshito and part of his work \"Hana to Tori\".

Este estudo pretende investigar a pluralidade observada no trabalho do artista contemporâneo japonês Takashi Murakami (1962-), discutindo como a sua atuação em diversas áreas está diretamente ligada ao seu desenvolvimento artístico e fazer poético. No primeiro capítulo, construiremos um panorama sobre o mercado de arte, apresentando alguns dos principais agentes e eventos que o constituem e o movimentam. A compreensão deste cenário possibilita adentrarmos com mais clareza sobre as variadas ações de Murakami durante o segundo capítulo. Tomando o conceito de artista-etc do artista e crítico brasileiro Ricardo Basbaum (1961-) como ponto de partida, começaremos a perceber que parcerias em moda e design, assim como trabalho de galerista, colecionador e empreendedor, são papéis que Murakami desempenha em busca de respostas ligadas à sua indagação sobre a arte. A complexidade do artista também é vista no seu desenvolvimento estético, que constitui o terceiro capítulo deste texto. Por meio do mapeamento de suas obras realizadas e artistas que o instigaram desde a sua formação na faculdade, encontraremos um repertório diverso, iniciado com a prática de nihonga. A insatisfação com essa linguagem levou Murakami por uma série de experimentações, antes de desenvolver o super flat conceito pelo qual ele é reconhecido no âmbito mundial. A projeção internacional conquistada proporcionou ao artista seguir expandindo a sua pesquisa, por meio da sua parceria com o professor e historiador de arte Nobuo Tsuji (1932-) na qual trabalha o resgate de alguns nomes da arte japonesa ainda pouco estudados fora (e até mesmo dentro) do Japão. Espera-se que, a partir da leitura sobre Murakami apresentada neste trabalho, possa-se contribuir para as discussões sobre arte contemporânea e japonesa. / This study aims to investigate the plurality observed in the work of contemporary Japanese artist Takashi Murakami (1962-), discussing how his work in various areas is directly linked to his artistic and to make poetic development. In the first chapter, we will construct a panorama on the art market, presenting some of the main agents and events that constitute and move it. Understanding this scenario makes it possible to delve more clearly into Murakami\'s various actions during the second chapter. Taking the \"artista-etc\" [artist-etc] concept of the Brazilian artist and critic Ricardo Basbaum (1961-) as a starting point, we will begin to realize that partnerships in fashion and design, as well as the work of gallerist, collector and entrepreneur, are roles that Murakami plays in search of answers linked to his inquiry about art. The complexity of the artist is also seen in his aesthetic development, which is the third chapter of this text. Through the mapping of his accomplished works and artists who have instigated him since his formation in college, we will find a diverse repertoire, started with the practice of nihonga. The dissatisfaction with this language led Murakami through a series of experiments, before developing the super flat concept by which he is recognized worldwide. The international projection gained allowed the artist to continue to expand his research, through his partnership with Professor and Art Historian Nobuo Tsuji (1932-) in which he works to rescue some Japanese names of Japanese art that have yet been little-studied outside (and even within) Japan. It is hoped that, from the reading about Murakami presented in this work, one can contribute to the discussions on contemporary and Japanese art.

Entre les années 1600 et 1750 au Japon, de nombreux manuscrits enluminés (Nara ehon et Nara emaki) ont été produits. Ils ont néanmoins fait l’objet d’assez peu de recherches. Cette thèse aborde ce genre en trois temps, à travers l’étude d’un récit, le « Récit de Bunshô » (Bunshô sôshi). Nous considérons d’abord le processus d’élaboration de ces œuvres. Peints par des artisans anonymes, les rouleaux et les codex enluminés sont parfois signés de leur calligraphe ou portent un sceau de boutique. Travaillant pour des boutiques concurrentes, calligraphes et peintres ne forment pas véritablement avec ces dernières un atelier. Les boutiques peuvent également agir comme les maîtres d’œuvre en coordonnant les peintres et les calligraphes. Il a été souvent dit que les rouleaux et les codex enluminés ont été élaborés pour faire partie de trousseaux de mariage (yomeiri-bon). En confrontant les sources historiques aux œuvres conservées, nous soulignons, dans la seconde partie, que cette affirmation est loin de se vérifier. Enfin, nous consacrons un développement à l’évolution de l’iconographie du Bunshô sôshi. Histoire de l’élévation sociale d’un saunier et romance amoureuse entre la fille de ce dernier et un aristocrate, le Bunshô sôshi comporte des scènes problématiques du point de vue de l’échelle sociale. Ces manuscrits comportent également des images spécifiques représentant le jeune héros aristocrate comme un personnage androgyne (wakashu), en combinaison avec des compositions génériques qui rappellent d’autres récits.Ce travail constitue une première synthèse des recherches sur ces rouleaux et livres enluminés en français. / In the years between 1600 and 1750 AC, many anonymous illuminated handscrolls and manuscripts were produced in Japan, which are now collected under the name of Nara Ehon and Nara Emaki. Although they are very numerous, very few is known about them. This study is focused on those related to the tale of Bunshô (Bunshô sôshi) and proceeds in three steps.First, it examines the making process of these scrolls and manuscripts. Although the painters remained anonymous, a calligrapher's signature or the seal of a painting shop can sometimes be found. Calligrapher and painters could be working for several rival shops. Painting shops did not only sell painted scrolls or illuminated manuscripts, but worked the connections between the calligrapher and the painters as well.Then, our study reconsiders the place of illuminated scrolls and manuscripts in marriages' dowries, called yomeiri-bon. From what we know about marriages through historical sources and the surviving illuminated manuscripts, it can be stressed that very few manuscripts can be considered as yomeiri-bon.Finally, an analysis of Bunshô Sôshi's iconography throughout the years says a lot about how this tale was understood. As it tells about social ascension and how a saltmaker's daughter and an aristocrat lived a romance together, there is in this tale some problematic scenes, where the social scale is turned upside down. Also, specific compositions with an androgenic character (wakashu) as the hero are employed with more generic compositions echoing other stories as well.The present study represents a first extensive summary in French about those illuminated manuscripts.

Em uma época em que o pensamento científico, voltado para a máxima produtividade e o maior lucro possível, já dominava a humanidade, audaciosamente, Kakuzō Okakura, pensador e historiador de arte japonês do período Meiji (1868-1912) coloca-se contra esse domínio e postula a defesa da arte genuína, que transcende a lógica vigente. Atuando, num primeiro momento, em nome do governo japonês e, posteriormente, de maneira independente, Okakura lutou pelo reconhecimento do valor da arte nipônica perante a comunidade internacional, chegando a publicar três obras sobre o assunto em inglês. Trabalhou também em solo norte-americano, no Museu de Belas-Artes de Boston, como responsável pelo Departamento de Artes Chinesa e Japonesa. Dando sequência ao seu ideal, Mokichi Okada, religioso, artista e colecionador de arte, instituiu um museu particular, em Hakone, com o objetivo de democratizar o acesso a obras-primas japonesas, entre outras iniciativas; além disso, orientava seus discípulos a encararem a arte como meio de elevação e desenvolvimento do caráter, indispensável para a promoção de uma sociedade mais justa e melhor. Neste trabalho, mostraremos os pilares do pensamento estético de Okakura e Okada, e também suas ações concretas em prol da arte. / In times when the scientific thought, aiming the maximum productivity and greatest profit, already controlled humanity, audaciously, Okakura Kakuzō, a Japanese thinker and scholar of art who perfomed in Meiji Era (1868-1912), stands against this control and postulates the defence of genuine art, which transcends the prevailing logic. Working, in first place, under the Japanese government and, subsequently, in an independent way, Okakura fought for the recognition of Japanese arts value in the world, publishing three books in English. He also worked in the USA, at the Museum of Fine Arts, Boston as the responsible of the Department of Chinese and Japanese Arts. Following Okakuras ideal, Okada Mokichi, religious, artist and art collector, he instituted a particular museum, in Hakone, aiming to democratize the access to Japanese masterpieces, and other initiatives; besides, he oriented his disciples to face art as way to develop and enhance the personality, essential for the promotion of a fairer and better society. In this work, we are going to show the pillars of the aesthetic thought of Okakura and Okada, and also their achievements in order to develop the arts.

Buscando referências e novas relações que ampliassem as possibilidades do pensar e do fazer nas artes visuais, Os ensaios da Dona Sombra (?????? ??? Shadôsan no zuihitsu) lança um olhar vagante para as artes e culturas japonesa e ocidental, conferindo especial atenção às obras e práticas de dois artistas, o diretor de cinema Yasujiro Ozu e o paisagista Mirei Shigemori. Quatro textos delineiam quatro dúvidas: o ensaio, o tempo (cinema), o espaço (jardim) e os encontros (meus trabalhos visuais). / Looking through references and relations that contribute to broaden the possibilities of thinking and creating in Visual Arts, The essays of Lady Shadow (????????? Shadôsan no zuihitsu) casts a wandering eye into Japanese and Western arts and cultures, bestowing a special attention on the works and practices of two artists, the film director Yasujiro Ozu and the landscape designer Mirei Shigemori. Four texts outlining four topics: the essay, time (cinema), space (garden) and the poetic encounters (my artworks).

Buscando referências e novas relações que ampliassem as possibilidades do pensar e do fazer nas artes visuais, Os ensaios da Dona Sombra (?????? ??? Shadôsan no zuihitsu) lança um olhar vagante para as artes e culturas japonesa e ocidental, conferindo especial atenção às obras e práticas de dois artistas, o diretor de cinema Yasujiro Ozu e o paisagista Mirei Shigemori. Quatro textos delineiam quatro dúvidas: o ensaio, o tempo (cinema), o espaço (jardim) e os encontros (meus trabalhos visuais). / Looking through references and relations that contribute to broaden the possibilities of thinking and creating in Visual Arts, The essays of Lady Shadow (????????? Shadôsan no zuihitsu) casts a wandering eye into Japanese and Western arts and cultures, bestowing a special attention on the works and practices of two artists, the film director Yasujiro Ozu and the landscape designer Mirei Shigemori. Four texts outlining four topics: the essay, time (cinema), space (garden) and the poetic encounters (my artworks).

Em uma época em que o pensamento científico, voltado para a máxima produtividade e o maior lucro possível, já dominava a humanidade, audaciosamente, Kakuzō Okakura, pensador e historiador de arte japonês do período Meiji (1868-1912) coloca-se contra esse domínio e postula a defesa da arte genuína, que transcende a lógica vigente. Atuando, num primeiro momento, em nome do governo japonês e, posteriormente, de maneira independente, Okakura lutou pelo reconhecimento do valor da arte nipônica perante a comunidade internacional, chegando a publicar três obras sobre o assunto em inglês. Trabalhou também em solo norte-americano, no Museu de Belas-Artes de Boston, como responsável pelo Departamento de Artes Chinesa e Japonesa. Dando sequência ao seu ideal, Mokichi Okada, religioso, artista e colecionador de arte, instituiu um museu particular, em Hakone, com o objetivo de democratizar o acesso a obras-primas japonesas, entre outras iniciativas; além disso, orientava seus discípulos a encararem a arte como meio de elevação e desenvolvimento do caráter, indispensável para a promoção de uma sociedade mais justa e melhor. Neste trabalho, mostraremos os pilares do pensamento estético de Okakura e Okada, e também suas ações concretas em prol da arte. / In times when the scientific thought, aiming the maximum productivity and greatest profit, already controlled humanity, audaciously, Okakura Kakuzō, a Japanese thinker and scholar of art who perfomed in Meiji Era (1868-1912), stands against this control and postulates the defence of genuine art, which transcends the prevailing logic. Working, in first place, under the Japanese government and, subsequently, in an independent way, Okakura fought for the recognition of Japanese arts value in the world, publishing three books in English. He also worked in the USA, at the Museum of Fine Arts, Boston as the responsible of the Department of Chinese and Japanese Arts. Following Okakuras ideal, Okada Mokichi, religious, artist and art collector, he instituted a particular museum, in Hakone, aiming to democratize the access to Japanese masterpieces, and other initiatives; besides, he oriented his disciples to face art as way to develop and enhance the personality, essential for the promotion of a fairer and better society. In this work, we are going to show the pillars of the aesthetic thought of Okakura and Okada, and also their achievements in order to develop the arts.

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