The symposium series “Global Costume & Global Art,” jointly sponsored by LCCG and GHC, was held on July 26 in Kyoto, July 29-30 in Fukuoka, and August 5 in Tokyo.

July 26 Kyoto Symposium “Global Circulations and Transformations: Art and Textile in East Asia 1540-1760”

The symposium held at the Kyoto Institute of Technology on July 26, entitled “Global Circulations and Transformations,” inquired into the place of Japan in the global circulation of art and textiles from the sixteenth to seventeenth century. It was co-hosted by Dr.Misato Ido (GHC) and Professor Seishi Namiki of the institute. First, Professor Thomas DaCosta Kaufmann of Princeton University gave the keynote address. He emphasized that reception of objects of art by the Asian side was “selective.” This can be called “partial translation,” and the reception side demonstrated the strength of their agency. Professor Kaufmann opposed, on the other hand, the belief that art objects in each region and country develop uniquely and thus cannot be compared using common criteria. He argued that there are connections between art objects of each region, which are “commensurable.” Next, Dr. Ido gave a presentation on “bird-and-flower paintings,” followed by Dr. Katsura Washizu of Kyushu National Museum on “bird-and-flower folding screens (byobu)” that are believed to be produced outside Japan. Professor Masako Yoshida of the Kyoto City University of Arts then presented on “bird-and-flower patterns on embroidered cloths” and Dr. Atsuko Ukai of the University of Tokyo discussed “Japanese gilded leather and paper.” The presentations highlighted the characteristic that while the processes of production and distribution in the presented art works all were associated in part with Japan, global connections underlie them. This feature provides a new way of understanding the geographic division of art works. Because the symposium enabled researchers investigating interdisciplinary connections to gather and meet in one place at the same time, they could vigorously engage in discussion about questions (e.g. interpretation or representation of motifs or patterns of art works mentioned in the presentations) raised by the presenters, and see new connections. This made the symposium a meaningful conference.

July 29 - 30 Kyushu Symposium “Global Costume: Kosode, Dofuku, Banyan, Kebaya and Japanse Rok 1500‒1850. A dialogue of Global Circulation between Art History, Economy and Material Culture”

This day-and-a-half conference, held at Kyushu University’s Nishijin Plaza, was the main event of the LCCG/GHC “Global Costume & Global Art” symposium series. It was co-hosted by Dr. Etsuko Iwanaga of the Fukuoka Art Museum and Associate Professor Junko Aono of Kyushu University. Using various approaches, the conference examined clothing, an area of confrontation and negotiation between different cultures, from the sixteenth to nineteenth century. It especially sought to examine costumes connected with Japan from the global perspective. Focusing on clothing such as dofuku (a Japanese outer garment worn by men, considered to be the basis of the haori), kosode (a traditional Japanese garment considered to the forerunner of the kimono), banyan, kebaya, and Japanse Rok (from the Dutch for “Japanese robe,” a kimono-like indoor gown worn by European men in the seventeenth and eighteenth century), the symposium examined the people wearing the clothing and the background of their use. Professor Kaufmann first discussed “trousers” as a case study of how clothing is viewed from a perspective of global history. Sharp observations such as how general notions and usages of “trousers” are overturned by the Japanese perspective were offered during the question and answer period. During the first panel discussion, Associate Professor Mihoko Oka of the University of Tokyo discussed clothing worn by members of the Society of Jesus. Next, Professor Miki Sugiura of Hosei University examined clothing worn by delegates of the Tensho embassy when they visited Portugal and Italy. The two presenters argued that the clothing worn by the two groups reinterpreted the styles worn during their times. Next, Ms. Claire Cooper revealed how images of “Nanbanjin” (Japanese term for Portuguese and Spaniards who visited Japan from the end of the Muromachi period to the Edo era) depicted in Japan in the sixteenth and seventeenth century did not actually show people from Portugal or Spain themselves, but were actually had connections to images of people from places such as Goa, Macao, and Luzon, which were centers of trade closely tied to Japan at the time. The next panel discussion inquired into cross-regional connections in clothing, with a focus on patterns. Ms. Ariane Fennetaux (University of Paris-Diderot) examined in detail banyan having the traditional Japanese motifs of pine, bamboo and plum trees produced in Coromandel Coast in the eighteenth century. Her presentation drew discussion from experts in Japanese clothing history about differences and connections in attires. Next, Professor Keiko Suzuki of Ritsumeikan University discussed how Ise-katagami stencils were used in the production of textiles worldwide.
For the third panel discussion, Ms. Etsuko Iwanaga and Mr. Peter Lee (Peranakan Museum) discussed “Peranakan costumes.” The discussion revealed how various local elements of attire were ordinarily incorporated by people in the port towns of Singapore and Southeast Asia. These elements were often used to “show off” (by not using fixed elements) or to purposefully adopt a “worn out of shape” style (by purposefully not adopting a fashion in which fixed symbols could be understood). The presenters re-emphasized that elements of different cultures were frequently incorporated by people at a personal level, regardless of whether they were rich or poor. The panel concluded with a collaborative demonstration of weaving, dyeing, and costuming by the two panelists. Participants engaged in active discussion while touching real costumes. The final panel discussion in the next morning, on July 30, featured presentations by Professor Elizabeth Pilliod (Rutgers University), an art historian, and Professor Junko Aono. The outstanding presentations elicited discussion on what artists sought to represent through details of clothing accessories. Professor Aono’s presentation on portraits of people wearing Japanse Rok in eighteenth-century Netherlands especially drew questions and comments related to discussions held during the first day of the conference, bringing the symposium to a meaningful conclusion. After a round of general discussion summarizing the main points of the conference and outlining future plans, participants were given access to special exhibits at Kyushu National Museum of Kano Naizen’s Nanban folding screens and flower-and-bird folding screens produced outside Japan. We wish to take this opportunity to express our deep gratitude to the curation staff of Kyushu National Museum for their cooperation.

August 5

The final symposium was held at the Institute of Advanced Studies on Asia of the University of Tokyo. Associate Professor Emi Goto (LCCG) and Dr.Atsuko Ukai (LCCG・GHC) of the University of Tokyo assisted overall with its implementation. Professor Kaufmann of Princeton University and Professor Miki Sugiura gave presentations on approaches of “the global history of costumes.” Using art materials from the main theme of “trousers,” Professor Kaufmann discussed how the global history of costumes can be written across different countries and cultures using art materials. In contrast, Professor Sugiura examined representative global history studies of textiles and clothes from approaches of both art history and economic history. She argued that there were differences in the processes, fields, and actors under focus, and that fruitful collaborative research is possible by realigning and joining these elements. Professor Masashi Haneda of the University of Tokyo and Professor Pilliod provided comments on these subjects from a practical standpoint that were beneficial to understanding research. Finally, the participants engaged in meaningful Q&A.

(Miki Sugiura)