During this fieldtgrip we will focus on artefacts related to the lecture and seminar taught by Ishibashi Foundation Visiting Professors, NAMIKI Seishi and M. Trede. Narrative handscrolls, genre painting, but also Japanese design on threedimensional surfaces of various times will be our focus.

Next to permanent exhibitions of the most well-known museums and institutions in our field (see below), we are currently planning to get special viewings of artefacts in storage. In the planning are also visits to special exhibitions and possibly free time to roam other art spaces in Paris. A joint evening with students of Japanese/East Asian art history is planned, too, along with a special lecture by Prof. Namiki Seishi.

Neben einer Einführung in traditionelle Print- und digitale Medien sollen ausgewählte Themen anhand von Lektüre einschlägiger japanischer Artikel oder Buchkapitel vertieft, erweitert und diskutiert werden. Dabei werden (japanische) Fachtermini eingeübt, Referenzwerke und Hilfsmittel systematisch benutzt und Übersetzungen angefertigt.Als ein Resultat soll u.a. die Berührungsangst vor Fachliteratur genommen werden. Die Auswahl der Lektüre richtet sich nach den Interessen der Studierenden (s.u. einige Vorschäge).Daneben sollen integrale kunsthistorische Kenntnisse vermittelt werden wie Beschreibungen von Werken, sowie die Entwicklung unterschiedlicher Fragestellungen an die behandelten Objekte und Werke.

Based on analyses of the handscroll „Shuhanron emaki“ (“Dispute over sake and rice”), of the sixteenth century, one can assert that this artwork marks a huge turning point in Japanese painting history. It marks the transition from an „ age of handscrolls“ to an „ age of genre paintings“. Specifically, the subjects of debate in this seminar include the relation between text and paintings of the handscroll format, the depiction of genre paintings of that time, the normativity of Kanô-School paintings, and the significance of creating copies.

Compared to other cities in Japan, Kyoto in Modernity is defined through its distinctive features. The reasons are on the one hand the continuity of traditional arts and crafts such as ceramics in the Kyoto-style (kyôyaki) and Nishijin- brocade weaving, but on the other hand the fear of descending into obscurity after the transition of the emperor's residence to Tokyo. Next to topics such as the ones above, this lecture will discuss aspects such as the reaction of the arts and crafts in Kyoto vis-à-vis modernity, the introduction of mechanical techniques and chemical materials, and answers to oversea-markets.