The contribution of Okakura Kakuzo (also known by the pseudonym Tenshin, 1863-1913) to the development of both Japanese art and the writing of its history has been the subject of prolific scholarly re-evaluation from the mid-twentieth century into the present. This study contributes to the growing literature by examining a specific aspect of Okakura's understanding of Indian art and architecture, and its role in his conceptualization of Pan-Asianism and the shaping of Japanese national identity through art. I complicate the scholarly dialogue by introducing Okakura's reading of the pioneering Bengali scholar Rajendralala Mitra (1822-1891), who had been hailed by the subsequent generation of Indian nationalist intellectuals as the first Indian art historian. I suggest that Okakura and his Indian compatriots embraced Rajendralala Mitra's astute political deployment of his scholarly work as a role model in their effort to define nationalist ideals in their particular political contexts in early twentieth-century Japan and India.
|Commitee:||Abe, Stanley K., Fletcher, W. Miles, Lin, Wei-Cheng, Sheriff, Mary D.|
|School:||The University of North Carolina at Chapel Hill|
|School Location:||United States -- North Carolina|
|Source:||DAI-A 72/01, Dissertation Abstracts International|
|Subjects:||Asian Studies, Art history, South Asian Studies|
|Keywords:||Indian art, Japan, Japanese art history, Mitra, Rajendralala, Raja, Okakura, Kakuzo, Pan-Asianism, Yokoyama, Taikan|
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