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Population frontiers are relative to economic, technological conditions. For example, Japan's population stabilized at about 25 million for most of the Edo era, apparently reflecting the feudal edge there. The population rose to some 100 million more under the fabulous industrialization and technological advance - but evidently no further. Ireland could have seen similarly sluggish periods.

The female discipline towards male resourcefulness could be peculiarly sensitive, anticipative to tougher times and population density. Sheelas could then reflect male desperation and/or female frustration in this dynamics ;-]

by das monde on Thu Apr 25th, 2019 at 07:46:47 PM EST
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Incidentally, since the last time I mentioned the Edo period, my associate has provided me the opportunity to survey some Japaneses art history and "visual analysis".

Edo refers to a particular imperial dynasty. I learned, the Edo period was not exactly a feudal society. Rather, the Edo period is distinguished by the "restoration" of an imperial regime--somewhat misaligned to eurocentric precepts-- identified with rapid growth in international industry and trade after an incumbent period of regional famine and adverse economic policy. Kamakura and Nanbokuchō period aesthetic ("Esoteric Buddhism") preceded Edo. Western museums and private collections possess hardly any samples or opinion of early modern iconography, because, well, c. 1700.

The application of "isolationism", or autochthonous ignorance, is a recurring imposition on world epistemology by european explorer-philosophers.

Kano, Muromachi, Meijii, Taisho, Taso, Showa (1926-1989) periods in art history, for example, succeeded the Edo. Each of these "schools," rather than dynasties, are distinguished by style, subject, composition, and trade development of art production, removed from conventional imperial patronage. The showa is quite interesting in tension between fascist convention and expressionist impulse arising in commercial as well as collectivist exhibitions.

Diversity is the key to economic and political evolution.

by Cat on Sat May 4th, 2019 at 10:02:23 PM EST
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Something basic is off with your post-Orientalist knowledge. The imperial rule was still side-lined in the Ero era (also known as the Tokugawa period). The actual rulers were the Tokugawa shogunate. Restoration of the imperial rule (and industrialization) happened with Meiji.
by das monde on Sun May 5th, 2019 at 06:18:38 AM EST
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Perhaps. I intended the list of eras in Japanese art history (in no particular order) to illustrate that the evolution of media do not necessarily coincide with political thresholds. The chronology from the Met is a conventional timeline ("frame") for orientalist analysis of subject matter significance. No "post-" about it; and these "periods" are not well-defined or represented by the inventory of the institution.

Duly noted in the link above "since the last time I mentioned". Attitudes about the named period ("era") have um evolved as data about related events accrues to common knowledge. What that article acknowledges is "multi-cultural" lineage of regional kingdoms--a supposition considered novel, ironically. Given this context art historian's record is not especially interested in authenticating transfers of power between specific elites, but its effects. "Artists" are not elites.

Subject matter periodicity (ordered range of dates relating material) applied retrospectively by historians does not necessarily coincide, you noticed, with their professional interests in presenting unified historicism. This is a eurocentric project; the conventional approach has been to ascribe king's or ruler's names sequentially to "date" material --construct chronology-- for which no documentary evidence is otherwise available ("argument from silence"). Foreign language and social fluency poses barriers to acquisition and scope of information translated from such archival bases. How does the reader interpret haiku selection for and representation with iconography on a screen? Eurocentric historians can and do retreat to analogy in western intellectual history.

Disjunctive analyses of cultural "movements", or artifactual industry, and historicism is particularly pronounced in art history epistemology where analysts have ventured beyond bounded rationality of the western canon. So, for example, the showa period which is "dated" herein, exemplifies another remarkable visual dialog among artists, documenting the further collapse of imperial societies in east Asia.

Diversity is the key to economic and political evolution.

by Cat on Sun May 5th, 2019 at 03:53:46 PM EST
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