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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.
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