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Art, Architecture, and the Asai Sisters.

Self, Elizabeth.

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Art, Architecture, and the Asai Sisters.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Art, Architecture, and the Asai Sisters./
Author:	Self, Elizabeth.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	169 p.
Notes:	Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
Contained By:	Dissertation Abstracts International79-01A(E).
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10645922
ISBN:	9780355191769

Art, Architecture, and the Asai Sisters.
Self, Elizabeth.

Art, Architecture, and the Asai Sisters. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 169 p.

Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2017.

In early modern Japan, women, like men, used art and architectural patronage to perform and shape their identities and legitimate their authority. Through a series of case studies, I examine the works of art and architecture created by or for three sisters of the Asai family: Yododono (1569-1615), Joko-in (1570-1633), and Sugen-in 1573-1626). The Asai sisters held an elite status in their lifetimes, in part due to their relationship with the "Three Unifiers" of early 17th century Japan---Oda Nobunaga (1534-1582), Toyotomi Hideyoshi (1537- 1589), and Tokugawa Ieyasu (1543-1616). As such, they were uniquely positioned to participate in the cultural battle for control of Japan. In each of my three case studies, I look at a specific site or object associated with one of the sisters. The objects that I examine---a mausoleum, a portrait, and a memorial temple---were all associated with death and memorial rituals. Mortuary culture may have been seen as an appropriate subject for women's patronage because it was inherently a family responsibility, and it served to define and propagate the lineage. Since portraits and memorial buildings were expensive, ostentatious luxury objects, they were one of the most public ways that women could participate in patronage. This dissertation addresses two research questions: how the social identities of the Asai sisters, specifically their lineage connections and roles in the complex web of political marriages of the time, were defined and asserted by architectural and artistic patronage; and how these three case studies expand our understanding of the problematic term "patronage" and its relationship to women.

ISBN: 9780355191769Subjects--Topical Terms:

2122701
Art history.

Art, Architecture, and the Asai Sisters.
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245 1 0 $a Art, Architecture, and the Asai Sisters.
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300 $a 169 p.
500 $a Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
500 $a Adviser: Karen Gerhart.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2017.
520 $a In early modern Japan, women, like men, used art and architectural patronage to perform and shape their identities and legitimate their authority. Through a series of case studies, I examine the works of art and architecture created by or for three sisters of the Asai family: Yododono (1569-1615), Joko-in (1570-1633), and Sugen-in 1573-1626). The Asai sisters held an elite status in their lifetimes, in part due to their relationship with the "Three Unifiers" of early 17th century Japan---Oda Nobunaga (1534-1582), Toyotomi Hideyoshi (1537- 1589), and Tokugawa Ieyasu (1543-1616). As such, they were uniquely positioned to participate in the cultural battle for control of Japan. In each of my three case studies, I look at a specific site or object associated with one of the sisters. The objects that I examine---a mausoleum, a portrait, and a memorial temple---were all associated with death and memorial rituals. Mortuary culture may have been seen as an appropriate subject for women's patronage because it was inherently a family responsibility, and it served to define and propagate the lineage. Since portraits and memorial buildings were expensive, ostentatious luxury objects, they were one of the most public ways that women could participate in patronage. This dissertation addresses two research questions: how the social identities of the Asai sisters, specifically their lineage connections and roles in the complex web of political marriages of the time, were defined and asserted by architectural and artistic patronage; and how these three case studies expand our understanding of the problematic term "patronage" and its relationship to women.
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