By Maki Fukuoka
The Premise of Fidelity places ahead a brand new historical past of eastern visuality via an exam of the discourses and practices surrounding the 19th century transposition of "the real" within the many years ahead of images used to be brought. This highbrow historical past is trained through a cautious exam of a community of neighborhood scholars—from physicians to farmers to bureaucrats—known as Shohyaku-sha. of their archival fabrics, those students used the time period shashin (which might, years later, come to suggest "photography" in jap) in a large choice of clinical, botanical, and pictorial practices. those students pursued questions of the connection among what they saw and what they believed they knew, within the strategy investigating clinical rules and practices by means of obsessively naming and classifying, after which rendering via hugely exact representation, the gadgets in their study.
This ebook is an exploration of the method in which the Shohyaku-sha formed the concept that of shashin. As such, it disrupts the dominant narratives of images, artwork, and technology in Japan, delivering a prehistory of eastern images that calls for the approved historical past of the self-discipline to be rewritten.
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Additional info for The Premise of Fidelity: Science, Visuality, and Representing the Real in Nineteenth-Century Japan
Whether the two smaller paintings were both youthful works by Govaert Flinck, and not Rembrandt, was a judgment Wurzbach would have to pass on, since he had not seen the Bergau painting and thus could not make the comparison he deemed necessary to reach a conclusion one way or the other. ” 39 He also pointed out the presence of “identical” Rembrandt monograms found on the Nuremberg and Gotha versions [fig. 14] (now in Munich). Bode emphasized that this group the rise of a new art historian 53 * Scallen V5 02-02-2004 17:01 Pagina 54 (Zwart/Process Black Plaat) fig.
Bode’s method would have been considered as the most appropriate manner of conducting scholarship according to the standards 50 rembrandt, reputation, and the practice of connoisseurship * Scallen V5 02-02-2004 17:01 Pagina 51 (Zwart/Process Black Plaat) of the new, scientific approach to historical disciplines, wherein all sources were to be fully referenced and evaluated. But in this transfer of method from source criticism to painting connoisseurship, Bode turned the process into one that pitted individual connoisseurs against each other, and by doing so, asserted his own unequaled reliability as an authority.
Inevitably, discrepancies in technique, style, and quality of the Dresden and Braunschweig versions betrayed their status as school copies to Bode, although he did retain the possibility that Rembrandt may have retouched the Dresden Entombment himself in the 1650s. Bode’s mode of argumentation is particularly persuasive in this case. Although he had first accepted the possibility that all three were by Rembrandt, close comparative examination of the works themselves led him to a different and inescapable conclusion.