This text traces the progression of arts on the Japanese archipelago through periods open to foreign civilizations, and periods closed against all outside influence. The authors demonstrate how the native Shinto veneration of the forces in nature underlie the Japanese love of natural materials.
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Six contributors discuss the state of Japanese arts during the allied occupation after the second World War. Topics include missteps by occupation censors, caution and experimentation on the part of nine artists of the era, the preservation of cultural property, and the conflicted roles of women and
This captivating gallery offers rare glimpses of Japanese culture during the early years of the 20th century. Drawn from popular women's magazines of the Taish period, its kuchi-e (frontispiece pictures) of bijin (beauties) represent a variety of artists, from the visual poetry of famous painters to more prosaic efforts by anonymous designers. Printed in the era's latest techniques of color lithography and offset printing, these kuchi-e bijin were created for mass production, yet they echo the form and appeal of woodblock prints from earlier generations. Their fashions are new enough to be exciting but sufficiently traditional to be reassuringly familiar. Embracing noble ideals and modern reality, the kuchi-e bijin suggest both the aspirations and the mundane truths of their audience, combining the sense of fine art and the sensibilities of popular illustration.
Kendall H. Brown is Associate Professor of Asian Art History at California State University, Long Beach. His informative captions and Preface explore the images' literary content, social context, and the technologies used in their production. A valuable resource for scholars of Japanese art and period book illustration, this volume is also of tremendous interest to anyone with an eye for beauty.
UKIYO-E, the art of woodblock design and printing, enjoyed a symbiosis with the kabuki theatre almost from its inception in the late 17th century, with a significant number of images devoted to the popular theatre. These comprise kabuki-e -- dynamic frames, diptychs and triptychs recreating specific scenes from plays -- and yakusha-e -- portraits of famous actors in various roles both real and imaginary. Amongst those producing theatrical prints were some of the greatest ukiyo-e artists of the century, including Kunisada, Kuniyoshi, and finally Kunichika, who introduced dramatic new framing to the format and persisted until the very last days of the century, when prints were finally usurped by the new medium of photography. DREAM SPECTRES 2 is devoted to the art of kabuki-e and yakusha-e, and collects some of the most striking and innovative prints by these and many other artists, focusing principally on three of the Japanese theatre's most spectacular and sensational themes -- ghosts, magic, and mayhem. DREAM SPECTRES 2 is presented in large-format and full-colour throughout, and contains over 200 stunning images which vividly bring back to life the violent clashes, murders, monsters and nightmares of Japan's classical kabuki theatre at its most bizarre and exhilarating extremes. Number 15 in the best-selling Ukiyo-e Master Series.
UKIYO-E -- "images from the floating world" -- were the most popular art-form of 19th century Japan. Like modern-day manga, these prints could be mass-produced and were admired by people from all sectors of society; and as in manga, the art of ukiyo-e included significant sub-genres dealing in violence, erotica and horror. With unflinching images of weird sex, bloody carnage and grotesque, demonic ghosts and monsters, "Dream Spectres" is a powerful collection of the extremes of ukiyo-e, featuring the work of such artists as Yoshitoshi, Ekin, Kunichika, Yoshiiku, Kunisada, Hokusai, Kuniyoshi, Yoshitsuya, Hiroshige, Kyosai, and Chikanobu. "Dream Spectres" features over 170 amazing full-colour images, including the complete Eimei Nijuhasshuku ("28 Blood Atrocities") of Yoshitoshi and Yoshiiku, and ranges in content from bondage and bestiality to decapitations, demons and designs for classic irezumi (body tattoos). This is Japanese art not only at its extremes of imagination, but often at its most highly accomplished and innovative. This new, revised, enlarged and expanded edition of "Dream Spectres" is presented in large-format and full-colour throughout. The Ukiyo-e Master Series: presenting seminal collections of art by the greatest print-designers and painters of Edo-period and Meiji-period Japan.
interior image: Chiho Aoshima, Japanese Apricot 2, 2000. Inkjet printer on paper. 104.9 x 74.9 cm. Copyright 2005 Chiho Aoshima/Kaikai Kiki Co., Ltd.
As the oldest and largest museum in Japan, the Tokyo National Museum houses a vast collection of culturally important artworks. Elegant Perfection highlights twenty-six masterpieces from this esteemed collection, and together these objects tell the story of the country's artistic development from the prehistoric Jō mon era through the 19th century. Essays by experts at the Tokyo National Museum offer insights into how Buddhist art evolved in Japan, and how the aesthetics valued by Japanese courtly society, initially influenced by Chinese Tang culture, gradually became more distinctly Japanese. Melissa McCormick contributes an essay that demonstrates the connections between the realms of courtly and religious art in Japan.
The featured works include exquisite examples of painting, sculpture, calligraphy, metalwork, ceramics, and lacquerware. Among them are an 11th-century inscribed poetry compilation, lacquered musical instruments, Edo-period ceramics produced for tea ceremonies, and Buddhist sculpture, painting, and ritual objects. This publication offers a rare opportunity to discover the history and significance of these treasured works of art.
The Edo period in Japan, from 1615 to 1858, witnessed an unprecedented flourishing of the arts. During these long years of peace and relative stability, Japanese culture attained new levels of refinement and distinction. Innovative painting styles such as Rinpa, nanga, Maruyama-Shijo, ukiyo-e, and zenga flourished along with the traditional painting lineages of the Kano, Tosa and Hasegawa schools. With the fall of the shogunate in 1868 and the subsequent Meiji restoration, many painting styles current in Edo were practised along with Western-style oil painting and types that assimilated both Eastern and Western traditions.