Mount Fuji is renowned worldwide as Japan's highest and most perfectly shaped mountain. Serving as a potent metaphor in classical love poetry and revered since ancient times by mountain-climbing sects of both the Shinto and Buddhist faiths, Fuji has taken on many roles in pre-modern Japan. This volume explores a wide range of manifestations of the mountain in more recent visual culture, as portrayed in more than 100 works by Japanese painters and print designers from the 17th century to the present. Featured alongside traditional paintings of the Kano, Sumiyoshi, and Shijo schools are the more individualistic print designs of Katsushika Hokusai, Utagawa Hiroshige, Munakata Shiko, Hagiwara Hideo, and others. New currents of empiricism and subjectivity have enabled artists of recent centuries to project a surprisingly wide range of personal interpretations onto what was once regarded as such an eternal, unchanging symbol.
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 Floating World by novelist James A. Michener is a classic work on the Japanese print of the Edo period (1615-1868). Mr. Michener shows how the Japanese printmakers, cut off from revivifying contacts with the art of the rest of the world and hampered by their own governmental restrictions, were able to keep their art vital for two centuries through their vigor and determination.For this new edition, Howard A. Link updates the scholarship and expands on many theoretical aspects introduced in Michener's study.
British connoisseur describes in detail the subject of famous Japanese color prints using 274 reproductions of works by Hokusai, Hiroshige, Utamaro, Shunyei, and other masters. Bibliography. Index.
Since the Neolithic era, artisans in East Asia have coated bowls, cups, boxes, baskets, and other utilitarian objects with a natural polymer distilled from the sap of the Rhus verniciflua, known as the lacquer tree. Lacquerware was, and still is, prized for its sheen--a lustrous beauty that artists learned to accentuate over the centuries with inlaid gold, silver, mother-of-pearl, and other precious materials.
This tradition has undergone challenges over the past thirty years. A small but enterprising circle of lacquer artists has pushed the medium in entirely new and dynamic directions by creating large-scale sculptures--works that are both conceptually innovative and superbly exploitive of lacquer's natural virtues.
Featuring thirty works by sixteen artists, this handsome publication details the first-ever exhibition of contemporary Japanese lacquer sculpture in the United States, shown at the Minneapolis Institute of Art.
In 1814, the great Japanese artist and printmaker Katsushika Hokusai (1760-1849) published the first volume of his sketches: Hokusai Manga. Originally designed as a reference for his students to emulate, it surpassed all expectations and became a bestseller, eventually expanding to fifteen volumes and over four thousand images.
This three-volume edition is an extensive selection of Hokusai's sketches, which present all the themes, motifs, and techniques found in his art. Although they are not based around an ongoing narrative, the caricatures, satirical drawings, and multipanel illustrations can clearly be seen as a forerunner of manga as it is understood today.
Volume 1 explores Edo Life, the everyday world of the city that would later become Tokyo, featuring people from all walks of life at work and at play. Volume 2 is devoted to The Wonders of Nature, including animals, birds, and sh as well as landscapes, weather, and scenes of natural beauty. Finally, volume 3, Flights of Fancy, is packed with mythical creatures, supernatural beings, and all sorts of weird and wonderful imagery from the master's imagination. This collection has enchanted and inspired artists and art lovers for two centuries and is now ripe for rediscovery.