The 250Th Anniversary of Hokusai's Birth: Masterpieces from the Honolulu Academy of Arts Term II List of Exhibits

Total Page:16

File Type:pdf, Size:1020Kb

The 250Th Anniversary of Hokusai's Birth: Masterpieces from the Honolulu Academy of Arts Term II List of Exhibits The 250th Anniversary of Hokusai's Birth: Masterpieces from the Honolulu Academy of Arts Term II List of Exhibits April 14 - June 17, 2012 Term I: April 14 - May 13 Term II: May 15 - June 17 Conservation of prints in this exhibition funded by the Robert F. Lange Foundation. Title Cat. No. Room 1・2 View of the Mitsui Stores at Surugachö in Edo, from the series Thirty-six Views of Mount Fuji 66 At Sea Off Kazusa, from the series Thirty-six Views of Mount Fuji 81 Under the Mannen Bridge at Fukagawa, from the series Thirty-six Views of Mount Fuji 70 Cushion-Pine at Aoyama, from the series Thirty-six Views of Mount Fuji 72 Shimo-Meguro, from the series Thirty-six Views of Mount Fuji 74 Morning after Snow at Koishikawa, from the series Thirty-six Views of Mount Fuji 75 Sekiya Village on the Sumida River, from the series Thirty-six Views of Mount Fuji 77 Tsukuda Island in Musashi Province, from the series Thirty-six Views of Mount Fuji 80 Honganji Temple at Asakusa in Edo, from the series Thirty-six Views of Mount Fuji 68 Mount Fuji From Gotenyama at Shinagawa on the Tökaidö Road, from the series Thirty-six Views of Mount Fuji 83 Tama River in Musashi Province, from the series Thirty-six Views of Mount Fuji 84 Thunderstorm Beneath the Summit, from the series Thirty-six Views of Mount Fuji 64 Room 4 Shichirigahama Beach in Sagami Province, from the series Thirty-six Views of Mount Fuji 86 Umezawa-no-hidari in Sagami Province, from the series Thirty-six Views of Mount Fuji 89 The Lake at Hakone in Sagami Province, from the series Thirty-six Views of Mount Fuji 90 Mount Fuji from Kanaya on the Tökaidö Road, from the series Thirty-six Views of Mount Fuji 95 Tago-no-ura near Ejiri on the Tökaidö Road, from the series Thirty-six Views of Mount Fuji 94 Mount Fuji from the Tea Plantation of Katakura in Suruga Province, from the series Thirty-six Views of Mount Fuji 92 Yoshida on the Tökaidö Road, from the series Thirty-six Views of Mount Fuji 97 Kajikazawa in Kai Province, from the series Thirty-six Views of Mount Fuji 103 Dawn at Isawa in Kai Province, from the series Thirty-six Views of Mount Fuji 101 Reflection in Lake Misaka in Kai Province, from the series Thirty-six Views of Mount Fuji 100 Suspension Bridge between Hida and Etchü, from the series Rare Views of Famous Bridges in All the Provinces 117 Ancient View of the Pontoon Bridge at Sano in Közuke Province, from the series Rare Views of Famous Bridges in All the Provinces 116 Bridges at the Mouth of the Aji River in Tenpözan in Settsu Province, from the series Rare Views of Famous Bridges in All the Provinces 121 Kintai Bridge in Suö Province, from the series Rare Views of Famous Bridges in All the Provinces 118 Tenma Bridge in Settsu Province, from the series Rare Views of Famous Bridges in All the Provinces 122 Emperor Tenji, from the series One Hundred Poems Explained by the Nurse 143 Yamabe no Akahito, from the series One Hundred Poems Explained by the Nurse 146 Chünagon Yakamochi, from the series One Hundred Poems Explained by the Nurse 148 Ono no Komachi, from the series One Hundred Poems Explained by the Nurse 150 Söjö Henjö, from the series One Hundred Poems Explained by the Nurse 152 Fujiwara no Toshiyuki Ason, from the series One Hundred Poems Explained by the Nurse 154 Motoyoshi Shinnö, from the series One Hundred Poems Explained by the Nurse 156 Teishinkö, from the series One Hundred Poems Explained by the Nurse 158 Minamoto no Muneyuki Ason, from the series One Hundred Poems Explained by the Nurse 159 Funya no Asayasu, from the series One Hundred Poems Explained by the Nurse 163 Önakatomi no Yoshinobu Ason, from the series One Hundred Poems Explained by the Nurse 165 Fujiwara no Michinobu Ason, from the series One Hundred Poems Explained by the Nurse 167 Dainagon Tsunenobu, from the series One Hundred Poems Explained by the Nurse 169 Gonchünagon Fujiwara no Teika, from the series One Hundred Poems Explained by the Nurse 170 Title Cat. No. Room 5 Outing of a Young Man (Shönenkö), from the series True Mirrors of Poetry 133 Rihaku, from the series True Mirrors of Poetry 135 Harumichi no Tsuraki, from the series True Mirrors of Poetry 137 Minamoto no Töru, from the series True Mirrors of Poetry 140 Gathering Tokusa, from the series True Mirrors of Poetry 141 Kirifuri Waterfall on Mount Kurokami in Shimotsuke Province, from the series A Tour of Japanese Waterfalls 108 Kiyotaki Kannon Waterfall at Sakanoshita on the Tökaidö, from the series A Tour of Japanese Waterfalls 112 The Falls at Ono on the Kiso Road, from the series A Tour of Japanese Waterfalls 113 The Waterfall at Yoshino where Yoshitsune Washed His Horse, from the series A Tour of Japanese Waterfalls 106 Sacred Fountain at Jögaku, from the series Eight Views of the Ryükyü Islands 131 Clear Autumn Weather at Chökö, from the series Eight Views of the Ryükyü Islands 130 Voice of the Lake at Rinkai, from the series Eight Views of the Ryükyü Islands 126 Night Moon at Izumizaki, from the series Eight Views of the Ryükyü Islands 125 Room 6 The Actor Iwai Hanshirö in the role of Woman Servant Hatsu 11 The Actor Sawamura Söjürö in the role of Karaki Masaemon 9 Chinese Boys Pulling a Flower Cart 3 Saigyö Looking at Mount Fuji during a Pilgrimage 1 Turtles 29 Room 7 Hankai Invading the Party at Kömon Gate, from the series Newly Published Perspective Pictures 6 View of the Asakusa Kinryüzan Kanzeon Temple 5 Chüshingura, Act 4, from the series Newly Published Perspective Pictures 12 Act 11, from the series A Treasury of Loyalty 16 Yui, from the series Fifty Three Stations of the Tökaidö 19 Ejiri, from the series Fifty Three Stations of the Tökaidö 21 The Priest Kisen Höshi 18 Sumida, from the series Snow, Moon and Flowers 23 Yodo River, from the series Snow, Moon and Flowers 24 Yumura in Kai Province, from the series Rare Views of Famous Landscapes 36 Weeping Cherry and Bullfinch 31 Peonies and Butterfly 27 Kingfisher with Iris and Dianthuses 32 Hokusai Manga Ⅰ 49 Hokusai Manga Ⅳ 52 Hokusai Manga Ⅵ 54 Hokusai Manga Ⅷ 56 Hokusai Manga Ⅸ 57 Nihonbashi, from the series The Stations of the Tökaidö 40 Visual Parody of the Buddhist Ritual for Releasing Living Things (Höjöe) Conducted by Yoritomo 43 A Mother and Children Enjoying Goldfish Scooping 45 Beautiful Ladies at the Pier 47 Visit to the Tsurugaoka Hachiman Shrine 39 Daikoku Lifting a Rice Bale 48 Crossing a River on a Ferry 60 Room 3 Letter by Kobori Enshū Edo period, 17th C. Water jar, Shibugami-de type, Seto ware, named "Takara-ga-ike", with a seal mark by Sōtan Momoyama-Edo period, 17th C. Tea bowl, Hakuan type, named "Kaguyama" Edo period, 17th C. Tea container with phoenix design, by Sōtetsu I 1687 Bamboo tea scoop, named "Wakaba", by Kobori Gonjūrō Edo period, 17th C. We are very happy that we can commemorate the 250th anniversary of Katsushika Hokusai's birth through presenting this exhibition which features the Hokusai collection of the Honolulu Academy of Arts, worldly famous for its Eastern Art collection, that has been lent for the first time outside the Academy. Ukiyo-e woodblock prints, which are best known examples of Edo- period art, comprise a precious Japanese cultural heritage the Japanese people love and be proud of. Besides being beautiful works of art in themselves, they are well known for their influence on French Impressionists and other Western artists and their role in bringing about great artistic innovations in the subsequent decades. Due to this influence, their artistic value came to be recognized much earlier in Europe and America than in Japan, and with the rise of Japonism in the late 19th century, many collections of ukiyo-e were built in many parts of the world. It is believed that the first pieces of ukiyo-e that caught the attention of Western artists and triggered the widespread innovative influence of these Japanese prints were Hokusai Manga, which were called “Hokusai's Sketches” by Western artists, and Thirty-six Views of Mount Fuji. As is well known, the core of the ukiyo-e collection at the Honolulu Academy of Arts is made up of the roughly 5,400 works, which are impressive in both quality and quantity, that have been donated by Mr. James A. Michener, the author of Tales of the South Pacific, on which the musical South Pacific was based. From this collection, several exhibitions have been held in Japan mainly of best pieces of Utagawa Hiroshige. But it has not been widely known here that this same collection also includes a strategically built, large body of Katsushika Hokusai's works. This exhibition attempts to reexamine the great achievement of Hokusai through presenting the whole career of Hokusai, an artist with an endlessly inquisitive mind whose creativity spanned a very wide range of styles, in its whole seven decades from his debut at age 20 to the latest work, Surveying a Region, created at age 89. It is made up of two sections:The first section gives an overview of his career through a historical presentation of his works from each period, and includes valuable privately produced prints, paintings, and works that are publicly shown for the first time. The second section features six important print series: 44 prints from Hokusai's best known work Thirty-six Views of Mount Fuji, 11 from Rare Views of Famous Bridges in All the Provinces, 8 from A Tour of Japanese Waterfalls, 8 from Eight Views of the Ryu-kyu-Islands, 10 from True Mirrors of Poetry, and 27 from One Hundred Poems Explained by the Nurse.
Recommended publications
  • View Checklist
    Mountains and Rivers: Scenic Views of Japan, July 10, 2009-November 1, 2009 The landscape has long been an important part of Japanese art and literature. It was first celebrated in poetry, where invoking the name of a famous location, or meisho, was meant to summon a certain feeling. Later, paintings of these same locations would bring to mind their well-known poetic and literary history. Together, the poems and imagery comprised a canon of place and sentiment, as the same meisho were rendered again and again. During the Edo period (1603–1868) the landscape genre, initially available only to the elite, spread to the medium of woodblock printing, the art of commoner culture. In the 19th century, when most of the works in this exhibition were made, several factors led to the rise of the landscape genre in woodblock prints. Up to this time, the staples of the woodblock print medium had been images of beautiful courtesans and handsome kabuki theater actors. First among these factors was the rising popularity of domestic travel. The development of a system of major roads allowed many people to travel for both business and pleasure. Woodblock prints of locations along these travel routes could function as souvenirs for those who made the trip or as fantasy for those who could not. Rather than evoking a poetic past, these images of meisho were meant to tantalize viewers into imagining romantic far-off places. Another factor in the growth of the genre was the skill of two particular woodblock print artists— Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858) (whose works are heavily represented here).
    [Show full text]
  • Agriculture Was One of the Most Important Economic
    SPATIAL DIVERSITY AND TEMPORAL CHANGE OF PLANT USE IN SAGAMI PROVINCE, CLASSICAL JAPAN: AN ARCHAEOLOGICAL APPROACH KATSUNORI TAKASE INTRODUCTION Agriculture was one of the most important economic bases of classical Japan and there were two main types of plant farming: paddy rice cultivation and dry field cultivation. There is no doubt that paddy rice cultivation was dominant in almost all of regions in classical Japan. At the same time, a lot of Japanese historians and historical geographers have disserted that farming in classical Japan was managed combining paddy rice cultivation and dry field cultivation. Classical Japanese state often recommended cultivating millets and beans beside paddy rice against a poor crop. Furthermore, in the 8th century, the state established the public relief stocking system (義倉制) for taking precautions of food shortage caused by bad weather, flood and earth quake and so on. In this system, foxtail millet was regulated to be stocked in warehouses. Therefore, agricultural policies of the state had obviously a close relationship not only with paddy rice cultivation, but also dry field farming. It is likely that combination balance ought to differ from region to region and it should reflect land use strategy of each settlement. However, there are just few written records on dry field farming in classical Japan especially before the 11th century. Even if there are fragmentary descriptions on farming, they show only kinds of grain and their crop totaled in each province or county. Therefore, it is very difficult to approach to micro-scale land use and plant use in classical Japan. Nevertheless, pictorial diagrams and wooden strips have begun to play an important role to reveal these problems.
    [Show full text]
  • Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
    UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance.
    [Show full text]
  • Samurai Life in Medieval Japan
    http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period.
    [Show full text]
  • Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Laura Nuffer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the Medieval Studies Commons Recommended Citation Nuffer, Laura, "Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan" (2014). Publicly Accessible Penn Dissertations. 1389. https://repository.upenn.edu/edissertations/1389 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1389 For more information, please contact [email protected]. Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Abstract Interspecies marriage (irui kon'in) has long been a central theme in Japanese literature and folklore. Frequently dismissed as fairytales, stories of interspecies marriage illuminate contemporaneous conceptions of the animal-human boundary and the anxieties surrounding it. This dissertation contributes to the emerging field of animal studies yb examining otogizoshi (Muromachi/early Edo illustrated narrative fiction) concerning elationshipsr between human women and male mice. The earliest of these is Nezumi no soshi ("The Tale of the Mouse"), a fifteenth century ko-e ("small scroll") attributed to court painter Tosa Mitsunobu. Nezumi no soshi was followed roughly a century later by a group of tales collectively named after their protagonist, the mouse Gon no Kami. Unlike Nezumi no soshi, which focuses on the grief of the woman who has unwittingly married a mouse, the Gon no Kami tales contain pronounced comic elements and devote attention to the mouse-groom's perspective.
    [Show full text]
  • Chigasaki Breeze
    International Association of Chigasaki (IAC) March 1, 2014 Bimonthly Publication Chigasaki Breeze Truly great friends are hard to find, difficult to leave, and impossible to forget. No.51 けんせつちゅう し やくしょしんちょうしゃ New City Hall Under Construction 建設中の市役所新庁舎 The new municipal hall is scheduled to be completed at the end of 2015 and come into service in January, 2016. After the completion of the new hall, the existing annex will be renovated and then the temporary and current main hall will be demolished. The entire construction, including parking lots for cars, motorbikes and bicycles, is projected to be finished by March, 2017. The design philosophy of the project is comprised of seven pillars, namely that the new City Hall should be: a) a base to support citizens’ safe and peaceful lives; b) sustainable; c) efficient in providing public services; d) open for citizens to associate and cooperate with each other; e) friendly to people; f) friendly to the environment; and g) appealing to citizens. These principles are reflected in a number of key features of the new hall, as follows: z The hall’s structure is seismically isolated to withstand great earthquakes and has been designed to be strong and durable with built-in flexibility to facilitate future restructuring. z Energy will be saved through natural ventilation and lighting, using LED (light-emitting diode) and solar panels. z For the purposes of disaster management, the new hall is equipped with an emergency power generator, a hovering space for a helicopter, open space and a well. z Inside, a universal design has been adopted for the disabled, elderly, and mothers with young children.
    [Show full text]
  • A Concentrated Group of Kofun Built in Various Sizes and Shapes a Virtually Reconstructed Aerial View of the Furuichi Area Chapter 3
    A concentrated group of kofun built in various sizes and shapes A virtually reconstructed aerial view of the Furuichi area Chapter 3 Justification for Inscription 3.1.a Brief Synthesis 3.1.b Criteria under Which Inscription is Proposed 3.1.c Statement of Integrity 3.1.d Statement of Authenticity 3.1.e Protection and Management Requirements 3.2 Comparative Analysis 3.3 Proposed Statement of Outstanding Universal Value 3.1.a Brief Synthesis 3.Justification for Inscription 3.1.a Brief Synthesis The property “Mozu-Furuichi Kofun Group” is a tomb group of the king’s clan and the clan’s affiliates that ruled the ancient Japanese archipelago and took charge of diplomacy with contemporary East Asian powers. The tombs were constructed between the late 4th century and the late 5th century, which was the peak of the Kofun period, characterized by construction of distinctive mounded tombs called kofun. A set of 49 kofun in 45 component parts is located on a plateau overlooking the bay which was the maritime gateway to the continent, in the southern part of the Osaka Plain which was one of the important political cultural centers. The property includes many tombs with plans in the shape of a keyhole, a feature unique in the world, on an extraordinary scale of civil engineering work in terms of world-wide constructions; among these tombs several measure as much as 500 meters in mound length. They form a group, along with smaller tombs that are differentiated by their various sizes and shapes. In contrast to the type of burial mound commonly found in many parts of the world, which is an earth or piled- stone mound forming a simple covering over a coffin or a burial chamber, kofun are architectural achievements with geometrically elaborate designs created as a stage for funerary rituals, decorated with haniwa clay figures.
    [Show full text]
  • 2021 Olympic Guidebook
    TOKYO SUMMER GAMES GUIDEBOOK PRESENTED BY VINE CONNECTIONS 2 Konnichiwa, The summer games in Tokyo are around the corner and it is the Summer of Sake! I’ve created this guide that features more about the Summer Games in Tokyo, when to watch, what’s new about the games, interesting culture and travel tips around Japan, how to enjoy Japanese sake and spirits, cocktail recipes, and more. At Vine Connections, we’ve been importing premium Japanese sake for over 19 years and currently represent 41 different sakes across 13 prefectures in Japan. Our breweries are steeped in centuries-old tradition, and our portfolio spans traditional style sakes to umami-driven to crisp daiginjos to the funky unexpected. Our sakes are intriguing, connective, provocative, magnetic, and innovative. We have the most comprehensive and diverse sake portfolio. Japanese culture and interest has never been more relevant. The Japanese restaurant industry in the US is projected to grow +25% in 2021, with $27.5 billion in restaurant sales. Consumer demand for Japanese sake is booming with a growth of 36% in retail, up +75% in grocery in 2020. So dive in with me, and let me know how I can be a resource for samples, article ideas, consumer insights and travel tips for future trips. Thank you, Monica Samuels Vine Connections Vice President of Sake & Spirits [email protected] | 562.331.0128 3 TOKYO SUMMER GAMES EVENTS SCHEDULE OPENING CEREMONY - JULY 23 Cycling Mountain Bike - July 26-27 Baseball/Softball - July 21-August 7 Canoe Slalom - July 25-30 Football - July
    [Show full text]
  • Art Spotlight: Hokusai's Thirty-Six Views of Mount Fiji
    Art Spotlight: Hokusai's Thirty-six Views of Mount Fiji This document has all 36 prints from Hokusai's Thirty-six Views of Mount Fiji. The following links will help you discuss these works with your children. • Art Spotlight: Hokusai's Thirty-six Views of Mount Fiji: The original blog post about these works with commentary, discussion questions, and learning activities • Woodblock Printing with Kids tutorial • Free Art Appreciation Printable Worksheet Bundle • How to Look at Art with Children • All art posts on the Art Curator for Kids The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ Conventions of Japanese Ukiyo-e Prints • peaceful, harmonious scenes • asymmetrical composition • limited color palette of about 4 colors plus black • unclear space or perspective • diagonal or curved lines that guide your eye through the composition • outlined shapes filled with solid, flat color The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ Questions to Ask • What is going on in this artwork? What do you see that makes you say that? • What emotions do you feel when looking at this artwork? What emotions do you think the artist was feeling? • Describe the lines and colors in this artwork. How do the colors and lines contribute to the emotion? • Describe the ways Hokusai included Mount Fuji in the artworks. • What can you tell about the Japanese way of life in the Edo Period by looking at these artworks? What types of things are the people doing? • What do these artworks have in common? How could you tell that these were created by Hokusai during this time period? The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ Learning Activities 1.
    [Show full text]
  • Hokusai's Landscapes
    $45.00 / £35.00 Thomp HOKUSAI’S LANDSCAPES S on HOKUSAI’S HOKUSAI’S sarah E. thompson is Curator, Japanese Art, HOKUSAI’S LANDSCAPES at the Museum of Fine Arts, Boston. The CompleTe SerieS Designed by Susan Marsh SARAH E. THOMPSON The best known of all Japanese artists, Katsushika Hokusai was active as a painter, book illustrator, and print designer throughout his ninety-year lifespan. Yet his most famous works of all — the color woodblock landscape prints issued in series, beginning with Thirty-Six Views of Mount Fuji — were produced within a relatively short time, LANDSCAPES in an amazing burst of creative energy from about 1830 to 1836. These ingenious designs, combining MFA Publications influences from several different schools of Asian Museum of Fine Arts, Boston art as well as European sources, display the 465 Huntington Avenue artist’s acute powers of observation and trademark Boston, Massachusetts 02115 humor, often showing ordinary people from all www.mfa.org/publications walks of life going about their business in the foreground of famous scenic vistas. Distributed in the United States of America and Canada by ARTBOOK | D.A.P. Hokusai’s landscapes not only revolutionized www.artbook.com Japanese printmaking but also, within a few decades of his death, became icons of art Distributed outside the United States of America internationally. Illustrated with dazzling color and Canada by Thames & Hudson, Ltd. reproductions of works from the largest collection www.thamesandhudson.com of Japanese prints outside Japan, this book examines the magnetic appeal of Hokusai’s Front: Amida Falls in the Far Reaches of the landscape designs and the circumstances of their Kiso Road (detail, no.
    [Show full text]
  • (I): Labour Osamu Saito Abstract Tokugawa Japan Was a Land of Peasant
    Factor markets and their institutions in traditional Japan (I): Labour Osamu Saito Draft. Please do not cite Abstract Tokugawa Japan was a land of peasants. They were family-farm cultivators. Although the proportion of land under tenancy increased over time, there was no tendency towards consolidation of family farms. This social group of peasant families accounted for 80 per cent of the population. This percentage suggests that the size of the workforce in industry and trade was small and occupational differentiation limited, hence, one may argue, it is likely that market forces hardly operated in the allocation of labour during Tokugawa times. However, given the recent consensus that Tokugawa Japan achieved Smithian growth with rural industrialisation and agricultural output growth as major engines of growth, how could this picture of a factor market be consistent with the Smithian scenario? In order to answer this question, the paper will go over both rural and urban labour markets in the period before the age of the factory, examining how large the markets were, how they operated, and how skills were formed in different sectors of the economy. The rural sector Perhaps the best numerical evidence we have for the structure of the workforce in a traditional rural setting is the 1879 pilot census for Yamanashi prefecture (Tōkei-in 1882. See Saito 1986, 1998, Umemura 1969, 1980). This was a comprehensive survey of population taken by a group of Meiji-government statisticians in the hope that the exercise would be a preparation for the taking of a national census. Yamanashi (formerly Kai province) was chosen for the pilot study because the prefecture was relatively small with population of 397,000, geographically compact with no change made in administrative boundaries at the time of the Meiji Restoration, and retained much of traditional characteristics from the Tokugawa past.
    [Show full text]
  • How Do Katsushika Hokusai's Landscape Prints Combine Local and Transcultural Elements?
    Cintia Kiss 1921312 [email protected] IMAGINING PLACE: HOW DO KATSUSHIKA HOKUSAI’S LANDSCAPE PRINTS COMBINE LOCAL AND TRANSCULTURAL ELEMENTS? A CONSIDERATION OF CULTURAL APPROPRIATION Master Thesis Asian Studies 60EC Academic year 2017-2018 Supervisor: Dr. Doreen Müller Leiden University Humanities Faculty, MA Asian Studies Track of History, Arts and Culture of Asia Specialization of Critical Heritage Studies of Asia and Europe ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my thesis supervisor, Dr. Doreen Müller, whose help and insights have supported me throughout the phases of researching and writing this dissertation. Her encouraging remarks and contagious enthusiasm provided valuable assistance. Furthermore, I am grateful for the opportunity to be able to conduct my studies at Leiden University, where I could gain valuable knowledge in an international-oriented atmosphere. The variety of courses, workshops and extracurricular opportunities provided a platform to expand my vision and think critically. Lastly, I must say my thanks to my family. Their continuous encouragement, patient listening, unconditional support and love always give me courage to continue moving forward. 1 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................................. 1 TABLE OF CONTENTS ...................................................................................................... 2 LIST OF FIGURES ..............................................................................................................
    [Show full text]