2 0 0 9 / 2 0 1 0 Japanese Art Contents
Japanese Art at Brill
Hotei Publishing, established in Leiden in 1998, became an imprint of Brill in 2006. As part of Brill’s Asian Studies program, Hotei specializes in books related to Japanese art, and publishes exhibition catalogues and lavishly-illustrated books on established and lesser-known Japanese print artists and painters, as well as a variety of other facets of Japanese art and culture.
Hotei Publishing works with an international team of museum curators, art historians and specialist authors. Recent projects that illustrate Hotei’s close cooperation with museums are Reading Surimono, The Interplay of Text and Image in Japanese Prints, published in association with the Museum Rietberg in Zurich, and the catalog of the magnificent surimono holdings in the See page 9 See page 5 See page 8 Rijksmuseum, Amsterdam, which will appear shortly.
Japanese art will also have a prominent place in Brill’s new academic book series Japanese Visual Culture. The inaugural volume of the series will be Chōgen, The Holy One, And The Restoration Of Japanese Buddhist art by the eminent scholar John Rosenfield. With a strong editorial board, led by John T. Carpenter (SOAS, University of London/Sainsbury Institute for the Study of Japanese Arts and Cultures) we aim to publish groundbreaking research on Japanese art and visual culture in an attractive format.
We hope you will enjoy browsing our catalog and will visit brill.nl for more detailed and updated information on Hotei Publishing’s titles. Our own webpage at brill.nl/hotei features background information and news. If you would like to receive the quarterly e-bulletin from Hotei, please contact us at [email protected]. See page 6 See page 4 See page 12 Yours sincerely,
Inge Klompmakers, 3 New and Recently-Published Titles Acquisitions Editor, Japan Studies & Hotei Publishing 8 Japanese Prints
16 Japan and the West
17 Japanese Art – Miscellaneous
18 Academic Series New and Recently-Published Titles Ho t ei Publis ei h i n
Surimono in the Rijksmuseum, Crows, Cranes & Camellias Chōgen, The Holy One, g O ve
Amsterdam (Expanded Reprint) And The Restoration r view view The natural World of Ohara Koson 1877-1945 Matthi Forrer, Leiden University/ Of Japanese Buddhist Art National Museum of Ethnology Amy Reigle Newland, Jan Perrée and Robert Schaap John Rosenfield, Harvard University, Professor Emeritus • Spring 2010 3 • ISBN 978 90 74822 40 4 • December 2009 • December 2009
Hardback b • (320 pp., 600 color & b/w illus.) • ISBN 978 90 04 18106 9 • ISBN 978 90 04 16864 0 r il
• List price EUR 110.- / US$ 163.- • List price EUR 95.- / US$ 140.- • Cloth with dustjacket L 2009/2010 • List price EUR 93.- / US$ 137.- This catalogue includes more than 600 surimono drawn from The work of print artist Ohara Koson (1877-1945) mainly • Japanese Visual Culture, 1 the splendid Amsterdam Rijksmuseum collection of Japanese consists of prints of birds and flowers, characterized by their prints. surimono (lit. ‘printed object’) are privately published peaceful charm. This book about Koson is the first Western Chōgen, The Holy One deals with the efforts of the Japanese monk prints inscribed with a dedication or poem that reflects upon publication of his oeuvre of prints and paintings. It provides all Shunjōbō Chōgen (1221-1206) to restore major buildings and everyday themes. All surimono are reproduced in color along known information on the artist’s life and work, his teachers works of art lost in civil war. It concentrates on the statues and with extensive descriptions by Matthi Forrer. This publication and publishers, facsimiles of his signatures and seals and buildings associated with Chōgen and his followers and this will be an important reference work in the study of surimono. illustrations of an estimated seventy-five percent of his total study places the visual arts of Japan into the ritual and socio- print output, now kept in the splendid collection of Japanese political context of their time. prints in the Rijksmuseum, Amsterdam. First published in 2001, this new edition features an additional chapter on Koson’s oeuvre and designs which have been discovered since the original publication of Crows, Cranes and Camellias. This title is the definitive reference book for Koson collectors.
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77 77 yo aruki o No one scolds it shikarare mo sezu for roving all night – ume ga ka no a cat on the prowl shita tsuyu ukete returns drenched kaeru koineko in plum-scented dew. —Rokurokuen of Ishii, Awa province
77 Hokkei a precedent for linking cats with cats. 184 and 185). Since Shunman’s Woman playing with a cat seductive female beauty. seal was added by hand, its position, Behind the woman is a small appearance and clarity vary slightly
date ca. 1819–20 standing screen decorated with a plum with each impression of the print.
signature Öju Hokkei ga tree on a pink mica background. The Rokurokuen was the poetry name
printer’s seal Shunman bright red circular seal reading ‘Höitsu’ of Endö Harutari, an indigo merchant
format shikishiban; 20.4 x 18.8 cm resembles a seal actually used by from the town of Ishii in Awa province view references Keyes 1985, no. 109; the artist Sakai Höitsu (1761–1828), (present day Tokushima prefecture on r Chiba 1997, no. 172 best known as the founder of the Edo the island of Shikoku). His business
provenance Haviland 1924; Lusy 273;
ve branch of the Rinpa school. Höitsu also had a branch in Hachiöji, Musashi Zurich 158 also had contact with other artists province, close to Edo. Rokurokuen O and literati. A towel with the stylized started to learn kyöka from Rokujuen
g A young woman, probably a geisha, character ‘five’, the emblem of the (Ishikawa Masamochi), the head of the dangles a ball decorated with coloured Go-gawa poetry club, is draped over Go-gawa in 1810. He was also a pupil of n i string by a single thread to tease the garment rack to the right. The the Kokugaku (National Studies) scholar
h her pet cat. Both the string and the same motif appears around the bowl Motoori Öhira. He assisted Masamochi Reading Surimono fur of the cat are rendered by subtle containing a fukujusö (adonis flower) in the compilation of Gagen shuran, embossing. Having been interrupted plant on the staggered shelf. Below are an important dictionary of classical in her reading, she leans on a kotatsu a tea pot and small hibachi stove. Japanese literary words, published in The Interplay of Text and Image in Japanese Prints. (heater-table) covered with a decorated In the lower right corner of the 1819 with a preface by Öhira. quilt. The image of a beautiful woman print, just beneath the black lacquer The poem refers to the theme of a playing with a cat in ukiyo-e prints leg of the clothing rack, is the circular koineko, literally, ‘cat in love’, which is ei Publis and paintings recalls the iconic scene seal of Kubo Shunman, who, besides likened to a man or woman who returns t With a catalogue of the Marino Lusy Collection in The Tale of Genji when the pet cat being a talented ukiyo-e painter home from plum blossom viewing with (kara neko) of the Third Princess (Onna and surimono designer, headed a the scent of a lover on his or her sleeve.
Ho Sannomiya) becomes entangled in the surimono production studio. Shunman The artist illustrated this suggestive cords of a reed shade and inadvertently sometimes produced surimono verse with a woman of the pleasure reveals its mistress to the gaze of designed by other ukiyo-e artists (for quarters seated near a painting of a Edited by John T. Carpenter, nearby courtiers. The scene became example, two surimono by Kunisada, plum tree. SOAS, University of London
4 • December 2008 • ISBN 978 90 04 16841 1 204 h o k k e i • Cloth with dustjacket (432 pp., over 400 colour illus.) • List price EUR 99.- / US$ 147.- 2009/2010 L il
r This full-colour catalogue illustrates and describes over 300 surimono (privately published deluxe Japanese prints) belonging to b the Graphics Collection of the Museum of Design Zurich, which were recently placed on long-term loan to the Museum Rietberg Zurich. Originally bequeathed to the Museum of Design by the Swiss collector Marino Lusy (1880-1954), the collection includes many rare and previously unpublished examples. Edited by John T. Carpenter, with contributions from a distinguished roster of Edo art and literary specialists, this groundbreaking scholarly publication investigates surimono as a hybrid genre combining literature and art. Introductory essays treat issues such as text-image interaction and iconography, poetry and intertextuality, as well as the operation of Kabuki fan clubs and poetry circles in late 18th and early 19th century Japan. Other essays document Lusy’s accomplishments as a talented lithographer inspired by East Asian art, and as an astute collector who acquired prints from Parisian auction houses and dealers in the early 20th century. Translations of kyoka (31-witty verse) that accompany images are given for all prints. The volume also includes a comprehensive index of poets with Japanese characters. This publication is not only indispensable to specialists in ukiyo-e, but has much to offer any reader interested in traditional Japanese art and literature.
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2_Hiroshige_p057_080.qxd:Hiroshige catalogue 22-9-08 13:06 Pagina 80 3_Hiroshige_p081_108.qxd:Hiroshige catalogue 14-10-08 8:59 Pagina 81
Vertical Tökaidö
Vertical Tökaidö
Fifty-three famous views [of the Tökaidö] 89. Nihonbashi (station 1), Gojüsan tsugi meisho zue view at dawn 五十三次名所圖會 Nihonbashi, Shinonome no kei or the so-called Vertical Tökaidö 日本橋・東雲の景 Signed: Hiroshige hitsu Published by Tsutaya Kichizö in 1855 The first design from the series All stations in this series are numbered in the shows the main bridge over the title cartouche Sumida river in the early hours of morning. Traffic on the bridge is The last Tökaidö set Hiroshige would still light, and the fish market in the lower right hand corner is not make was his first pure landscape Ho yet thronged with people. Two Tökaidö in the upright format. The years later, Hiroshige would
turn to the vertical format has been t virtually copy this design to make
explained by saying that since prints the first print of the Meisho Edo Publis ei were viewed in an album, the vertical hyakkei series (see cat. 112). format was more convenient. It is true Collection Marten and Marthy that when horizontal prints were bound Dorhout in a folding album, a disturbing centerfold would divide the scene. Since the majority of prints in other genres h were vertical in orientation, it would 90. Numazu (station 13), i
allow diverse prints to be bound mount Ashigara and Fuji n Hiroshige, Shaping the Image of Japan together in the same way. The change on a clear day after snowfall g forced Hiroshige to rethink his Numazu, Ashigaramayama
Fuji yukibare O compositional style: the vantage point 沼津・足柄山不二雪晴 in many of the Tökaidö prints in his last ve
set is placed in a slightly elevated position Collection Dolf van Teerns r
Chris Uhlenbeck & Marije Jansen looking down onto the landscape. The view human figures tend to be dwarfed by the landscape surrounding it. Hiroshige positioned objects and landscape elements on consecutive planes from • October 2008 the front to the back, creating the effect 91. Hara (station 14), also used this trick to great effect 22 92. Yoshiwara (station 15), Hiroshige has chosen to depict Mount of a ‘stage curtain perspective.’ Many view of the volcano Ashitakayama years earlier and repeated it again and the Fuji swamp and the floating Fuji from a greater distance. One of the • ISBN 978 90 04 17195 4 designs from the set seem to be vertical and Mount Fuji again in his depiction of this particular water reeds characteristic elements which is always enlargements of parts of the designs of Hara, Ashitakayama Fuji chöbö 原・ station. Yoshiwara, Fuji-no-numa Ukishima- shown in conjunction with this design – the so-called Reisho Tökaidö (cat. 85 あし鷹山不二眺望 The small area of block damage in ga-hara the pine trees aligning the Tökaidö – • Paperback (112 pp., over 140 color illus.) the lower right hand corner of the title appear here disproportionate in size. and 86), produced slightly earlier. 吉原・不二の沼浮嶋ヶ原 Rising Fuji, towering over the extinct cartouche seems to have appeared very Collection Marten and Marthy Dorhout • List price EUR 25.- / US$ 39.- volcano Ashitaka and dwarfing the early on in the edition. In later editions travelers at the 14th post station. Here it is often touched in by hand, masking Hiroshige allows Mount Fuji to break this irregularity. 5 through the upper margin thereby Collection Marten and Marthy Dorhout accentuating the mountain’s altitude. He
Hiroshige Shaping the Image of Japan b is a comprehensive overview r 80 - Hiroshige: Shaping the Image of Japan Hiroshige: Shaping the Image of Japan - 81 il
of Hiroshige’s work as a woodblock print artist. Utagawa L 2009/2010 Hiroshige (1797-1858) is one of the great masters in the history of Japanese printmaking and this publication coincides with the 150th anniversary of his death. Hiroshige has worked in virtually every genre of ukiyo-e or ‘images of the floating world’. He designed prints of beautiful women and brave heroes, but achieved his greatest fame through his depictions of the Japanese landscape, showing famous places in different seasons full-color prints, selected from public and private collections. and at various times of day. These landscape prints, with their Biographical data are sparse and only very few details of his bright colors and strong compositions, were not only popular life help explain the nature of his output. However, by carefully in Japan, but also found favor with European artists at the turn piecing together the information which can be gleaned from of the 19th century. The main body of this publication includes the works themselves, and combining it with the current a general introduction, sketching the cultural and economic knowledge on print production methods, the authors present a environment of the artist Hiroshige, the development of his picture of Hiroshige as an artist-cum-craftsman who efficiently oeuvre, and the rise of his his artistic reputation in Japan and produced for his publishers, creating in the process an image of the West. This is followed by a chronological presentation of 140 Japan which endures until this day.
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281-480 TWO 4/15/03 11:19 Uhr Page 444 281-480 TWO 4/15/03 11:19 Uhr Page 445
Kawase Hasui Kawase Hasui
311 & 311a. Öwani spa Series: Collection of scenic views of Japan, eastern Japan edition * (Nihon fükei shü higashi Nihon hen, Öwani onsen) May 1935
309. Ishinomaki in the snow Series: Collection of scenic views of Japan, eastern Japan edition * (Nihon fükei shü higashi Nihon hen, Ishinomaki no bosetsu) March 1935 view r ve O g n i h Kawase Hasui 310. Jögakura gorge, Hakköda Series: Collection of scenic views of Japan, eastern Japan edition * (Nihon fükei shü higashi Nihon hen, Hakköda Jögakura) The Complete Woodblock Prints Figs. 8, 9. May 1935 Watercolours based on cat. no. 309. ei Publis t
Ho Kendall H. Brown, California State University, with an Essay by Watanabe Shōichirō. General Editor: Amy Reigle Newland. Catalogue Contributors: Inge Klompmakers, 6 Merel Molenaar, Amy Reigle Newland, Okura Haruko,
Dick N.W. Raatgever, Robert Schaap and Chris Uhlenbeck. 444 445
• November 2008 2009/2010
L • ISBN 978 90 74822 46 6 il
r • Cloth with dustjacket (592 pp., 617 color & 131 b/w illus. (incl. DVD)) b • List price EUR 265.- / US$ 413.-
Kawase Hasui (1883-1957) is considered the foremost Japanese landscape print artist of the 20th century. His work is characterized by a fascination with light, climatic conditions and tranquility. His oeuvre consists of over 700 designs of which the largest proportion was produced for the initiator of the Shin hanga (‘new print’) movement, Watanabe Shôzaburô. This publication illustrates his oeuvre in color including all the designs he produced for other publishers. The illustrations are predominantly taken from the two largest collections of Hasui prints in the world: the collections of Robert O. Muller, now housed in the Arthur M. Sackler Gallery of Art, and the Watanabe family. This bilingual publication includes essays by Kendall Brown and Shôichirô Watanabe, facsimiles of seals and signatures and a bibliography. Originally published in 2003, this groundbreaking publication on the life and work of Kawase Hasui is now available with a DVD, which includes a 1950s film on the artist and the production of one of his designs, a process book displaying all stages in the creation of a Japanese woodblock print, and designs which have been discovered since 2003.
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7b Cat. Animals 22-46 kopie 06-11-2007 12:12 Pagina 120 7b Cat. Animals 22-46 kopie 06-11-2007 12:12 Pagina 121
Various animals Various animals
35. Ikeda Kinpö (1843-99) 36. Takeuchi Seihö (1864-1942) Bear Lion signed: Kinpö signed: Seihö sha seals: Ikeda shishö no in & Kinpö seal: Seihö sumi and light colour on paper, 1316 x 614 sumi and light colour on silk, 1102 x 407 collection: Annemiek & Eric van den Ing, collection: Annemiek & Eric van den Ing, The Netherlands The Netherlands illustrated: Andon 61, cover and p. 3
A young Japanese black bear (tsukinowaguma) is seen A young lion licks its paw. Ho from the front. Lions belong to the traditional repertoire of The bear (guma) is an animal rarely seen in Japanese painters, although the animal is not native
Japanese paintings, although it features in several to Japan. Its image became known in Japan through t
stories of famous warriors, such as that of the ‘golden Chinese paintings depicting mythical lions (shishi), Publis ei boy’ Kintarö. This boy, son of a masterless samurai, which in turn were based on East Indian examples. was left behind in the mountains as a child, and had The lion in the East, as in Europe, symbolises for daily companions a bear, a monkey, a fox and a strength and protection. hare. He is often depicted in illustrated books. In Only after Japanese artists travelled abroad could general the bear was regarded as a benevolent beast they really study this ‘king of beasts’, and that is with enormous powers, which sometimes came to exactly what Seihö did. He embarked for Europe on h rescue human beings. 1 August 1900 and returned home on 26 February i
Kinpö’s bear certainly does not look aggressive, 1901. His visit brought him to zoos in Antwerp, n though its almost life-sized body fills the painting, Amsterdam and London, where he made extensive g g A Brush With Animals like a sumo wrestler can fill the sheet of a Japanese sketches of caged lions. On his return he ‘translated’
print. these drawn observations into a large number of lion O paintings (a new theme in his art), of which this ve Little is known about Ikeda Kinpö (1843-99), who was painting is a particularly impressive one.1
Japanese Paintings 1700-1950 r born in Bizen and who studied with the Osaka-based Shijö
painter Nishiyama Höen (1804-67). He subsequently Takeuchi Seihö (1864-1942) is probably the most important view became a pupil of Nakagawa Tairei (dates unknown). In his Nihonga painter of Kyoto at the end of the 19th and the later years Kinpö moved to Tokyo where he became a well- first four decades of the 20th century. He started his career known artist, also calling himself Yasujirö. as a pupil of the Shijö painter Tsuchida Eirin (b. 1838) and later studied with Suzuki Shönen (1849-1918) and Köno Robert Schaap, with essays by Willem van Gulik, Bairei (1844-95). Seihö’s art is based on ‘sketching from life’ (shasei ), as advocated by the Maruyama-Shijö School, Henk Herwig, Arendie Herwig-Kempers, Daniel McKee, mingled with Western art. He even changed the way he wrote the first character of his name sei into a character which could also be read as ‘west’. Later in his career he returned to a more Andrew Thompson Japanese concept of landscape and animal paintings, followed by Chinese scenes after two trips to China. Among his many students was Nishimura Goun (1877-1938, see cat. 37). 7 1. More information on Seihö’s tour to Europe and this lion painting can be found • December 2007 in Eric van den Ing, ‘One of Seihö’s lions’ in Andon 61, pp. 3-13, Leiden 1999. b A Brush with Animals 120 121 A Brush with Animals
• ISBN 978 90 70216 07 8 r il
• Cloth with dustjacket (206 pp., 275 color illus. with English texts) L 2009/2010 • List price EUR 79.- / US$ 117.-
Japan has a long and rich tradition of using animal imagery in works of art. A Brush with Animals. Japanese Painting 1700-1950 gives an overview of Japanese animal painting, covering some 250 years, with an emphasis on works by artists of the naturalistic Shijô School. It illustrates the wonderful variety of animals that figure in Japanese iconography, including the 12 animals of the zodiac and many mythological creatures. The reader is thus taken on a tour through the animal kingdom, which is profusely illustrated with no less than 300 color images. A selection of essays explains in great detail the stories and legends behind the animal imagery and provides background information on the practical aspects and social context of Japanese hanging scroll paintings. A useful tool for the collector and a delight for anyone sensitive to the beauty of Japanese art. A Brush with Animals was selected from collections of members of the Society for Japanese Arts (private and museum collections), to commemorate the 70th anniversary of the Society. Many of the paintings are published here for the first time.
‘As a Japanese bestiary, this collection (...) is representative and sensitively presented. As a record of the bond between man and beast, it is moving as well. And as a commemoration of the Japanese animal kingdom, it is splendid.’ Donald Richie, The Japan Times.
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03 – Utagawa cat 2_HT 28-08-2007 20:34 Pagina 122 03 – Utagawa cat 2_HT 28-08-2007 20:34 Pagina 123
92a, 92b Utagawa Hiroshige (1797-1858) Utagawa Kuniyoshi by providing the text for the 93 Utagawa Hiroshige (1797-1858) not know the exact year of publication, a comment Landscape Views on the To¯kaido¯ (To¯kaido¯ series Heroic Biographies from the ‘Chronicle of Grand Famous Views on the Kisokaido¯ at the end of volume two states that the blocks were fu¯kei zue), 4 volumes bound in 2 parts Pacification’ (Taiheiki eiyu¯den; see cat. no. 113). (Kiso meisho zue), 3 volumes cut in the late summer of 1851. Unlike most 1/1851 ca. 1851 sequenced works of the To¯kaido¯and Kisokaido¯ In illustration 92a, from the preface of volume one, roads that begin in Edo and end in Kyoto, this Hiroshige has included a double-page illustration Signature: Ichiryu¯sai Hiroshige hitsu Signature: Hiroshige hitsu work was completed in reverse. The work contains Publisher: Fujiokaya Keijiro¯ (Sho¯rindo¯) of people from various walks of life that travelers Publisher: Shunyu¯tei Umehiko three illustrations by Utagawa Sadahide (1807-73), a Format: Two of two picture books (ehon); might encounter during their journeys on the Format: Three of three picture books (ehon); prominent student of Kunisada. each 183 x 120 mm To¯kaido¯. The title of the illustration is Customs and each 230 x 160 mm John H. Van Vleck Endowment Fund purchase, Manners Along the Way (To¯chu¯fu¯zoku) comprised John H. Van Vleck Endowment Fund purchase, 1999.127 1999.109.1-2 of twenty-four labeled figures that include pilgrims (angyo¯), traveling Buddhist priests and priestesses 94 Utagawa Hiroshige (1797-1858) (tabiso¯and bikuni), and prostitutes (baishun). During the Edo period, five major highways were View of Nihon Bridge at Dawn During the early 1850s, Hiroshige designed many established by the founding Tokugawa shogun (Nihonbashi shinonome no kei) picture books of landscapes (fu¯kei-ga) and famous With the publication of Hiroshige’s monumental Ieyasu (1543-1616) that served as an integral part Series: Number 1 from Pictures of Famous places (meisho). Some multivolume works, like single-sheet series Fifty-three Stations of the To¯kaido¯ of his system of central control that connected Edo, Places on the Fifty-three Stations Landscape Views on the To¯kaido¯discussed here and (To¯kaido¯goju¯san tsugi no uchi) published from 1833 to the seat of the Tokugawa shogunate, to Japan’s Famous Views on the Kisokaido¯(Kiso meisho zue, see 1834 (see cat. nos. 71 and 72), the print-buying pub- distant provinces. They included the Nikko¯kaido¯, (Goju¯santsugi meisho zue – Dai ichi) cat. no. 93), integrated kyo¯ka poetry into the compo- lic became well versed in the scenic views along the Koshu¯kaido¯, O¯shu¯kaido¯, and the two best-known 7/1855 sitions and were known as kyo¯ka-bon, or “books of To¯kaido¯. Hiroshige has included in this multivol- To¯kaido¯and Kisokaido¯(also known as Nakasendo¯).
view kyo¯ka.” Hiroshige strove to incorporate the cursive ume work sweeping vistas that exploit the format of Hiroshige’s success as a print artist was created and Signature: Hiroshige ga 93 Censor’s seal: aratame r script of the poems visually into the compositions the double-page illustrations by occasionally maintained by his numerous treatments of the sce- Publisher: Tsutaya Kichizo¯ in highly artistic and unusual ways, often utilizing creating vertical compositions as in illustration 92b nic stops that made up these systems of roadways. Format: O¯ban, 343 mm x 228 mm
ve the natural and manmade features from volume three that is titled Returning Pilgrims to The Kisokaido¯, which ran from Edo to Kyoto Bequest of John H. Van Vleck, 1980.1064 of the landscapes to accentuate the text. The noted Ho¯raiji Temple in Sansu Province (Sanshu¯Ho¯raiji gyo¯ja through Japan’s inland mountainous terrain, was
O author Ryu¯katei Tanekazu (1807-58) wrote the for- ki), which is in present-day Aichi Prefecture. second in his repertoire only to the To¯kaido¯. Like ward and colophon for this work. Tanekazu was Ho¯raiji Temple was a popular pilgrimage site for its the To¯kaido¯, Hiroshige designed single-sheet land- Hiroshige returned to the subject of the fifty-three
g a student of the celebrated author Ryu¯tei Tanehiko healing powers since the main deity at the temple scapes (fu¯kei-ga) of the Kisokaido¯in collaboration stations of the To¯kaido¯Road many times during (1783-1842), who is most widely known for his serial was Yakushi Nyo¯rai, the Buddha of Medicine and with Keisai Eisen (1790-1848) that were completed his career trying to repeat the great success of his n
i novel Imposter Murasaki, Rustic Genji (Nise Murasaki Healing. between 1835 and 1843 (cat. nos. 142 and 143). earlier 1833-34 series The Fifty-three Stations of the Inaka Genji) that was illustrated by Utagawa To¯kaido¯(see cat. no. 71). In this vertical version h Kunisada (see cat. nos. 155, 156, and 157). Tanekazu This three-volume work combines the scenic views of the subject, he departs from his earlier reliance Competition and Collaboration also collaborated with many other artists including of the Kisokaido¯with kyo¯ka poetry. Although we do on integrating figures into his compositions and instead turns his attention to the locales themselves. In this first design from the series, Hiroshige approaches the landscape from an elevated view- point to showcase his ability to capture the sprawl- Japanese Prints of the Utagawa School ing urban center successfully. Nihon Bridge was used as the beginning point for the majority of his
ei Publis landscape series as the bridge was the standard
t location from which all distances from the seat of the Tokugawa shogun were measured.
In this early morning scene with the clouds still Ho hovering over the horizon, Hiroshige shows the city Laura Mueller, University of Wisconsin–Madison, coming alive as the diminutive fish mongers shown as stick figures go about the business of readying the fish market along the bottom of the composi- with essays by Fujisawa Akane, Kobayashi Tadashi tion. The tiny workers are depicted walking to and fro with baskets containing freshly caught fish and setting up their stalls to display the day’s offering. and Ellis Tinios The bridge spans the width of the sheet at a slight angle and draws the viewer to the distant bank of the Sumida River that is lined with white mud- walled storehouses. The sloping rooftops of Edo 92a Castle rise above the low-hanging clouds in the dis- 8 tant right, while the silhouette of Mt. Fuji stands • October 2007 out against the pale blue sky in the upper left of the 92b composition. 94
• ISBN 978 90 04 15539 8 122 COMPETITION AND COLLABORATION JAPANESE PRINTS OF THE UTAGAWA SCHOOL 123 • Cloth with dustjacket (232 pp., over 220 color illus.) • List price EUR 84.- / US$ 125.- 2009/2010 L il
r The prolific Utagawa school is one of the most famous lineages of print artists in the history of Japanese woodblock prints. It was b founded by Utagawa Toyoharu during the second half of the eighteenth century and remained active in Edo, present-day Tokyo, throughout the nineteenth century. During this period, Utagawa-school artists dominated virtually every genre of ukiyo-e prints, or “pictures of the floating world,” including pictures of beautiful women, prints of kabuki actors, warrior prints, erotica, and landscape pictures. Colorful, technically innovative, and sometimes defiant of government regulations, these prints documented for a popular audience the pleasures of urban life, leisure, and travel. The diverse works by Utagawa Kunisada, Utagawa Kuniyoshi, Utagawa Hiroshige, and others reflected the changing social, economic, and political conditions present during the closing century of the Edo period (1615-1868) and early years of the Meiji period (1868-1912). This 232-page groundbreaking catalogue features full- color images of more than 200 prints from the renowned Van Vleck Collection of Japanese Prints at the Chazen Museum of Art, University of Wisconsin–Madison. This collection – a number of which were once part of Frank Lloyd Wright’s personal collection of Japanese prints – is particularly noteworthy for its strong holdings of landscape prints including rare designs incorporating western perspective by the school’s founder Toyoharu. The book includes explicated entries for each work, artist biographies, and five scholarly essays about Japanese print culture and the Utagawa school.
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Japanese Warrior Prints 1646-1905 The Hundred Poets Compared g O ve
A Print Series by Kuniyoshi, Hiroshige, and Kunisada r
James King, McMaster University & Yuriko Iwakiri view
• May 2007 Henk J. Herwig, Andon Magazine • ISBN 978 90 74822 84 8 and Joshua S. Mostow, University of British Columbia • Cloth with dustjacket (400 pp.,, over 200 color illus.) • List price EUR 104.- / US$ 154.- • April 2007 9 • ISBN 978 90 74822 82 4
Japanese Warrior Prints 1646–1905 Cloth with dustjacket b is the first publication in the English language devoted entirely to • (256 pp., 118 color illus.) r il
the most neglected of the major genres in the history of Ukiyo-e: musha-e or images of warriors. • List price EUR 93.- / US$ 138.- L 2009/2010 These works recreate in vivid detail the tales of great heroes and battles of Japanese history, especially from the tenth through sixteenth centuries. The publication is divided into two parts. The Hundred Poets Compared is about a 100-print series made by three famous Ukiyo-e artists of the The first is an ‘Introduction’ to the genre of musha-e, including a discussion of the evolution of 19th century: Kuniyoshi, Hiroshige, and Kunisada. Each print compares one of the poems from the genre and the various influences that came to play on its development. The second comprises the most-beloved collection of Japanese poetry, The One Hundred Poets, One Poem Each (Hyakunin a ‘Catalogue’ of over 200 full-color illustrations dating from the mid-seventeenth to twentieth Isshu), with a scene from Japanese history or theatre. Begun during the repressive Tenpô Reforms, centuries which have been grouped into sixteen subject categories. the series includes many surreptitious portraits of popular actors. Herwig and Mostow explain each episode depicted and its connection to its particular poem, providing a translation of the commentary text on each print and the identification of actors and performances. This work will be welcome to Ukiyo-e collectors and scholars, as well as those interested in Kabuki and Japanese legends.
Visit the Hotei Publishing website at brill.nl/hotei Subscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins Japanese Prints view r ve O g n i h The Hotei Encyclopedia of Japanese Woodblock Prints ei Publis t
Ho General Editor: Amy Reigle Newland. Specialist Advisers: Julie Nelson Davis, Oikawa Shigeru, Ellis Tinois and Chris Uhlenbeck
10 • ISBN 978 90 74822 65 7 • List price EUR 205.- / US$ 304.- 2009/2010 L il
r The Hotei Encyclopedia of Japanese Woodblock Prints will serve as a source of quick reference as of well over a 2000 carefully cross-referenced entries on individual print designers and schools, b well as an in-depth study of all aspects of Japanese prints from the Edo (1600-1868) to Taishō publishers, carvers, printers and collectors, major Kabuki actors, materials and techniques, (1912-26) periods. The first section of The Hotei Encyclopedia is divided into four main subject conservation, subject-matter/iconography, literature and miscellaneous print-related areas: historical background, the art history of Ukiyo-e prints, print production (materials and terminology. This is followed by various appendices, including such aspects as seals of publishers techniques, the publishing trade) and the history of collecting Japanese prints, with a shorter and carvers, signatures, maps and chronological tables. With this ambitious project Hotei fifth section on conservation. Each subject area contains a longer survey article which is Publishing hopes to fill the gap for an extensive reference work and introduction to Japanese accompanied by shorter essays that highlight specific topics pertaining to Japanese prints and prints, one that will prove a valuable resource for teachers and students, art collectors, librarians their development. The second section of the book comprises an extensive alphabetical listing and interested lay-people alike.
Visit the Hotei Publishing website at brill.nl/hotei Subscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins Japanese Prints Ho t ei Publis ei h i n g g O ve r view view
11 b r il L 2009/2010
‘The bulk of the encyclopedia are essays written by fifty experts ‘... these two volumes are a major achievement. They summarize dealing with the many technical, genre, and evolutionary aspects of the current state of the field and its history, both in Japanese and in the woodblock prints. As I read the encyclopedia from cover to cover, Western language publications, contain practical information of use the quality of the essays struck me as consistently quite high, evidence to both novice and veteran collectors, and include a large number of of good editing...For collectors, the encyclopedia offers information indispensable reference materials, many available in English for the on what to look for in quality, artist and publisher identification, and first time. Overall, the editors did an excellent job selecting topics and other critical details...The Hotei encyclopedia is an excellent starting authors for the essays, which provide succinct summaries of their point for collectors.’ subjects. The best of these go beyond mere summarization and provide Todd Shimoda, The Asian Review of Books, 2006. a sense of how studies on these topics developed historically, reveal recently addressed avenues of research, use close discussion of specific prints to amplify larger points that place print production within a cultural context, and suggest directions for future scholarship.’ College Art Association Reviews, Pat Graham.
Visit the Hotei Publishing website at brill.nl/hotei Subscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins Japanese Prints view r ve O g n i h Chikanobu Heroes of the Japanese Erotic Fantasies Strong Women, Modernity and Nostalgia Grand Pacification Sexual Imagery of the Edo Period Beautiful Men ei Publis t in Japanese Prints Kuniyoshi’s Taiheiki eiyū den Japanese Portrait Prints from Ho Edited by Chris Uhlenbeck and Margarita Winkel the Toledo Museum of Art Bruce A. Coats, with essays by E. Varshavskaya Allen Hockley, Kyoko Kurita, • January 2005 Laura Mueller 12 and Joshua Mostow • January 2006 • ISBN 978 90 74822 66 4 • ISBN 978 90 74822 69 5 • Cloth with dustjacket (248 pp., 277 color illus.) • January 2005 • October 2006 • Cloth with dustjacket (192 pp., 50 color • List price EUR 79.- / US$ 117.- • ISBN 978 90 74822 78 7 • ISBN 978 90 74822 88 6 & 16 b/w illus.) • Paperback (96 pp., 58 color illus.) 2009/2010
L • Cloth with dustjacket (208 pp., 280 color illus.) • List price EUR 100.- / US$ 148.- • List price EUR 25.- / US$ 37.- il
r • List price EUR 83.- / US$ 123.- b
Visit the Hotei Publishing website at brill.nl/hotei Subscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins Hotei Publishing Overview 13 brilL 2009/2010 Henk & Arendie Herwig • January 2004 9 61 90 74822 978 • ISBN with• Cloth dustjacket 280 pp., color illus.) (360 • List price 132.- / US$ EUR 89.- Heroes of the Kabuki the of Stage Heroes of World the to Introduction An Famous of Retellings with Kabuki by Woodblock illustrated Plays, Prints ubscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins S A Courtesan’s Day A Courtesan’s by Hour Hour Cecilia by Seigle, Essays Segawa Alfred H. Marks, Harue Summersgill, M. Newland Amy Reigle and Monika Hinkel, with assistance from Kodaira Takashi and Ishigami Hidemi • January 2004 6 59 90 74822 978 • ISBN color illus.) 67 pp., • Paperback (182 • List 70.- / US$ price EUR 47.- • Famous Japanese Prints Series, 2 Hiroshige’s Journey Journey Hiroshige’s in 60-odd the Provinces Marije Jansen • January 2004 60 2 90 74822 978 • ISBN 80 pp., color illus.) • Paperback (176 • List 70.- / US$ price EUR 47.- • Famous Japanese Prints Series, 1 isit the Hotei Publishing website at brill.nl/hotei V • (152 pp., 100 color illus.) 100 pp., • (152 Cloth withCloth dustjacket 80 0 90 74822 978 • ISBN • List price EUR 138.- / US$ 93.- • January 2004 Paperback 68 8 90 74822 978 • ISBN • List price EUR 67.- / US$ 45.- Kendall H. Brown, University State California Visions of Japan of Visions Masterpieces Kawase Hasui’s Japanese Prints 14 brilL 2009/2010 Hotei Publishing Overview V 37.- EUR price /US$ 55.-• List (132• Paperback pp., &6b/w color 123 illus.) • ISBN 978 74822 90 73 2 2004 • January Reigle Amy Newland Editor: General Herwig. Henk with Uhlenbeck, Jansen Marije Chris Reigle Amy Newland, B.Joan Mirviss, thefrom O. Robert Muller Collection Twentieth-century Japanese Prints to PerfectionPrinted Prints Japanese brill.nl/hotei at website Publishing Hotei the isit • List price EUR 45.- /US$ 67.- EUR price • List (160• Paperback pp.) • ISBN 978 74822 90 37 4 2008 • August Inge Klompmakers Shunga Harunobu by and Koryūsai Japanese Erotic Prints • List price EUR 99.- /US$ EUR 147.- price • List (272 pp., 165 dustjacket • Cloth with illus.) color • ISBN 978 74822 90 8 42 2001 • January John Stevenson of the MoonAspects Yoshitoshi’s One Hundred S ubscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins at e-bulletin Publishing Hotei the to ubscribe • List price EUR 99.- /US$ EUR 147.- price • List (216 dustjacket • Cloth illus.) color with pp., 280 • ISBN 978 74822 90 6 20 2000 • January Reigle Amy Newland and Shinji Hamanaka of Japanese Beauties Japanese 20th Century Prints The Female Image Hotei Publishing Overview 15 brilL 2009/2010 ubscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins S t es Japan and the W Japanese Export 1580-1850 Japanese Lacquer and Impey ChristiaanOliver Jörg • January 2005 5 72 90 74822 978 • ISBN with• Cloth dustjacket illus., 657 pp., (384 mostly color) • List price EUR 350.- / US$ 236.- Japanese export lacquer 1580-1850 is the first full treatment of lacquerware made Europeanto demand, its transportation and the lacquer market in Europe as well as the effect of lacquer and its use in a European context. Tradingpatterns and its use are described in detail, based on the documentary evidence of Europeans in the Far East, on notes kept the by Portuguese in Japan, on the important and comprehensive archives of the Dutch East India and Company to a (VOC) lesser extent and a shorter for period, of the English Honourable East India as Company, well as on contemporary comments and inventories within Europe. Time Present and Time Past and Time Present Time Master: forgotten a of Images - 1900) (1835 Kunichika Toyohara with Newland Amy an Reigle by essay Oikawa Shigeru • January 1999 4 11 90 74822 978 • ISBN pp., with• Cloth dustjacket (176 illus.) color & 6 b/w 166 • List price EUR 97.- / US$ 65.- isit the Hotei Publishing website at brill.nl/hotei Chris Uhlenbeck and Merel Molenaar Chris and Merel Uhlenbeck • January 2000 9 32 90 74822 978 • ISBN 128 color illus.) pp., • Paperback (128 • List price EUR 27.- / US$ 18.- Mount Fuji Mount Japan of Mountain Sacred Japanese Prints V 16 brilL 2009/2010 Hotei Publishing Overview V • List price EUR 78.- /US$ 116.- EUR price • List color) some (176 dustjacket • Cloth with pp., 57 illus., • ISBN 978 74822 90 0 64 2005 • January Hiroko Johnson and Foreign Books The Akita School Ranga Art on Japanese Art Western Influences W the and Japan brill.nl/hotei at website Publishing Hotei the isit es t • List price EUR 142.- EUR /US$ 211.- price • List (304 illus.) color pp., 420 dustjacket • Cloth with • ISBN 978 74822 90 16 9 2003 • January Jörg J.A. Christiaan in Dutch Collections Japanese Porcelain Export Fine &Curious • List price EUR 142.- EUR /US$ 211.- price • List (264 illus.) color pp., 500 dustjacket • Cloth with • ISBN 978 74822 90 39 8 2002 • January Oliver Impey of the Ashmolean Museum, Oxford Catalogue of the Collection PorcelainJapanese Export S ubscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins at e-bulletin Publishing Hotei the to ubscribe • List price EUR 51.- EUR /US$ 76.- price • List (152 pp.,b/w dustjacket 20 • Cloth with illus.) • ISBN 978 74822 90 1 09 2000 • January Put Max 1860 -1930 Japanese in Art the West, Plunder Pleasure and Hotei Publishing Overview 17 brilL 2009/2010 Henry Johnson • January 2004 3 63 90 74822 978 • ISBN with• Cloth dustjacket illus.) color & 23 b/w 78 pp., (200 • List price 117.- / US$ EUR 79.- Henry forthcoming Johnson’s title Shamisen The will shortly be appearing on the brill website. The Koto The Instrument A Traditional Japan Contemporary in ubscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins S A Guide to Japanese ArtJapanese to A Guide inUK the Collections IrvineGregory • January 2004 9 74 90 74822 978 • ISBN 90pp., • Paperback color illus.) (204 • List price EUR 20.- / US$ 18.- Reflecting Truth Reflecting Photography Japanese Century 19th the in Rousmaniere Coolidge Edited Nicole by and Mikiko Hirayama • January 2004 3 76 90 74822 978 • ISBN illus.) 60 pp., b/w • Paperback (112 • List price 61.- EUR / US$ 41.- isit the Hotei Publishing website at brill.nl/hotei V Edited by Ron Manheim,Edited Ron by Moyland Museum Schloss • January 2006 86 2 90 74822 978 • ISBN with• Cloth dustjacket color illus.) 79 pp., (208 • List 70.- / US$ price EUR 47.- Haiku & Haiga Image and Word in Moments Japanese ArtMiscellaneous - 18 brilL 2009/2010 Hotei Publishing Overview V 3 Japan, on Studies • European 93.- /US$ 138.- EUR price • List (368 pp., 139 b/w dustjacket • Cloth with illus.) • ISBN 978 74822 90 58 9 2005 • January Sepp Linhart and Formanek by Susanne Edited in Early Japan Modern Woodblock-printed Media Written Texts Texts -Visual S Academic brill.nl/hotei at website Publishing Hotei the isit eries • European Studies on Japan, 2 Japan, on Studies • European 79.- EUR /US$ 117.- price • List (272 pp., 18 b/w &48 color illus.) dustjacket • Cloth with • ISBN 978 74822 90 49 7 2004 • January Reigle by Amy Edited Newland of Japanese Printmaking Climate Cultural and The Commercial • European Studies on Japan, 1 Japan, on Studies • European 79.- EUR /US$ 117.- price • List (232 pp., 21 &111 color b/w illus.) dustjacket • Cloth with • ISBN 978 74822 90 2 44 2001 • January by NicoleEdited Coolidge Rousmaniere Study of Japanese and Cultures Arts of The Sainsbury Institute for the Essays Celebrating the Inauguration Japanesein Art Rebirths and Births S ubscribe to the Hotei Publishing e-bulletin at brill.nl/e-bulletins at e-bulletin Publishing Hotei the to ubscribe • Japonica Neerlandica, 9 Neerlandica, • Japonica 79.- EUR /US$ 117.- price • List (256 pp., 30b/w dustjacket • Cloth with illus.) • ISBN 978 74822 90 52 7 2004 • January Bruschke-Johnson Lee in Earlyaristocrats Japan Modern Konoe Nobutada and the role of elegantDismissed as fossils Hotei Publishing Overview 19 brilL 2009/2010 1 8 8TQ81 SG & Canada& only) A 2017A 2-0605 usinessPark US V B ox605 B . . 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