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TEACHINGRT WITH THE POWER OOOF OBJECTS Smithsonian Institution January/February 1997

JAPAN: Images of a People

Inside Lesson Plan Take-Home Page in English/Spanish

Subjects Art Geography Social Studies

Grades 4Ð9

Publication of Art to Zoo is made possible through the generous support of the Brother International Corporation. CONTENTS

Background Essay 1 Page 3 COVER PHOTO This is a detail from a screen painted in the seventeenth Lesson Plan Step 1 Page 5 Detail from Cherry Blossoms century by Japanese artist at Ueno Park Hishikawa Moronobu depicting Activity Page 1 Page 6 Six-fold screen one of Tokyo’s most famous By Hishikawa Moronobu (1618–94) seasonal attractions: cherry Lesson Plan Step 2 Page 7 Ukiyo-e school, Edo period, blossoms in Ueno Park. To this seventeenth century day visitors throng to the park in Activity Page 2A Page 8 Color and gold powder on paper the springtime to sit under the Freer Gallery of Art accession cherry trees with their friends, Activity Page 2B Page 9 number F06.267 eat a picnic, and watch the 180 x 382.2 cm (70 7/8 x 150 1/2”) delicate petals swirl in the Activity Page 2C Page 10 breeze. Background Essay 2 Page 11 Lesson Plan Step 3 Page 12 Take-Home Page 1 Page 13 Take-Home Page 2 Page 14 Resources Page 15

Art to Zoo’s purpose is to help teachers bring into You may request a their classrooms the educational power of museums large-print or disk and other community resources. version of Art to Zoo Art to Zoo draws on the Smithsonian’s hundreds by writing to the of exhibitions and programs—from art, history, and address listed on the science to aviation and folklife—to create classroom- back cover or by faxing ready materials for grades four through nine. to (202) 357-2116. Each of the four annual issues explores a single topic through an interdisciplinary, multicultural approach. The Smithsonian invites teachers to duplicate Art to Zoo materials for educational use. JAPAN: Images of a People

Japanese art—beautiful but mysterious? Demystify some examples of Japanese painting and help your students better understand and appreciate the culture that produced them with this issue of Art to Zoo. The lessons have been adapted from materials developed by the education department of the Smithsonian Institution’s Freer Gallery of Art and Arthur M. Sackler Gallery, the two national museums of Asian art. (See page 15 for information on how to obtain their materials.) After learning how to look at paintings, your students can make paper screens that resemble Japanese screens. But first, the following information about the country can help you place the art lessons within a larger social studies unit on Japan.

Geography land is mountainous, leaving spring (March to May); May, respectively; the Japan is a crescent-shaped only the coastal areas for summer (June to September) lotus in August; the chrysan- archipelago of four large and large cities, industrial with hot and humid condi- themum (Japan’s national more than a thousand small development, and farming. tions; and fall (October to flower) in November; and the islands. The large islands are Because of Japan’s November). Much rain falls plum in February. Hokkaido, the northernmost; location in an unstable area during the spring, summer, Honshu, the largest; Shikoku; of the Earth’s crust, earth- and fall. The precipitation Rice Growing and and Kyushu. The combined quakes and tremors occur starts first in the south and Processing area of the islands is about there frequently. Undersea moves north during June and Rice cultivation was 145,000 square miles, which quakes can cause destructive July, and destructive tropical introduced to Japan from is larger than the state of tidal waves called tsunami. storms called typhoons occur other Asian countries by the California or the country of Some volcanic mountains are in September and October. fifth century B.C. Today, rice Italy. If it were superimposed still active, and there are grows on almost half of the over the East Coast of the many hot springs, which the Vegetation cultivated land in Japan. United States, the group of Japanese people use for Because of the hot, The climate in most areas islands would cover a space recreational and medicinal humid summers there, more of Japan allows for one crop from Maine to Florida. purposes. than 17,000 varieties of of rice per year. Japan is bordered on the plants grow in Japan. Many Long ago the Japanese north by the Sea of Okhotsk, Climate trees thrive, including believed the rice plant was on the east by the Pacific Just as the climate from broad-leafed evergreens a gift from the gods. For Ocean, and on the west by Maine to Florida varies, so such as camellia, deciduous hundreds of years the diffi- the Tsushima Strait, the Sea does the climate vary from beech and oak, and conifers. cult work of growing rice of Japan, and the East China the northernmost to the Bamboo grows on Honshu was done by hand, but now Sea. No part of Japan is southernmost islands of and on the islands to the much is done by machine. more than one hundred miles Japan. Most of Japan has south. Many flowering plants However, the number of from the sea. Most of the four seasons: winter flourish: azaleas and tree hours of labor per acre is still (December to February), peonies bloom in April and very high, about 330 hours with heavy snow only on per acre in 1975. This is Hokkaido and Honshu; about forty times the number

Art to Zoo Japan: Images of a People January/February 1997 3 of hours of labor needed per Architecture and Furniture byobu, separate the area into wear wide-legged trousers acre for the production of Japanese architecture rooms as necessary. Floor called hakama under a short corn in the United States. emphasizes the use of natural coverings include rice-straw kimono. The most formal Farmers start rice seeds in materials and the combina- mats called tatami. Tatami kimono are black garments small plots of dry land, but tion of interior and exterior are a standard size: six feet decorated with white, the plants need to grow in space through the use of slid- long, three feet wide, and miniature family crests (one shallow water, so they build ing screens as doors and win- two inches thick. As a result, on the back, one on each of low walls to form a paddy dows. Gardens are a part of rooms are measured by the the sleeves, and one on each around a field. Pipes bring the design of most buildings. number of mats they hold, side of the chest). The crest water from a nearby river to The design of stilt-raised not in feet and inches. designs are usually circular flood the field artificially. buildings originated from the Standard rooms measure or square and are derived After three or four weeks, style of architecture used in eight, six, or four-and-a-half from flowers, plants, birds, farmers transplant the young ancient granaries. Steep mats. A bed, called a futon, animals, and many other plants to the paddy. The fruit, roofs with wide eaves were consists of two mattresses subjects. a grain, is at the top of the designed to shed heavy rains. that can be folded up and A summer kimono made stalk. When the rice is ripe, The multi-storied towers, stored during the day. of light cotton is called it resembles the oat plant and called pagodas, developed Families use a low table and yukata. Winter kimono are is golden yellow. from the finial decorations cushions for dining and can woolen. Special socks (tabi), Farmers drain the paddy found on the tops of Indian push the furniture aside at which are divided between to harvest the rice. They stupas, mound-shaped other times. the big toe and the rest of the cut the stalks, tie them in structures built to house Most homes contain a toes, cover the feet. Over the bundles, and hang them up religious relics, usually tokonoma, a niche for dis- socks go thong-type sandals, to dry. When the bundles are related to Buddha. playing art work, a flower which can be worn on dry, they thresh (beat) the Although there are now arrangement, or both. Many either foot. rice and winnow it (toss it in high-rise apartments in people change the display Adapted from an essay the air) to separate the grain Japan, traditional Japanese seasonally or more often. by Nancy Hague Lyons and (the part that is eaten) from houses have only one or Sarah Ridley in Japan: the outer brown husk. Finally two stories and no basement. Clothing Images and Words. the harvesters store the grain They use space to the fullest; Today most Japanese wear in bags. Rice is Japan’s often the same room com- Western-style staple food and the plant’s bines living room, dining clothing but may choose the straw becomes part of many room, and bedroom. Instead traditional kimono for special useful products such as hats, of solid walls, sliding paper occasions. The kimono is a sandals, floor mats (tatami), screens, called fusuma, and floor-length robe held wine (sake), and food for folding screens, called together by a sash at the livestock. Huge ropes made waist. Men’s sashes are of rice straw decorate narrow, women’s sashes, entrances to shrines of the called obi, are wide. For Shinto religion. formal occasions, men wear kimono in dark shades and women wear very colorful and beautifully embroidered kimono. Men sometimes

4 Art to Zoo Japan: Images of a People January/February 1997 LESSON PLAN Step 1

GEOGRAPHY OF JAPAN conclude that the Japanese United States as well as chain of islands is a great between different points on Objectives distance from the United the island chain. ■ Identify major States and close to the larger 4. Ask your students to geographical features of land mass of Asia. complete the map of Japan Japan. 2. Give each student a included in Activity Page 1 ■ Interpret Japan’s copy of Activity Page 1, by placing the names of the geographical location with “Mapping It Out,” and other selected islands, bodies of reference to the United maps you have collected. water, and cities in the cor- States. Using Background Essay 1 rect locations. (Younger stu- as a guide, tell your students dents might enjoy coloring Materials that Japan consists of a chain the landforms and bodies of ■ Copies of Activity Page 1. of mountainous islands water.) When your students ■ Maps of the world, Japan, that cover more than one have finished the activity, ask and the United States thousand miles (1,600 km) them to think about whether (you might also use the from north to south—about an island location might atlas section of your social the distance from Maine to affect the culture of a people studies book). Florida in the United States. (you might also refer to other ■ Pens, pencils, colored Emphasize that only island nations such as Great markers, crayons. relatively small coastal areas Britain, Australia, and of Japan are suitable for set- Cuba). How do people over- Subjects tlement and farming and that come geographic barriers? ■ Geography, social studies there is a great variation in (Consider related issues such climate from north to south. as trade and language.) Procedure 3. Direct your students Mention that traditional 1. Tell your students that to Activity Page 1. Ask Japanese culture incorporated during the next few class them to estimate the distance both indigenous elements meetings they’ll be studying between the west coast of the and cultural influences from some of the traditional art of United States and Japan China and other areas of the Japan. Ask them to describe using the provided inset map Asian mainland. Also note Japan’s location in the world of the world or maps in their that the sea is an important relative to the United States. social studies books or resource to island peoples, Answers may vary, but atlases. (Be sure to stress the both as a source of food students will probably importance of a map’s scale and as a natural means of in determining distance.) transportation. Students should conclude 5. Conclude the lesson by that Japan is about 6,200 telling students that in the miles (10,000 km) from the next step they will be asked West Coast of the United to observe how geographical States. Have them measure features appear in the its distance from the coast of traditional art of Japan. Asia. To place the measure- ments in perspective, have students determine distances between their community and diverse parts of the

Art to Zoo Japan: Images of a People January/February 1997 5 ACTIVITY PAGE 1 Mapping It Out

Directions: Major Islands Major bodies Nearby Selected Cities Honshu of water Countries Tokyo Locate the Kyushu Pacific Ocean Russia Yokohoma following Shikoku Sea of Japan China Kyoto Hokkaido Sea of Okhotsk North Korea Osaka features on Okinawa East China Sea South Korea Nagoya the map. Ryukyu Islands Sapporo

45°N

40° 40°

35° 35°

0 100 200 mi N 0 160 320 km

30° 30°

U.S.

0 3000 6000 mi

0 4800 9600 km 25°

Japan 6 Art to Zoo Japan: Images of a People January/February 1997 LESSON PLAN Step 2

LOOKING FOR CLUES: Activity Page 2C. (Do not daily lives of the peoples TEACHER’S NOTES PAINTINGS AS tell your students the title or depicted? How are the two INFORMATION SOURCES subject of the painting scenes alike or different? Ask October Morning—Deerfield, at this time.) When your stu- your students to consider Mass. By Willard Leroy Metcalf dents have finished answer- whether paintings are good Objectives (American, 1858–1925) ■ Interpret Japanese and ing the questions, begin a sources for clues to another Painted in 1917 American paintings. class discussion based on culture. They will probably Oil on canvas ■ Evaluate paintings as their responses. Students will conclude that paintings are Freer Gallery of Art accession sources of cultural and probably conclude that the valuable sources of informa- number 18.154 66.1 x 73.8 cm (26 x 29”) historical information. painting depicts a town in tion. If they do not note any the United States during the limitations of paintings as Country Scenes Materials early twentieth century. Be information sources, be sure Six-fold screen ■ Copies of Activity Pages sure to tell your students that to stress that paintings cap- By Katsushika Hokusai (Japanese, 2A, B, and C. the scene was painted by ture only a single moment in 1760–1849) ■ Pens or pencils. American artist Willard time, in a particular place, Ukiyo-e School, Edo period, nineteenth century Leroy Metcalf in 1917 and and may express only the Color and gold on paper Subjects is entitled October viewpoint of the artist. Have Freer Gallery of Art accession ■ Art, social studies Morning—Deerfield (see students create a list of ques- number 02.48 inset for teacher’s notes). tions they have about the 150.9 x 353.1 cm (59 7/16 x 139”) Procedure 3. Give each student a lives of the people depicted This is a detail from the right 1. Tell your students copy of Activity Page 2B for which the paintings do screen of a pair of screens. The that they’ll be acting like and repeat the procedure not provide answers. What artist depicts the season, autumn, detectives in this activity. described in Lesson Plan do the paintings tell us about and the setting, Mount Fuji soar- Ask them what detectives Step 2. (Again, do not tell life in Japan and America ing above the clouds in the distant look for to solve a mystery. your students the title or sub- today? You may also wish landscape. On the right side of the Answers may vary, but stu- ject of the painting yet.) In to emphasize that we can screen Hokusai painted a farmer’s cottage. Four men are rethatching the class discussion, students misinterpret what we see. dents will probably conclude the roof; additional bundles of that detectives seek clues that may conclude that the paint- Conclude the activity by thatch are tacked around the suggest a particular sequence ing depicts a rural area in asking students what other trees. In the doorway of the house of events in the past. Japan sometime in the past. sources of information they a man steps forward carrying a Emphasize that they’ll now Be sure to tell your students might examine for clues to a bundle of white cloth that he will bring to the two women who are be looking for clues in paint- that the painting, entitled culture. Answers will vary, seated on the ground. The women ings that can provide insights Country Scenes, was painted but students will probably are fulling cloth, a method of pro- into the daily lives of people by Japanese artist Katsushika conclude that paintings by cessing woolen material with mal- in earlier times who lived in Hokusai during the early other artists, artwork from lets to shrink and thicken it. Japan and the United States. decades of the 1800s (see different time periods, the Beside them stands a young boy, 2. Give each student a inset for teacher’s notes). accounts of travelers, and who drags a basket of chestnuts. Beyond this group a man works Stress that the painting was contact with people from copy of Activity page 2A and busily away deepening the 2 copies of 2C. Ask them to done on panels that combine another culture might grooves in a millstone, while two examine carefully the paint- to make a six-fold screen, a provide alternative views peddlers with their merchandise ing on Activity Page 2A and form of traditional Japanese of that culture. pause to chat on the path in the answer the accompanying art your students will study foreground. In the rear of the com- position a white dog follows two observation questions from in the next activity. men who converse on the bridge. 4. Review what students learned about both scenes by observing the paintings. How would they characterize the

Art to Zoo Japan: Images of a People January/February 1997 7 ACTIVITY PAGE 2A

8 Art to Zoo Japan: Images of a People January/February 1997 ACTIVITY PAGE 2B

Art to Zoo Japan: Images of a People January/February 1997 9 ACTIVITY PAGE 2C Observing a Scene

Directions: Answer the following questions for each painting that you study.

What types of land and water forms (mountains, valleys, rivers, etc.) do you see?

Can you tell what season it is?

What types of buildings do you see? What materials do they appear to be made of?

What types of weather are these buildings best suited for?

Describe the clothing that the people are wearing. What type of weather is it best suited for?

Does this painting depict a scene in the United States or Japan? Why?

What are the people doing in the picture?

Is this a scene from the past or the present? Why?

10 Art to Zoo Japan: Images of a People January/February 1997 BACKGROUND ESSAY 2

The screen is one of the The most common format is ly embellished with silver and where the effect of the gold is most distinctive forms of the pair of six-panel screens, gold. The whole screen is more subtle than it appears in Japanese art. Uniquely adapt- each screen measuring about framed in wood, which may be modern, artificial lighting. able to a variety of settings, one and one-half meters high lacquered and embellished The stability and prosperity screens function both as free- and about three and one-half with metal ornaments. of the Edo period (1615Ð1868) standing partitions that define meters wide (approximately The nearly invisible system encouraged artistic innovation, architectural space and as five feet high and about eleven of paper hinges used to join the stimulated by the emergence formats for the display of art. and one-half feet wide). The panels to form a folding screen of new patrons from the mer- Many of Japan’s greatest artists design of a pair of screens may was invented during the chant class. created paintings and calligra- form a single composition Kamakura period (1185Ð1333). phy for folding screens known when the screens stand side by This innovation enhanced the Themes of Screen Painting as byobu, which literally means side, but they usually have artistic potential of the Landscapes of the four sea- protection from wind. complementary themes, such as Japanese screen by providing a sons or of spring and autumn Folding screens ideally suit landscapes of the spring and visually continuous surface for have been popular themes in the flexible spatial environment autumn. When screens are large-scale paintings. Japanese screen painting since of traditional Japanese architec- intended for audience rooms or the fourteenth century. Also ture, in which most interior par- ceremonial display, the paint- History of Screens in Japan common are narrative themes titions consist of sliding panels ings usually depict auspicious The first screens used in based on Chinese or Japanese (fusuma) rather than fixed subjects denoting dignity and Japan, from the seventh to the literature. Calligraphy of walls. Compact when closed, power, such as pine trees or eighth century, came from Japanese or Chinese poetry folding screens can be conve- lions. Such screens are China and Korea. Later, appealed to the tastes of edu- niently moved and extended designed to be viewed from a screens were made in Japan. cated patrons. Tigers, dragons, fully to provide a stately, formal distance. Low screens of two Laborious and expensive to popular deities, and even setting for a ceremony or offi- panels, each one-half meter produce, screen paintings were ghosts appear on screens. cial meeting or arranged to (approximately one and two often commissioned by Beginning in the sixteenth encompass a more intimate thirds feet) or more in height, patrons who expressed their century, screens depicted space for serving tea, reading, are well suited to small tea artistic preferences through genre scenes of picnics and writing, or sleeping. In tradi- gatherings or for embellishing a their choice of subjects and other activities in the cities tional Japanese rooms, such private living space. The inti- styles. Monochromatic ink and countryside. activities take place on the macy of the space allows view- painting, initially inspired by An indispensable element floor, which is covered by tata- ers to see art such as calligra- Chinese paintings, became an of the daily environment of mi mats. The change of a few phy, scattered fans, or a important style in Japanese privileged Japanese house- furnishings can transform the detailed painting at close range. screen painting beginning in holds, Japanese screens, like function of the room. the fourteenth century. many of the most highly Construction of The large, continuous for- esteemed Japanese arts, had Types of Screens Japanese Screens mat of screens is especially both a practical and an aesthet- Single-panel screens Like sliding fusuma panels, suited to brilliant designs ic value. Among the most pre- known in Japanese as tsuitate screens are made of a lattice- using color, often embellished cious treasures of private and often stand near entrances to work of wood on which large with gold and silver. Gold leaf, public art collections, screen buildings, in corridors, and in sheets of paper are attached to which came into extensive use paintings represent some of small spaces. Folding screens from a taut, continuous surface. during the sixteenth century, the most brilliant artistic (byobu), which range from two Painting and calligraphy for covers the surface of some of achievements of Japan. to ten panels, may be opened in screens are usually executed on the most magnificent screens. Adapted from an essay in various configurations to define paper or occasionally on silk. This translucent material softly A Closer Look: Japanese smaller spaces within Either material may be painted reflects the muted light within Screens by Ann Yonemura, a room. in subdued tones of ink or rich- traditional Japanese rooms, Freer Gallery of Art.

Art to Zoo Japan: Images of a People January/February 1997 11 LESSON PLAN Step 3

JAPANESE SCREENS panels framed in wood and describe generally what they TEACHER’S NOTES measuring about one and see. Emphasize that screens Objectives one-half meters (about five often show seasonal land- Cherry Blossoms at Ueno Park ■ Identify the uses of feet) high and three and one- scapes and stories from liter- Six-fold screen screens. half meters (about ten and ature, as well as tigers, drag- By Hishikawa Moronobu ■ Create a miniature folding one-half feet) wide. Ask your ons, deities, and even ghosts. (1618–94) screen inspired by Japanese students to think how such 3. Give each student a Ukiyo-e school, Edo period, examples. large, lightweight, and highly copy of Take-Home Page 2. seventeenth century decorative folding objects Tell your students that they’ll Color and gold powder on paper Materials might have been used in a now make their own minia- Freer Gallery of Art accession ■ Copies of Take-Home traditional Japanese home. ture screen, inspired by the number F06.267 Pages 1 and 2. Explain that a traditional Japanese art form. Ask them 180 x 382.2 cm (70 7/8 x 150 ■ Construction paper or Japanese home had only one to follow the directions on 1/2”) plain stock paper. or two stories, no basement, Take-Home Page 2 to create ■ Photographs or slides of and relatively little floor a miniature four-panel This scene occurs in Edo, the site Japanese screens (see space. Stress that this limited screen. Stress that they can of modern Tokyo. The subject of Resources page for reference area often had to serve as a decorate their screens in a the left screen is cherry blossom books). living room, dining room, number of different ways viewing and picnicking near the ■ Pens, pencils, or markers. and bedroom. (If students (e.g., a story could be told Kan’eiji Temple at Ueno. At the need a further hint, ask them across the four panels, each far right is the Kuro-mon, the Subjects to think about how a school panel could feature a differ- black gate that until modern times Art, social studies gymnasium or auditorium ent decorative design, or the stood in from of the site of the might be temporarily con- panels could depict a com- present-day Tokyo National Procedure verted for use by a number of posite landscape). Museum. The Shinobazu pond 1. Tell your students that different classes.) Answers 4. After students have appears in the foreground, and an they’ll now be studying the may vary, but students will completed Take-Home Page array of pilgrims, picnickers, and unique art form of Japanese probably conclude that 2, ask them to explain their revelers—the townspeople of screens. Give each student a screens served as partitions designs to the class. What Edo—occupies the landscape. On copy of Take-Home Page 1 between functional areas in a did they depict in their the pair of screens the artist has and ask them to carefully traditional Japanese home screens? Where would they painted some 394 residents of study the photograph. (You and could be moved easily to place their screen (e.g., in a Edo, with almost no repeating of may also wish to display divide existing space in a dining area, living room, or clothing patterns. other screen images from ref- variety of ways according to bedroom) if it was as large as erence books.) Be sure to different circumstances. a traditional byobu? stress that the type of screen 2. Using the photograph (byobu) reproduced on Take- on Take-Home Page 1 and Home Page 1 comprises a additional images from refer- series of six folding, paper ence books, direct your stu- dents to look carefully at the themes depicted in screen artwork. Ask them to

12 Art to Zoo Japan: Images of a People January/February 1997 TAKE-HOME PAGE 1 TRABAJO PARA What Is a Japanese HACER EN LA CASA 1 Screen? ¿Qué es un biombo japonés? To the teacher Publication of Art to Zoo is Al maestro (a) Esta publicación ha sido ■ Duplicate this page made possible through the ■ Copie esta página para posible gracias al generoso for students. generous support of the Brother los alumnos. aporte de la Brother ■ Use with Lesson International Corporation. ■ Usela con el tercer paso International Corporation. Plan Step 3. del plan de la lección.

Japanese screens are Biombos japoneses son sturdy, lightweight paneles de madera, wood panels that are firmes pero livianos, covered with paper and cubiertos de papel y connected by nearly unidos con bisagras casi invisible hinges. There invisibles. are single-panel screens, Hay biombos de un but usually you will find sólo panel, pero usual- panels in pairs. You can mente, los biombos find two or four panels estan hechos de pares de together (but not three paneles. Hay biombos or five). de dos o cuatro paneles, pero nunca de tres o cinco paneles.

Art to Zoo Japan: Images of a People January/February 1997 13 TAKE-HOME PAGE 2 TRABAJO PARA HACER How Is a Screen EN LA CASA 2 Decorated? ¿Cómo se decora un biombo? To the teacher Publication of Art to Zoo is Al maestro (a) Esta publicación ha sido ■ Duplicate this page made possible through the ■ Copie esta página para posible gracias al generoso for students. generous support of the Brother los alumnos. aporte de la Brother ■ Use with Lesson International Corporation. ■ Usela con el tercer paso International Corporation. Plan Step 3. del plan de la lección.

WINTER Pictures or words on a Ilustraciones y pal- SPRING screen often have spe- abras en un biombo cial meaning. For frecuentemente example, tienen un significa- SUMMER Pine trees = Dignity do especial. Por Bamboo = Purity ejemplo, árboles Lions = Power de pino significan dig- nidad; bambú significa AUTUMN You might also see pureza; y leones sig- some calligraphy. nifican fuerza o The changing seasons En algunos biombos se This beautiful writ- poder. are often depicted on puede ver caligrafía. Esta ing may be the artist’s screens. Look for bella escritura puede ser name or a poem. images of spring, sum- un poema o el nombre del mer, autumn, and win- artista. Frecuentemente se ter. Silver and gold on a ve ilustrado el cambio de screen shimmer and las estaciones. Busca imá- reflect light in a dim genes de primavera, vera- room. no, otoño e invierno. Pinturas doradas y plateadas en un biombo brillan tenuemente y reflejan luz.

Make your own screen Haz Tu Propio Biombo Take a sheet of construction paper (or plain paper) Toma una hoja de papel, dóblala por la mitad y and fold it in half once, then twice more. This vuelve a doblarla dos veces más. Esto te dará un process will give you an even biombo con pares de paneles. number of screen panels. Decora tu biombo con ecsenas Decorate your screen with de tu cuento favorito, con scenes from your favorite story, diseños decorativos o con a decorative design, or a seasonal un paisaje estacional. landscape.

14 Art to Zoo Japan: Images of a People January/February 1997 RESOURCES

BOOKS AND TEACHING Art/Arthur M. Sackler Gallery, ELECTRONIC RESOURCES PHOTOGRAPHS GUIDES Smithsonian Institution, A good starting point for Freer Gallery of Art Washington, DC 20560. teachers or others interested in Smithsonian Institution Baker, Joan Stanley. Japanese exploring Asian resources on Art. New York: Thames and Masterpieces of Chinese and the Internet is the Asia Society ART TO ZOO Hudson, 1991. Japanese Art: Freer Gallery of World Wide Web site at Art to Zoo is a publication of Art Handbook. Washington, http://www.askasia/org. the Office of Elementary and Doi, Tsugiyoshi. Momoyama D.C.: Smithsonian Institution, Secondary Education, Decorative Painting. Trans. 1976. The Smithsonian Institution’s Smithsonian Institution, Edna B. Crawford. New York: Freer Gallery of Art hosts Washington, DC 20560. Weatherhill, 1977. Murase, Miyeko. an informative World Masterpieces of Japanese Wide Web site at: Content Developer Grilli, Elise. The Art of the Screen Painting. New York: http://www.si.edu/asia. Alan Smigielski Japanese Screen. New York George Braziller, 1990. and Tokyo: Walker- Teachers can find a represen- Editor Weatherhill, 1970. tative sampling of traditional Douglas Casey SLIDES, PRINTS AND Japanese art by visiting the Kalman, Bobbie. Japan the POSTERS Tokugawa Art Museum at Translator Culture. The Land, People, Slide, prints, and posters of http://www.cjn.or.jp/ Sarita Rodriguez and Culture series. New York: many of the images in this tokugawa/index.html. Crabtree Publishing, 1989. issue can be obtained by writ- Designer ing to Museum Shop, Freer Karlic Design Associates, LLC Lyons, Nancy Hague, and Gallery of Art, Smithsonian ACKNOWLEDGMENTS Baltimore, Maryland Sarah Ridley. Japan: Images Institution, Washington, DC and Words: An 20560. A $4.50 shipping and Freer Gallery of Art/ Publications Director Interdisciplinary Unit for handling fee will be added to Arthur M. Sackler Gallery: Michelle Knovic Smith Sixth-Grade Art and Language the cost of each order. Arts Classes. Washington, Sarah Ridley D.C.: Freer Gallery of Art, VIDEO RESOURCES Assistant Head of Education ART TO ZOO ONLINE Smithsonian Institution, 1994. Faces of Japan, a five-pro- This publication is also This kit brings the Freer gram PBS series on contem- Nancy Hague Lyons available electronically over Gallery’s world-renowned col- porary Japan, is available for Freer Teacher Associate, the Internet (anonymous ftp lection of Japanese paintings secondary schools. Write to 1993Ð94 to educate.si.edu and the into your classroom. The pack- Pacific Mountain Network, World Wide Web at et includes six full-color 12596 West Bayaud, Suite Marie Theriault http://educate.si.edu/ posters, six slides, and six 8 x 215, Lakewood, CO 80228. ImaginAsia coordinator art-to-zoo/azindex.htm) and 10”, black-and-white pho- $125.00. America Online (keyword tographs. View the images at Ann Yonemura SMITHSONIAN). Issues the Freer/Sackler World Wide Video Visits: Japan: The Assistant Curator, starting with spring 1993 are Web site at Island Empire stresses the Japanese Art part of this online collection. http://www.si.edu/asia. To connections and contrasts Look for more information on order the kit, send a check or between traditional and Waki Murayama Smithsonian electronic educa- school purchase order for modern Japan. Available from Schools Program Intern tional services and publications $28.50 payable to “Education, Library Video Company, P.O. in future issues of Art to Zoo. Freer/Sackler) to School and Box 1110, Department AR, Family Programs, Education Bala Cynwyd, PA 19004; Department, Freer Gallery of (800) 843-3620. $24.95.

Art to Zoo Japan: Images of a People January/February 1997 15 SUBSCRIBE TO Art to Zoo

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