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Japanese Woodblock Prints at the Museum of Fine Arts Boston Hokusai Exhibit 2015 Tokugawa Ieyasu Tokugawa Clan Rules 1615- 1850
From the Streets to the Galleries: Japanese Woodblock Prints at the Museum of Fine Arts Boston Hokusai Exhibit 2015 Tokugawa Ieyasu Tokugawa Clan Rules 1615- 1850 Kabuki theater Utamaro: Moon at Shinagawa (detail), 1788–1790 Brothel City Fashions UTAGAWA KUNIYOSHI, TAKEOUT SUSHI SUGGESTING ATAKA, ABOUT 1844 A Young Man Dallying with a Courtesan about 1680 attributed to Hishikawa Moronobu Book of Prints – Pinnacle of traditional woodblock print making Driving Rain at Shono, Station 46, from the Fifty-three Stations of the Tokkaido Road, 1833, Ando Hiroshige Actor Kawarazaki Gonjuro I as Danshichi 1860, Artist: Kunisada The In Demand Type from the series Thirty Two Physiognomic Types in the Modern World Artist: Utagawa Kunisada 1820s The Mansion of the Plates, From the Series One Hundred Ghost Stories, about 1831, Artist Katsushika Hokusai Taira no Tadanori, from the Series Warriors as Six Poetic Immortals Artist Yashima Gakutei, About 1827, Surimono Meiji Restoration. Forecast for the Year 1890, 1883, Ogata Gekko Young Ladies Looking at Japanese objects, 1869 by James Tissot La Japonaise (Camille Monet in Japanese costume) Claude Monet, 1876 The Fish, Stained glass Window, 1890, John La Farge Academics and Adventurers: Edward S. Morse, Okakura Kakuzo, Ernest Fenollosa, William Sturgis Bigelow New Age Japanese woman, About 1930s Edward Sylvester Morse Whaleback Shell Midden in Damariscotta, Maine Brachiopod Shell Brachiopod worm William Sturgis Bigelow Ernest Fenollosa Okakura Kakuzo Charles T. Spaulding https://www.mfa.org/collections /asia/tour/spaulding-collection Stepping Stones in the Afternoon, Hiratsuka Un’ichi, 1960 Azechi Umetaro, 1954 Reike Iwami, Morning Waves. 1978 Museum of Fine Arts Toulouse Lautrec and the Stars of Paris April 7-August 4 Uniqlo t-shirt. -
Nature and Culture in Visual Communication: Japanese Variations on Ludus Naturae
Semiotica 2016; aop Massimo Leone* Nature and culture in visual communication: Japanese variations on Ludus Naturae DOI 10.1515/sem-2015-0145 Abstract: The neurophysiology of vision and cognition shapes the way in which human beings visually “read” the environment. A biological instinct, probably selected as adaptive through evolution, pushes them to recognize coherent shapes in chaotic visual patterns and to impute the creation of these shapes to an anthropomorphic agency. In the west as in the east, in Italy as in Japan, human beings have identified faces, bodies, and landscapes in the bizarre chromatic, eidetic, and topologic configurations of stones, clouds, and other natural elements, as though invisible painters and sculptors had depicted the former in the latter. However, culture-specific visual ideologies immediately and deeply mold such cross-cultural instinct of pattern recognition and agency attribution. Giants and mythical monsters are seen in clouds in the west as in the east; both the Italian seventeenth-century naturalist and the Japanese seventeenth-century painter identify figures of animals and plants in stones. And yet, the ways in which they articulate the semantics of this visual recogni- tion, identify its icons, determine its agency, and categorize it in relation to an ontological framework diverge profoundly, according to such exquisitely paths of differentiation that only the study of culture, together with that of nature, can account for. Keywords: semiotics, visual communication, visual signification, pareidolia, Japanese aesthetics, agency Quapropter cum has convenientias quas dicis infidelibus quasi quasdam picturas rei gestae obtendimus, quoniam non rem gestam, sed figmentum arbitrantur esse, quod credimus quasi super nubem pingere nos existimant… (Anselm of Aosta, Cur Deus Homo,I,4) *Corresponding author: Massimo Leone, University of Turin, Department of Philosophy, Via S. -
Katsushika Hokusai Born in 1760 and Died in 1849 in Edo, Japan
1 Excerpted from Kathleen Krull, Lives of the Artists, 1995, 32 – 35. OLD MAN MAD ABOUT DRAWING KATSUSHIKA HOKUSAI BORN IN 1760 AND DIED IN 1849 IN EDO, JAPAN Japanese painter and printmaker, known for his enormous influence on both Eastern and Western art THE MAN HISTORY knows as Katsushika Hokusai was born in the Year of the Dragon in the bustling city now known as Tokyo. After working for eight stormy years in the studio of a popular artist who resented the boy's greater skill, Hokusai was finally thrown out. At first he earned his daily bowl of rice as a street peddler, selling red peppers and ducking if he saw his old teacher coming. Soon he was illustrating comic books, then turning out banners, made-to-order greeting cards for the rich, artwork for novels full of murders and ghosts, and drawings of scenes throughout his beloved Edo. Changing one's name was a Japanese custom, but Hokusai carried it to an extreme—he changed his more than thirty times. No one knows why. Perhaps he craved variety, or was self-centered (thinking that every change in his art style required a new identity), or merely liked being eccentric. One name he kept longer than most was Hokusai, meaning "Star of the Northern Constellation," in honor of a Buddhist god he especially revered. He did like variety in dwellings. Notorious for never cleaning his studio, he took the easy way out whenever the place became too disgustingly dirty: he moved. Hokusai moved a total of ninety-three times—putting a burden on his family and creating a new set of neighbors for himself at least once a year. -
Utagawa Hiroshige
Utagawa Hiroshige Contemporary Landscapes Utagawa Hiroshige (Japanese: 歌川 広重), also Andō Hiroshige (Japanese: 安藤 広重; 1797 – 12 October 1858) was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular Thirty-six Views of Mount Fuji series by Hokusai was a strong influence on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints. For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism. Western artists closely studied Hiroshige's compositions, and some, such as van Gogh, painted copies of Hiroshige's prints. Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo (modern Tokyo).[1] He was of a samurai background,[1] and was the great-grandson of Tanaka Tokuemon, who held a position of power under the Tsugaru clan in the northern province of Mutsu. -
Famous People of Japan: Katsushika HOKUSAI
Famous People of Japan: Katsushika HOKUSAI Purpose: To become familiar with famous Japanese people. Target Grade Levels: 4-12 Essential Questions: *Who was Katsushika HOKUSAI? *How did his art impact the world? Rationale: Students will learn about HOKUSAI’s art technique and how it influenced the art world. In addition to learning about the art techniques HOKUSAI used his life story can inspire others to persevere as he did to achieve his ultimate goal of being an accomplished artist. Materials: 1. Copies of data sheet on Katsushika HOKUSAI. 2. Copies of Amid a Waterfall on the Kiso Road http://www.spectacle.berkeley.edu 3. Copies Art Teacher Toolbox Activity http://classes.seattleu.edu/masters_in_teaching/teed521/ professor/Art/Lessons/History/hokusai.html 4. Copies of Great Wave at Kanagawa picture http://www.artchive.com/artchive/H/hokusai/grt_wave.jpg.html 5. Copies of Surimono Greeting Activity http://www.kidsart.com/store/bring/hokusai.html 6. Prints of HOKUSAI to show class – good source is calendars but li- braries often have books and prints of his as well 7. Assessment 8. Rubric 9. Bibliography Activities: Day One 1. Introduce the lesson by asking students to identify some famous people in the United States. Ask them “Why are these people famous?” After discuss- ing their answers inform them that there are also famous people in Japan and they are about to study one of them. Learning AboutLessons Our Worldabout Japan - 47 Famous People of Japan: Katsushika HOKUSAI 2. Teacher presents: Teacher will introduce HOKUSAI and divide students into teams of 3-4, distribute copies of data sheets and Amid a Waterfall on the Kiso Road. -
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. -
Katsushika Hokusai and Henri Rivière an Inspired Connection Photographie Du Peintre Henri Rivière, Xavier Sébillot
Katsushika Hokusai and Henri Rivière An Inspired Connection Photographie du peintre Henri Rivière, Xavier Sébillot Japanese artist Hokusai and French artist Henri Rivière lived in very different places. Although they never met to talk about life, beauty, and art, they shared many connections. Self-Portrait, Hokusai Hokusai’s artwork was an inspiration to Henri Rivière and many other European artists including Pierre Bonnard, Claude Monet, Mary Cassatt, and Vincent Van Gogh. They admired the bold designs, intense colors, and flat areas of pure color, as well as the elegant and simple lines of the Japanese prints. Hokusai Vincent Van Gogh Can you find connections between the artwork of Hokusai and Henri Rivière? Look carefully at these two woodblock prints. How are they similar? What do they have in common? Both of these artists were inspired by the beauty of the landscape and the everyday life of ordinary people. They added interest to their woodblock prints by portraying the foreground, middle ground, and background with varying proportions, and adding depth and perspective to the scenes they created. It is easy to see how Hokusai’s artwork inspired Rivière, but the connection does not end there. Both artists shared a passion for discovering beauty in the landscape, including elements of nature that can Bridge and the Moon, Hokusai (detail) be observed over and over – for example, the moon. How many times have you gone outside and looked up at the full moon, or noticed a slender crescent moon? The First Star at Landiris, Henri Rivière (detail) Hokusai renders a full moon Yes, the full moon can be observed every month, but for both of these artists, each viewing was a unique experience. -
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. -
Hokusai's Great Wave Enters the Anthropocene
Environmental Humanities, vol. 7, 2015, pp. 203-217 www.environmentalhumanities.org ISSN: 2201-1919 COMMENTARY Hokusai’s Great Wave Enters the Anthropocene Stefan Helmreich Anthropology, MIT, USA Katsushika Hokusai’s 1829 woodblock print, “Under the Wave off Kanagawa,” is the world’s most iconic portrait of ocean waves. It has been reproduced, quoted, and repurposed over the last two centuries in a widening circle of representations of the unruly, powerful sea. Today’s reimaginings of this storied Japanese image often remark upon the dangerous, damaged state of the contemporary ocean. Such commentaries sometimes refer directly to the 2011 tsunami and to its associated Fukushima nuclear power plant disaster. But adaptations of Hokusai’s Wave these days also increasingly point to more general anxieties about catastrophic climate change and to worries about ocean pollution, acidification, and plastification. In such usages, the Wave operates as a synecdoche for, a symbolic capture of, the difficult-to-apprehend vastness of the ever-moving, interconnecting, and possibly threatening sea.1 Hokusai’s image has thus lately been leveraged into commentaries upon the Anthropocene—a provocative, and, so far, unofficial, geological term that postulates that humans (anthropos) have come to have significant deleterious effects on planetary ecosystems, effects that can be identified not only in the stratigraphic record, but also in the body of Earth’s ocean.2 If “Under the Wave at Kanagawa” (also “The Great Wave off Kanagawa” or, simply, “The Great Wave”) in its early circulations emblematized the historical relation of Japan to the sea and to the transnational connections the sea afforded, re-imaginings today adapt the image to speak to contemporary human-generated global oceanic crisis. -
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 .............................................................................................................. -
Fine Japanese and Korean Art New York I September 12, 2018 Fine Japanese and Korean Art Wednesday 12 September 2018, at 1Pm New York
Fine Japanese and Korean Art New York I September 12, 2018 Fine Japanese and Korean Art Wednesday 12 September 2018, at 1pm New York BONHAMS BIDS INQUIRIES CLIENT SERVICES 580 Madison Avenue +1 (212) 644 9001 Japanese Art Department Monday – Friday 9am-5pm New York, New York 10022 +1 (212) 644 9009 fax Jeffrey Olson, Director +1 (212) 644 9001 www.bonhams.com [email protected] +1 (212) 461 6516 +1 (212) 644 9009 fax [email protected] PREVIEW To bid via the internet please visit ILLUSTRATIONS Thursday September 6 www.bonhams.com/24862 Takako O’Grady, Front cover: Lot 1082 10am to 5pm Administrator Back cover: Lot 1005 Friday September 7 Please note that bids should be +1 (212) 461 6523 summited no later than 24hrs [email protected] 10am to 5pm REGISTRATION prior to the sale. New bidders Saturday September 8 IMPORTANT NOTICE 10am to 5pm must also provide proof of identity when submitting bids. Please note that all customers, Sunday September 9 irrespective of any previous activity 10am to 5pm Failure to do this may result in your bid not being processed. with Bonhams, are required to Monday September 10 complete the Bidder Registration 10am to 5pm Form in advance of the sale. The form LIVE ONLINE BIDDING IS Tuesday September 11 can be found at the back of every AVAILABLE FOR THIS SALE 10am to 3pm catalogue and on our website at Please email bids.us@bonhams. www.bonhams.com and should SALE NUMBER: 24862 com with “Live bidding” in the be returned by email or post to the subject line 48hrs before the specialist department or to the bids auction to register for this service. -
Hokusai Manga
colour a collection Featuring images from the Hokusai Manga collection in the ANU Library Rare Book Collection the okusai anga H collectionM The Australian National University Library holds rich and diverse historic collections that are significant not only for their rarity, but for the continued impact they have on research and researchers worldwide. The ANU Library Colour a collection series showcases our special and rare collections by using historical material in an unusual and creative way, whilst also offering students an outlet to relax and practice mindfulness. This colouring book features selected manga by Katsushika Hokusai (1760–1849), Japanese artist and wood block printmaker from the Edo period, widely known for creating the iconic print, The Great Wave off Kanagawa. Throughout Hokusai’s life, he had limited contact with the wider world, as Japan had closed borders until the late 1850s. When the borders of Japan opened for the first time in 200 years, Hokusai’s prints were exported in large numbers, initiating Western interest in Japanese manga and influencing styles of Chinese painting and art outside of Japan. The Hokusai Manga, meaning ‘Hokusai’s Sketches’ from the ANU Library Rare Book Collection is a set of ten volumes published between 1814–1878. The style of Hokusai’s Manga is not the continuous storytelling manga that we see today, but rather individual sketches of landscapes, flora, fauna, spirits and everyday life, some reflect a touch of humour. Images are taken from Title: Hokusai manga 北齋 漫画 Place of Publication: Tamaya-chō [Nagoya] 玉屋町 [名古屋] Publisher: Katano Tōshirō, Meiji 11 片野 東四郎, 明治 11 Publishing date: [1878] library.anu.edu.au/record=b2198327 Colouring book published by ANU Library, 2017 .