For Use Only the Library

Total Page:16

File Type:pdf, Size:1020Kb

For Use Only the Library FOR USE ONLY I THE LIBRARY preliminary catalogue of the Japanese prints and othe illustrations in the Library of the School of Oriental & African Studies By s. Matsudaira The Library 1972 {_ '("' ( '2. -.3r - ,., ,. ... - ,.,. \ r-.1' ')\ SI c -,:-,..:_1) /' J J L INDEX OF JAPliliESE PRINTS & OTHER ITEMS KEY 1. Artist's name 2. Size (in centinetres) and shape of print 3. Description 4. Title (series and individual) 5. Publisher 6. Censor seal, kiwame seal, year-date seal 7. Signature 8. Date 9. References, etc. ( .... /{,_ 8/ y --7 I ') - (1 4t '1. ANONYMOUS '1 - '1 '1 • (Anonymous) 2. Oban. 23.6 x 35.8 3. At the gate of a red-light district ( it might be Shinagawa), two maidservants guiding a customer; another two are waiting for the arrival of their customer. 4. None 5. None 6. None 7. None 8. ea ,'1820 9. '1 - 2 - 3 1. Anonymous) 2. Oban. 37.0 x 25.2. 2ptych. (A set from, a series?) 3. Singing instructor's room. People learning short songs - "Dodoitsu". 4. Title: TOsei misuji no tanoshimi (Enjoyment a la mode with a three-stringed instrument). 5. None 6. None 7. None 8. ea 1850 9. 1 - 4 1. (Anonymous) 2. Oban. 38.0 x 25.8 3. Minamoto Yoshiie, in 1063, releasing 1000 cranes with golden tags tied to their legs at the top of Mt. Kamakura so that the Genji family might prosper for a long time. 4. None 5. Nishimura Yohachi 6. Kiwame seal 7. None 8. ea '1840 9. 1 - 5 1. (Anonymous) 2. 21.2 x 25.7.. Fan-shaped picture; a draft for print (?). 3. A noble lady musician with a hand drum sitting in a boat. 4. None 5. None 6. None 7. Tsutsumi Torin (?) 8. ea 1850 9. Bears seal of collector Kyosai. 1 '1 - 6 '1. Anonymous) 2. Oban. 28.8 x 39.7. Keyblock print. 3. The warrior and his horse are struggling o free themselves from the mud. It seems to show the last moment of Kiso Yoshinaka. · 4. None 5. None 6 . None 7. None 8. C19 reprint of C18 print 9. '1 - 7 1. (Anonymous) 2. Oban. 37.0 x 24.7. (Right hand sheet of 3ptych?) 3. The opening ceremony of the Second Industrial Exhibition of '188'1 at Ueno Park. 4. Title: Hakuran kai kaijo-shiki no zu. (Scene of the opening ceremony of the Exhibition..) 5. None 6. None 7. None 8. 1881 9. '1 - 8 - 9 1. (Anonymous) 2. Oban. 37.5 x 25.8 3. Moralizing texts with illustrations of a monkey trainer, a drummer and a blind man. In the back• ground is a ghost. 4. None 5. None 6 . None 7. None 8. ea '1850 9. '1 - '10 - 11 - 12 1. (Anonymous) 2. Oban. 3 sheets from 4ptych (?) 38.0 x 25.5 (each). 3. A party of Kabuki actors leaving Edo for Osaka. 4. None 5. Yamamoto Kuhei 6. Kiwame seal and year date seal (faded) 7. None · · · 8. Ca 1810 9. 2 1 - 13 1• CAnonymous) 1 - 14 2. Oban. Block-copy. 3. A young craftsman, mouth, standing by woodblock. 4. None 5. None 6. None 7. None 8. ea 1850 9. holding a kitchen knife in his a lantern. A design for a 39.3 X 24.5 1. (Anonymous) 2. ehuban. - 22.9 x14.2 (trimmed) 3. Two courtesans followed by an attendant leaving their house to go on board. 4. - Series title: Ukiyo nana komachi (Seven gay quarters). - Individual title: Sekidera 5. None 6. None 7 . None 8. ea 1785 9. 1 - 15 1. (Anonymous) 2. 195 x 14.1 (right), 19.5 x 13.8 (left) 3. (Right): First page (cover) of the book. Stencil coloured. The man is carrying persimmons and chestnuts. (Left): A page of the same book. Three men drinking sake from a huge wine cup. 4. Title: Ehon konomi no utaawase (Picture book illustrating poems mentioning fruits). 5. None 6. None 7. None 8. ea 1780 9. 1 - 16 1. (Anonymous) 2. 18.4 X 28.0 3. Two pa es book illustrations. · (Right)A couple in the boat watching a spider hanging from its 1.veb. (Left) A monkey standing by the carriage looking up at persimmons. 4. Title of the book: Ehon konomi no utaawase (Picture book illustrating poems mentioning fruits). 5. None · 6. None 7. None 8. ea 1780 9. 3 1 - 13 1 - 17 1• (Anonymous) 2. 20.0 X 31.0- 3. · Calligraph.ic drawings· of a courtesan and a puppeteer taken from a picture book. 4. None 5. None 6 . None 7 . None 8. Mid C19 9. 1 - 18 1. (Anonymous) 2. 19.5 x 29.2. (2 pages.) Stencil coloured. 3. Illustrations of a book. (Right) a scouring rush and a hare (Left) a paulownia and a Chinese phoenix 4. Book title: Ehon tsui-gasane (Picture book showing objects, animals etc. linked by association). 5. None · 6 . None 7. None 8. ea 1780 9. 1 - 19 1• (Anonymous) 2. (Right) 18.7 X 14.1 ) . (Left) 18•4 x 13.8) Stencll coloured. 3. (Right) Two women· choosing a comb "(Left) Tvvo gods of good luck making rice cakes 4. Book title: (Right) Jochu .- kesho sugata (Women's :rriake-up posture) (Left)Ehon sato mochi (Picture book; sugar rice cakes) 5. None 6. None 7. None 8. ea 1790 9. 1 - 20 1. (Anonymous) 2. 18.7 x 28.6. Stencil coloured. Book illustration_ 3. (Right)First page (cover) of this book.· T\vo girls playing New Ye-ar's Games. (Left)A ' scene of a street on the first day of spring.. 4. Bootitle: Ehon harU: no nagame. (Picture book: Spring scenes.) 5. None 6. None 7 . None 8. 1790 9. K.S. Vol. 1, p. 500. 4 1 - 21 1. (Anonymous) 2: 20.3 x 27.4. Book illustration. 3. Asahina Saburo smoking. The pigmies bn his pipe form a fire brigade. The picture is a parody of the famous poem by Henjo-sojo. 4. None 5. None 6. None 7. None 8. ea 1750 9. 1 - 22 to 1 - 32 1. (Anonymous) 2. 11 sheets. 20.8 x 26.7. Fan-shaped paintings. 3. Stage scene of kyogen (No farce.) 4. Titles are: (1) Kawakami (6) Hagi Daimyo (?) · (2) Asaina (7) Chigiriki (3) Iori no Ume (8) Hikuzu (?) (4) Yoneichi (9) Shinbai (5) Igui (10)Mikazuki (11) (Not identified.) 5. None 6. None 7. None 8. Early 17th century 9. 1 - 33 1. (Anonymous) 2. Painting on silk. 21.8 x 28.5 3. The big cedar in Kai province, called Yatate no 4. Title: Kai, Yatate no sugi (A cedar at Yatate in Kai). 5. None 6. None . 7. Hiroshigega (fake . signature and seal) 8. None 9. 1 - 34 1• (Anonymous) s 2. 1 volume (incomplete) orihon. 22.5 x 15.2 3. Haiga album by an amateur artist 4. None 5. None 6. None 7. None 8. Late 019 9. 5 1 - 35 - 36 u 1. (Anonymous) 2. 2 volumes sketchbooks; orihon. 22.8 x 15.2 U.R.. 3. Sketch albums illustrating Japanese flowe.rs, {'.. animals· , bl.rds and landscapes. _I,. I\-.)\-- .. 4. None . 5. None C. &M..... 6. None 7. None 8. Late C19 9. 1 - 37 / ; 1. (Anonymous) 2. 1 volume orihon sketchbook. 22.7 x 16.4 .et 3. A sketchbook of various styles with copies of j[J C t paintings by well-known artists. 4. None C \NE.,.\ 5. · None 6. None 7. None 8. · Late C19 9. 1 - 38 .!./ .) f, 1. (Anonymous) 2. 1 volume, sketchbook. 27.9 x 18.7 (I _..,[. 3. An album illustrating Japanese occupations and customs. (Possibly after wirgman) T 4. None I 5. None 6. None 7. None 8. Late C19 9. 1 - 39 J 1. (Anonymous) r 2. Album. 38.7 x 27.4· _./ l) 3. Complete copies of a series of prints . by Kogakudo. 4. Original series title: Ikiutsushi . 48 taka (Sketches I of 48 birds) · 5. None 6. None 7. None 8. Late C19 9. .. 1 - 40. ·Jr.- ·, 41 tl..t-CC 1. (Anonymous) 2. Two sketchbooks. 27.5 x 38.4 3. Botanical Diagrams. 4. None 5. None 6. None 7. None 8. Late C19 1 - 21 9. 6 1 '1 - 42 ./ OtJ )'- '1. (Anonymou·s) . 2. Sketchbook. 28.5 x 4'1.5 3. A student sketch book in style of Shijo School. 4. None 5. None 6. None 7. None · 8. '1860/70 9. 1 - 43 \....--/ '1 • (Anonymous) 2. 3. Sketches of various styles including copies from paintings by well-known artists. 4. None 5. None 6. None 7. None 8. Late C'19 9. 1-44 \../ 1. (Anonymous) 2. 3. Sketches of various styles including copies from paintings by well-known artists. 4. None 5. None 6. None 7. None 8. Late C'19 9. '1 - 45 "- 1. (Anonymous) 2. 3. 18 book wrappings for picture books of small size. 4. None 5. None 6. None 7. None 8. Late C19 9. 1 - 46 / 1.. (Anonymous) 2. 3. 14 book wrappings for picture books of middle size. 4. None 5. None 6. None 7. None 8. Late C'19 9. 7 2. BillTCHO 2 - 1 / 1. Ippitsusai Bunch5 2. Hosoban. 27.2 x 12.2. 3.. Nakamura Utaemon I as a samurai supporting himself on his sword in front of sh6ji in which the figures of a number of men are silhouetted. 4. None 5. Eijudo 6. None 7. Ippitsusai Bunch6 ga; Seal: Moriuji 8. Ca 1770 9. 3. CHIKASHIGE 3 1 v. 2 .... 3 , 1• Miyagawa Chikashige r 2.
Recommended publications
  • Fragile Beauty Historic Japanese Graphic
    Fragile Beauty Historic Japanese Graphic Art Published in 2014 by Auckland Art Gallery Toi o Tāmaki on the occasion of the exhibition Fragile Beauty: Historic Japanese Graphic Art at Auckland Art Gallery Toi o Tāmaki 3 May – 8 November 2014 Director: Rhana Devenport Curator: Mathew Norman Contributing writers: Lawrence E Marceau and Doris de Pont Editor: Clare McIntosh Catalogue design: Christina Brooke © 2014, Auckland Art Gallery Toi o Tāmaki and contributors Auckland Art Gallery Toi o Tāmaki PO Box 5449 Cnr Kitchener and Wellesley Streets Auckland www.aucklandartgallery.com Cover Andō Hiroshige, Sekiguchi jōsui-bata Bashōan Tsubakiyama (Bashō’s Hermitage and Camellia Hill on the Kanda Aqueduct at Sekiguchi), 1857, colour woodcut print, from: Meisho Edo hyakkei (One Hundred Famous Views of Edo), Mackelvie Trust Collection, Auckland Art Gallery Toi o Tāmaki. Fragile Beauty Historic Japanese Graphic Art Contents 5 Lawrence E Marceau Woodblock Prints and the Culture of the Edo Period (1600–1868) 12 Mathew Norman From the Collections: Historic Japanese Woodblock Prints 24 Doris de Pont Picturing Beauty: Ukiyo-e, Kimono and Their Manifestations in Western Fashion Overleaf Figure 1 Katsukawa Shunsen (later known as Katsukawa Shunkō II) [The Publisher and His Circle], from: The Treasure Ship and Its Mast of Gold, 1818, woodblock print, Hōsa Library collection. 4 Woodblock Prints and the Culture of the Edo Period (1600–1868) Lawrence E Marceau After over a century of civil war, Japan entered a period of relative peace and social stability in the early 17th century. The monarch and court continued to maintain rites and rituals in Kyoto aimed at ensuring good harvests and fending off epidemics and natural disasters, while the Tokugawa line and their allies established a military administration in Edo (now Tokyo), a newly established city lying roughly 495 kilometres to the east of Kyoto.
    [Show full text]
  • Capturing the Body Ryūkōsai’S Notes on “Realism” in Representing Actors on Stage
    Capturing the Body Ryūkōsai’s Notes on “Realism” in Representing Actors on Stage Akiko Yano Ry­­ūkōsai Jokei 流光斎如圭 is known as the late eighteenth- century Osaka artist who created “realistic” kabuki actor likenesses (nigao 似顔; kaonise 顔似せ) for the first time outside of Edo.1 His dates are not known, but according to the dating of his works, he was active between 1776 and 1809. His excellent skills in creating actor portraits were famous among his contemporaries, and he was once described as “capturing their true essence” by one of the most enthusiastic Osaka kabuki fans and connoisseurs of the time.2 Japanese scholarship on Ryūkōsai began from the end of the 1920s with the work of Kuroda Genji 黒田源次 and Haruyama Takematsu 春 山武松.3 After a brief burst of research and publication, however, there were decades of silence until the study of Ryūkōsai was taken up again in the late 1960s. Matsudaira Susumu 松平進 was the most prominent scholar in the field, and the leading scholars today include Roger Keyes and Kitagawa Hiroko 北川博子. The special exhibition at the British Museum in 2005, “Kabuki Heroes on the Osaka Stage: 1780-1830,” was a recent significant step forward for the study of Osaka kabuki theater and actor prints after the earlier exhibitions in Philadelphia in 1973 by Keyes and in Japan in 1975 by Matsudaira.4 Ryūkōsai zuroku 流光斎図録 (2009), co-authored and edited by Andrew Gerstle and myself, cata- logues all possible Ryūkōsai prints and paintings known at the time of its publication.5 Ryūkōsai zuroku lists a total of 46 prints and 15 paintings located in Japan, Europe, and the United States.6 The subjects of Ryūkōsai’s prints and paintings are mainly kabuki actors from Osaka.
    [Show full text]
  • Rethinking 'Beauties': Women and Humor in the Late Edo Tōkaidō
    Rethinking ‘Beauties’: Women and Humor in the Late Edo Tōkaidō gojūsan tsui Ann Wehmeyer The Tōkaidō gojūsan tsui (1844-1847, 東海道五十三対) is a Japanese ukiyo-e prints series created in collaboration by three of the foremost Japanese print artists of the nineteenth century: Hiroshige (1797-1858), Kuniyoshi (1797- 1861), and Kunisada (1786-1864). The Tōkaidō gojūsan tsui differs from other, mostly earlier, series on the theme of stations along the Tōkaidō Road such as landscapes, or beauties set in landscapes, by taking historical legends and folklore as its predominant subject matter, and combining figures and landscape. A literal rendition of the title of the series is ‘Fifty-three Pairings along the Tōkaidō Road.’1 Timothy Clark suggests that the term tsui 対, ‘pairings,’ might refer to the linking of a legendary event, or some subject associated with the place, to each station of the highway.2 Writ large, this series may be read as a compendium of encounters en route. Many of the figures depicted in the scene for each station are themselves travellers, some famous, others ordinary folk. While the majority of the prints in the series depict male subjects, or illustrate scenes that include both men and women, there are a fair number that depict individual women. In addition to the portrayal of noted women of history, paramours of famous military heroes, supernatural female figures of traditional folklore, and female ghosts, the Tōkaidō gojūsan tsui depicts anonymous women performing daily activities, primarily in transit or at labour. In the case of anonymous women, humour and beauty work in tandem to engage the viewer’s imagination.
    [Show full text]
  • Japanese Prints of the Floating World
    James Madison University JMU Scholarly Commons Senior Honors Projects, 2020-current Honors College 5-8-2020 Savoring the moon: Japanese prints of the floating world Madison Dalton James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors202029 Part of the Acting Commons, Art Education Commons, Asian Art and Architecture Commons, Buddhist Studies Commons, Fine Arts Commons, History of Religions of Eastern Origins Commons, Japanese Studies Commons, Modern Art and Architecture Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Dalton, Madison, "Savoring the moon: Japanese prints of the floating world" (2020). Senior Honors Projects, 2020-current. 10. https://commons.lib.jmu.edu/honors202029/10 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2020-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Savoring the Moon: Japanese Prints of the Floating World _______________________ An Honors College Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ by Madison Britnell Dalton Accepted by the faculty of the Madison Art Collection, James Madison University, in partial fulfillment of the requirements for the Honors College. FACULTY COMMITTEE: HONORS COLLEGE APPROVAL: Project Advisor: Virginia Soenksen, Bradley R. Newcomer, Ph.D., Director, Madison Art Collection and Lisanby Dean, Honors College Museum Reader: Hu, Yongguang Associate Professor, Department of History Reader: Tanaka, Kimiko Associate Professor, Department of Sociology Reader: , , PUBLIC PRESENTATION This work is accepted for presentation, in part or in full, at Honors Symposium on April 3, 2020.
    [Show full text]
  • Extrême-Orient 14 12 16 Extrême-Orient Extrême-Orient Paris MER - C RED I 14 D É Cemb Re 2016 VENTE AUX ENCHÈRES PUBLIQUES PARIS Pierre Bergé & Associés
    Extrême-Orient PARIS - MERCREDI 14 DÉcembRE 2016 _14_12_16 EXTRÊME-ORIENT Pierre Bergé & associés Société de Ventes Volontaires_agrément n°2002-128 du 04.04.02 Paris 92 avenue d’Iéna 75116 Paris T. +33 (0)1 49 49 90 00 F. +33 (0)1 49 49 90 01 Bruxelles Avenue du Général de Gaulle 47 - 1050 Bruxelles T. +32 (0)2 504 80 30 F. +32 (0)2 513 21 65 www.pba-auctions.com VENTE AUX ENCHÈRES PUBLIQUES PARIS Pierre Bergé & associés EXTRÊME-ORIENT DATE DE LA VENTE / DATE OF THE AUCTION Mercredi 14 décembre 2016 à 13 heures 30 Wednesday, december 14th 2016 at 1:30 pm LIEU DE VENTE / LOCATION Drouot-Richelieu - Salles 5 et 6 9, rue Drouot 75009 Paris EXPOSITIONS PUBLQUES / PUBlic VieWinG Mardi 13 décembre de 11 heures à 18 heures Mercredi 14 décembre de 11 heures à 12 heures Tuesday, december 13th from 11:00 am to 6:00 pm Wednesday, december 14th from 11:00 am to 12:00 pm TÉLÉPHONE PENDANT L’EXPOSITION PUBLIQUE ET LA VENTE T. +33 (0)1 48 00 20 05 CONTACTS POUR LA VENTE Daphné Vicaire T. + 33 (0)1 49 49 90 [email protected] Harold Lombard T. + 32 (0)2 504 80 [email protected] EXPERT POUR LA VENTE Alice Jossaume, Cabinet Portier 26 boulevard Poissonnière 75009 Paris T. + 33 (0)1 48 00 03 41 E. [email protected] CATALOGUE ET RÉSULTATS CONSULTABLES EN LIGNE www.pba-auctions.com 4 Départements ARCHÉOLOGIE PIERRE BeRGÉ Daphné Vicaire Président T. + 33 (0)1 49 49 90 15 MEUBLES ET OBJETS D’ART [email protected] TABLEAUX-DESSINS ANCIENS ANTOINE GOdeAU ORIENT ET EXTRÊME-ORIENT VINS & SPIRITUEUX Vice-président EXPERTISE-INVENTAIRE Sophie Duvillier Commissaire Priseur habilité Daphné Vicaire T.
    [Show full text]
  • Journal of Social and Political Sciences
    Journal of Social and Political Sciences Ellis, James W. (2019), The Floating World of Ukiyo-e Prints: Images of a Japanese Counterculture. In: Journal of Social and Political Sciences, Vol.2, No.3, 701-718. ISSN 2615-3718 DOI: 10.31014/aior.1991.02.03.113 The online version of this article can be found at: https://www.asianinstituteofresearch.org/ Published by: The Asian Institute of Research The Journal of Social and Political Sciences is an Open Access publication. It may be read, copied, and distributed free of charge according to the conditions of the Creative Commons Attribution 4.0 International license. The Asian Institute of Research Social and Political Sciences is a peer-reviewed International Journal. The journal covers scholarly articles in the fields of Social and Political Sciences, which includes, but not limited to, Anthropology, Government Studies, Political Sciences, Sociology, International Relations, Public Administration, History, Philosophy, Arts, Education, Linguistics, and Cultural Studies. As the journal is Open Access, it ensures high visibility and the increase of citations for all research articles published. The Journal of Social and Political Sciences aims to facilitate scholarly work on recent theoretical and practical aspects of Social and Political Sciences. The Asian Institute of Research Journal of Social and Political Sciences Vol.2, No.3, 2019: 701-718 ISSN 2615-3718 Copyright © The Author(s). All Rights Reserved DOI: 10.31014/aior.1991.02.03.113 The Floating World of Ukiyo-e Prints: Images of a Japanese Counterculture James W. Ellis1 1 Academy of Visual Arts, Hong Kong Baptist University, Hong Kong Correspondence: James W.
    [Show full text]
  • Program &Schedule INTERNATIONAL MOKUHANGA CONFERENCE
    Program &Schedule INTERNATIONAL MOKUHANGA CONFERENCE Kyoto & Awaji June 7-11, 2011 PRESENTERS AND DEMONSTRATORS ■ DEMONSTRATIONS ■ WORKSHOPS ■ ARTIST`S PRESENTATIONS ■ TECHNICAL INNOVATIONS ■ HISTORY AND PHILOSOPHY OF MOKUHANGA ■ MOKUHANGA AND SOCIETY ■ MATERIAL STUDIES ■ MOKUHANGA IN JAPAN TODAY ■ TEACHING MOKUHANGA ■ INTERNATIONAL EXCHANGE Code number in red is related to the schedule Names are sorted by alphabetical order. Demonstrations & Workshops DEMONSTRATIONS Demonstrations` program will be updated as new options come in Barbagli, Niccolo (Italy) D/01 Artist Two Visions of Water: Carved in Wood, Printed on Paper Barbagli reflects on the precious element of water that has been the symbol of Life, Flow of Time, Shape of Mind and subject for many artists in eastern and western art history as well through the practice of the eastern and western woodcut print techni- ques. Special printing techniques in Japanese woodblock printmaking will be featured. Kernan, Catherine (USA) D/02 Artist, Owner of Mixit Print Studio, Somerville Woodcut Monoprints with Akua Waterbased Inks Kernan demonstrates woodcut monoprinting using Akua waterbased inks and ink modifiers. Unorthodox methods include off- setting to plastic, transferring from block to block, using one block to lift ink from another, and reversing the positive/negative image. An instructional DVD of these techniques is also available at the conference. Mathie, William (USA) D/03 Artist, Associate Professor, Edinboro University of Pennsylvania Building a Traditional Mokuhanga Desk, to carve and print while standing This demonstration offers a video and plans to build a desk to hold a traditional mokuhanga carving desk, printing table and other furniture. The desk also stores the equipment when not in use.
    [Show full text]
  • Rising Sun at Te Papa: the Heriot Collection of Japanese Art David Bell* and Mark Stocker**
    Tuhinga 29: 50–76 Copyright © Museum of New Zealand Te Papa Tongarewa (2018) Rising sun at Te Papa: the Heriot collection of Japanese art David Bell* and Mark Stocker** * University of Otago College of Education, PO Box 56, Dunedin, New Zealand ([email protected]) ** Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ABSTRACT: In 2016, the Museum of New Zealand Te Papa Tongarewa (Te Papa) acquired more than 60 Japanese artworks from the private collection of Ian and Mary Heriot. The works make a significant addition to the graphic art collections of the national museum. Their variety and quality offer a representative overview of the art of the Japanese woodblock print, and potentially illustrate the impact of Japanese arts on those of New Zealand in appropriately conceived curatorial projects. Additionally, they inform fresh perspectives on New Zealand collecting interests during the last 40 years. After a discussion of the history and motivations behind the collection, this article introduces a representative selection of these works, arranged according to the conventional subject categories popular with nineteenth- and early twentieth-century Japanese audiences. Bijin-ga pictures of beautiful women, genre scenes and kabuki-e popular theatre prints reflect the hedonistic re-creations of ukiyo ‘floating world’ sensibilities in the crowded streets of Edo. Kachöga ‘bird and flower pictures’ and fukeiga landscapes convey Japanese sensitivities to the natural world. Exquisitely printed surimono limited editions demonstrate literati tastes for refined poetic elegance, and shin-hanga ‘new prints’ reflect changes in sensibility through Japan’s great period of modernisation.
    [Show full text]
  • Kisaburo-, Kuniyoshi and the “Living Doll”
    100 Kisaburo-, Kuniyoshi and the “Living Doll” Kinoshita Naoyuki or many years now, I have been researching different aspects of nineteenth-century Japanese culture, making a conscious decision Fnot to distinguish between “fine art” and “popular culture.” I clearly remember the occasion some twenty years ago that prompted me to adopt this approach. It was my first encounter with the termiki-ningyo - (“liv- ing dolls”), as coined in Japanese. I had absolutely no idea what the phrase meant, nor even how to pronounce the Chinese characters. The majority of modern Japanese, unfamiliar with the term, end up pronouncing it nama- ningyo-. The impulse to pronounce the first character asnama derives from its meaning of something “vivid” or “fresh” (namanamashii). In the culinary idiom, the adjective brings to mind not grilled or boiled fish, but raw fish (sashimi) at the instant the dish is set down, or even the moments before- hand, as one’s mouth begins to water watching the fish being prepared. Now I have a little better understanding of what “living dolls” means. In the city of Edo (now Tokyo), a popular form of street entertainment was the re-creation of themes from legends or history with life-size, lifelike < Fig. 2. Matsumoto Kisaburo-. Tani- dolls––an inanimate counterpart to the European tableau vivant of the gumi Kannon. 1871/1898. Wood, with same period. It is difficult to prove exactly whatiki meant to Japanese peo- pigment, textile, glass, horsehair. 160 cm. ple in the nineteenth century, but the term iki-ningyo- was a neologism that Jo-kokuji, Kumamoto City, Kumamoto first appeared in connection with a public spectacle, known as amisemono , Prefecture mounted in Osaka in 1854.
    [Show full text]
  • Giovanni Berio in Arte Ligustro
    AUTORE : GIOVANNI BERIO IN ARTE LIGUSTRO 1993 Surimono omaggio di Ligustro a Hokusai Pag. 1/13 Stampe e documenti originali di LIGUSTRO - vietata la riproduzione e l'esposizione senza autorizzazione, per ogni informazione o chiarimento e-mail ligustro.italia(at)gmail.com AUTORE : GIOVANNI BERIO IN ARTE LIGUSTRO TITOLO: Surimono omaggio di Ligustro a Hokusai Xilografia policroma a 10 colori, anno 1993, anno del Gallo Tirature: 4 con colori e carte diverse Tecniche impiegate in uso nel periodo EDO in Giappone: Nishiki-E Dipinti broccato, termine con il quale si prese ad indicare le xilografie policrome diffusesi a partire dal 1765 (incisioni su legno di pero o di ciliegio). Bokashi Stampa a colori sfumati Gindei Impiego di polvere d’argento per dare rilievo a particolari finemente ricavati nella stampa. Gin-Sunago Scaglie e polvere d’argento cosparso sulla superficie al fine di ottenere effetti di luminosità su particolari cliché in modo da ricavare stampe perfettamente simili. Kindei Colore dato da polvere d’oro per coprire minime parti della superficie della stampa con motivi decorativi. Kinpaku Impiego di foglia d’oro al fine di ricoprire superfici anche estese sulla stampa. Kin-Sunago Scaglie e polvere d’oro cosparso sulla superficie al fine di ottenere effetti di luminosità su particolari cliché in modo da ricavare stampe perfettamente simili. Kirazuri Stampa a mica consistente nell’applicare particelle di polvere di perla e mica al fine di ottenere effetto argentato e brillante. Per la stampa dell’oro e argento. Legno: Le incisioni
    [Show full text]
  • Japanese Wood Engravings, Their His- Tory, Technique, and Characteristics
    [ijiii!!!!!!!!!!^ ;l!'!'!t^ !!•:;;;:!: ^•!'!'i'i'''!<;- ' PROVO. UTAH - ' ^iJ- %SS, ANDERSON, WILLIAM. Japanese Wood Engravings, Their His- tory, Technique, and Characteristics. 80 pages of text, signatures, in- dex. Illustrated with 6 color plates and 37 pictures in text. 6% by 10 inches, % Japanese vellum. London, 1895. $7.50 Shig^naga (c. 1725)- colour print after NISHIMURA Plate i. From a JAPANESE WOOD ENGRAVINGS THEIR BISTORT, TECHNIQUE AND CHARACTERISTICS By WILLIAM ANDERSON, F.R.C.S. Chairman of the Council of the Japan Society Author of ''''An Historical and Descriptive Catalogue of the Japanese and Chinese Pictures in the British 'Museum'' " 'The Pictorial Arts of Japan^' ^c. LONDON SEELEY AND CO. LIMITED, ESSEX STREET, STRAND NEW YORK, MACMILLAN AND CO. 1895 -^THE LTBP • « «» BRIGHAM YOUNG I PROYO, UiA*» LIST OF ILLUSTRATIONS PLATES PAGE J. From a colour print after Nishimura Shigcnaga (r. 1725) . Frontispiece II. From a colour print after Suzuki Harunobu {c. 1765) to face 6 III. Actor in Female role. From a colour print after Katsugawa Shunsho {c. 1780) „ „ 22 (r. IV. From a colour print after Katsugawa Shuncho 1780) ,, ,, 32 colour print after {c. V. From a Utamaro 1800) •,, „ 50 print after (r. VI. From a colour Utagawa Toyokuni 1820) ,, ,, 64 ILLUSTRATIONS IN THE TEXT^ 1. Reduced facsimile of a woodcut in the Kwanyin Sutra. Dated 1331 ... 8 2. Reduced facsimile of a Korean woodcut in the Sam-Kang-heng-sil 10 3. Reduced facsimile of a wood engraving, attributed to the Buddhist priest Nichiren (1222-1282) 11 4. Agni Dcva, the Fire Divinity. Reduced facsimile of a woodcut, dated in the 2nd year of Sochiu (1325).
    [Show full text]
  • Israel Goldman Japanese Prints, Paintings and Books Recent Acquisitions 26 Catalogue 2020
    Israel Goldman Israel Israel Goldman Japanese Prints, Paintings and Books Recent Acquisitions Catalogue 26 2020 Japanese Prints, and Paintings Books 26 Cat.26 Final.qxp_2020 31/08/2020 19:54 Page 1 Israel Goldman Japanese Prints, Paintings and Books Recent Acquisitions Catalogue 26 2020 Cat.26 Final.qxp_2020 31/08/2020 19:54 Page 2 Cat.26 Final.qxp_2020 31/08/2020 19:54 Page 3 1 Unknown The Death of Buddha. Circa 1700-1710. Hand-coloured sumizuri-e. Kakemono-e. 51.7 x 28.3 cm. Vever/I/62. Very good impression with extensive brass dusting and traces of applied gum. Toned, otherwise very good condition. Roger Keyes believes this to be the earliest version of which there are two later examples with completely different blocks by Shigenobu and Shigenaga (Ainsworth Collection, Oberlin, 1984, pages 115-116, and 136). These are dated to the 1730’s-1740’s. Keyes lists the Vever impression which is similar to ours and illustrates the example in the Cleveland Museum of Art which lacks the metallic dust, but is also from the same blocks. Cat.26 Final.qxp_2020 31/08/2020 19:54 Page 4 Cat.26 Final.qxp_2020 31/08/2020 19:54 Page 5 2 Okumura Masanobu (1686-1764) A Patron in a Brothel Reclining with Male and Female Prostitutes.The First Month. From the series (Someiro no yama) Neya no hinagata (Mountains of Dyed Colours: Patterns for the Bedroom). Circa 1740. Hand-coloured sumizuri-e. Oban. 27.4 x 35.9 cm. Clark, Shunga: Sex and Pleasure in Japanese Art, British Museum, no.
    [Show full text]