Japanese Prints, Illustrated Books and Paintings
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Timely Timeless.Indd 1 2/12/19 10:26 PM Published by the Trout Gallery, the Art Museum of Dickinson College, Carlisle, Pennsylvania 17013
Timely and Timeless Timely Timely and Timeless Japan’s Modern Transformation in Woodblock Prints THE TROUT GALLERY G38636_SR EXH ArtH407_TimelyTimelessCover.indd 1 2/18/19 2:32 PM March 1–April 13, 2019 Fiona Clarke Isabel Figueroa Mary Emma Heald Chelsea Parke Kramer Lilly Middleton Cece Witherspoon Adrian Zhang Carlisle, Pennsylvania G38636_SR EXH ArtH407_Timely Timeless.indd 1 2/12/19 10:26 PM Published by The Trout Gallery, The Art Museum of Dickinson College, Carlisle, Pennsylvania 17013 Copyright © 2019 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from The Trout Gallery. This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. First Published 2019 by The Trout Gallery, Carlisle, Pennsylvania www.trougallery.org Editor-in-Chief: Phillip Earenfight Design: Neil Mills, Design Services, Dickinson College Photography: Andrew Bale, unless otherwise noted Printing: Brilliant Printing, Exton, Pennsylvania Typography: (Title Block) D-DIN Condensed, Brandon Text, (Interior) Adobe Garamond Pro ISBN: 978-0-9861263-8-3 Printed in the United States COVER: Utagawa Hiroshige, Night View of Saruwaka-machi, from the series One Hundred Famous Views of Edo (detail), 1856. Woodblock print, ink and color on paper. The Trout Gallery, Dickinson College, Carlisle, PA. 2018.3.14 (cat. 7). BACK COVER: Utagawa Hiroshige, Night View of Saruwaka-machi, from the series One Hundred Famous Views of Edo (detail), 1856. -
KYOSAI: Noh and Kyogen Paintings List of Exhibits
Special Exhibition KYOSAI: Noh and Kyogen Paintings List of Exhibits April 20 - June 16, 2013 Room 1 Cat. Title Artist Collection Display No. “To”-Zukushi Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 4/20-6/16 6 Sarugaku Zu Shiki Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 4/20-6/16 61 Tokyo Metropolitan Central Library; Sketchbook of Sarugaku Zu Shiki Kawanabe Kyōsai Kaga Collection 5/21-6/16 62 Mantei Ōga, illustration by Meiryō Futaba-gusa Toyohara Kunichika, Yōshū Kawanabe Kyōsai Memorial Museum 4/20-5/19 66 Chikanobu and Kawanabe Kyōsai Kyōsai Gadan Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 4/20-6/16 84 Certificate for Shonichi, Menbako and Senzai Ōkura Yadayū Torashige Kawanabe Kyōsai Memorial Museum 4/20-6/16 85 Certificate for Ataka Ennen-no-ai and Kaidate Kaizuke Ōkura Yadayū Torashige Kawanabe Kyōsai Memorial Museum 4/20-6/16 86 Certificate for Funa-benkei, Hashi-benkei et al. Ōkura Torakatsu Kawanabe Kyōsai Memorial Museum 4/20-6/16 87 Sketchbook for preparatory drawing Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 4/20-6/16 37 Noh Kyōgen Hanga-jō Kawanabe Kyōsai et al. Kawanabe Kyōsai Memorial Museum 4/20-6/16 63 Kyōsai Donga Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 5/21-6/16 59 Mantei Ōga, Shinkai Ko-uta Kyōgen Kawanabe Kyōsai Memorial Museum 4/20-5/19 64 design by Kawanabe Kyōsai Book of Noh and Kyōgen prints Kawanabe Kyōsai et al. Kawanabe Kyōsai Memorial Museum 4/20-6/16 65 Kyōsai Manga Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 5/21-6/16 58 Kyōsai Suiga Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 4/20-5/19 60 Sketchbook Kawanabe Kyōsai Memorial Museum 4/20-6/16 89 Kyōgen mask, Hakuzōsu Tokyo University of the Arts 4/20-5/19 88 Iwazaki Kōgyoku, Kiseru case with Shōjō design in maki-e sketch by Kawanabe Kyōsai Kawanabe Kyōsai Memorial Museum 5/21-6/16 90 Room 2 Cat. -
Modelo Para Trabalhos Acadêmicos
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS ORIENTAIS PROGRAMA DE PÓS-GRADUAÇÃO EM LÍNGUA, LITERATURA E CULTURA JAPONESA MARIA IVETTE JOB O tempo dos fantasmas de As 53 Estações da Yōkaidō: Mizuki Shigeru e Aby Warburg versão corrigida Vol. I São Paulo 2021 MARIA IVETTE JOB O tempo dos fantasmas de As 53 Estações da Yōkaidō: Mizuki Shigeru e Aby Warburg versão corrigida Dissertação apresentada ao Programa de Pós- Graduação em Filosofia do Departamento de Filosofia da Faculdade de Filosofia, Letras e Ciências Humanas, da Universidade de São Paulo, como parte dos requisitos para obtenção do título de Mestre em Letras. Orientadora: Profa. Dra. Michiko Okano Ishiki São Paulo 2021 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo Job, Maria Ivette J62t O tempo dos fantasmas de As 53 Estações da Yôkaidô: Mizuki Shigeru e Aby Warburg / Maria Ivette Job; orientadora Michiko Okano Ishiki - São Paulo, 2021. 178 f. Dissertação (Mestrado)- Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Departamento de Letras Orientais. Área de concentração: Língua, Literatura e Cultura Japonesa. 1. Cultura Oriental - Japão. 2. Iconologia. 3. Mizuki, Shigeru, 1922-2015.. 4. Warburg, Aby M., 1866-1929.. I. Ishiki, Michiko Okano, orient. II. Título. UNIVERSIDADE DE SÃO PAULO FACULDADE DE F FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS ENTREGA DO EXEMPLAR CORRIGIDO DA DISSERTAÇÃO/TESE Termo de Ciência e Concordância do (a) orientador (a) Nome do (a) aluno (a): Maria Ivette Job Data da defesa: 10/06/2021 Nome do Prof. -
PICTURES of the FLOATING WORLD an Exploration of the World of the Yoshiwara, 吉原
Cherry Blossom in the Yoshiwara by Yoshikazu PICTURES OF THE FLOATING WORLD An exploration of the world of the Yoshiwara, 吉原 PICTURES OF THE FLOATING WORLD In the nightless city Floating free from life’s cares Picture memories Haiku Keith Oram INTRODUCTION Japanese woodblock prints that recorded the Ukiyo, the ‘Floating World’ of the Yoshiwara of Edo city were so numerous that during the nineteenth century they were used to wrap ceramics exported to Europe. This practice provided some European artists with their first proper encounter with these beautifully created images. The impact on western art of their bold colours and sensuous line was quite significant influencing many artists of the avant gard. The story of those prints, however, began much earlier in the seventeenth century. First a little background history. The battle of Sekigahara in 1600 and the fall of Osaka in 1615 allowed Tokugawa Ieyasu to gain complete control of Japan. He had been made Shogun, supreme military leader, in 1603, but the fall of Osaka was the final action that gave him complete control. Almost his first act was to move the capital from Kyoto, the realm of the Emperor, to Edo, now Tokyo. This backwater town, now the new capital, grew very quickly into a large town. Tokugawa Iemitsu, Shogun 1623-51, required the daimyo of Japan, local rulers and warlords, to remain in Edo every other year, but when they returned to their fiefs he made them leave their families in the capital. This ‘hostage’ style management, sankin tokai, helped to maintain the peace. The other affect was that the daimyo needed to build large homes in Edo for their families. -
Japonisme in Britain - a Source of Inspiration: J
Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). -
Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work. -
Schaftliches Klima Und Die Alte Frau Als Feindbild
6 Zusammenfassung und Schluss: Populärkultur, gesell- schaftliches Klima und die alte Frau als Feindbild Wie ein extensiver Streifzug durch die großstädtische Populärkultur der späten Edo-Zeit gezeigt hat, tritt darin etwa im letzten Drittel der Edo-Zeit der Typus hässlicher alter Weiber mit zahlreichen bösen, ne- gativen Eigenschaften in augenfälliger Weise in Erscheinung. Unter Po- pulärkultur ist dabei die Dreiheit gemeint, die aus dem volkstümlichen Theater Kabuki besteht, den polychromen Holzschnitten, und der leich- ten Lektüre der illustrierten Romanheftchen (gōkan) und der – etwas gehobenere Ansprüche bedienenden – Lesebücher (yomihon), die mit einem beschränkten Satz von Schriftzeichen auskamen und der Unter- haltung und Erbauung vornehmlich jener Teile der Bevölkerung dien- ten, die nur eine einfache Bildung genossen hatten. Durch umherziehen- de Leihbuchhändler fand diese Art der Literatur auch über den groß- städtischen Raum hinaus bis hin in die kleineren Landflecken und Dör- fer hinein Verbreitung. Die drei Medien sind vielfach verschränkt: Holzschnitte dienen als Werbemittel für bzw. als Erinnerungsstücke an Theateraufführungen; Theaterprogramme sind reich illustrierte kleine Holzschnittbücher; die Stoffe der Theaterstücke werden in den zahllo- sen Groschenheften in endlosen Varianten recyclet; in der Heftchenlite- ratur spielt die Illustration eine maßgebliche Rolle, die Illustratoren sind dieselben wie die Zeichner der Vorlagen für die Holzschnitte; in einigen Fällen sind Illustratoren und Autoren identisch; Autoren steuern Kurz- texte als Legenden für Holzschnitte bei. Nachdrücklich muss der kommerzielle Aspekt dieser „Volkskultur“ betont werden. In allen genannten Sparten dominieren Auftragswerke, die oft in nur wenigen Tagen erledigt werden mussten. Die Theaterbe- treiber ließen neue Stücke schreiben oder alte umschreiben beziehungs- weise brachten Kombinationen von Stücken zur Aufführung, von wel- chen sie sich besonders viel Erfolg versprachen. -
Plant Dye Identification in Japanese Woodblock Prints
Plant Dye Identification in Japanese Woodblock Prints Michele Derrick, Joan Wright, Richard Newman oodblock prints were first pro- duced in Japan during the sixth Wto eighth century but it was not until the Edo period (1603–1868) that the full potential of woodblock printing as a means to create popular imagery for mass consumption developed. Known broadly as ukiyo-e, meaning “pictures of the float- ing world,” these prints depicted Kabuki actors, beautiful women, scenes from his- tory or legend, views of Edo, landscapes, and erotica. Prints and printed books, with or without illustrations, became an inte- gral part of daily life during this time of peace and stability. Prints produced from about the 1650s through the 1740s were printed in black line, sometimes with hand-applied color (see figure 1). These col- ors were predominantly mineral (inorganic) pigments supplemented by plant-based (organic) colorants. Since adding colors to a print by hand was costly and slowed pro- duction, the block carvers eventually hit upon a means to create a multicolor print using blocks that contained an “L” shaped groove carved into the corner and a straight groove carved further up its side in order to align the paper to be printed (see figure 2). These guides, called kento, are located Figure 1. Actors Sanjō Kantarō II and Ichimura Takenojō IV, (MFA 11.13273), about 1719 (Kyōho 4), designed by Torii Kiyotada I, and published by in the same location on each block. They Komatsuya (31.1 x 15.3 cm). Example of a beni-e Japanese woodblock ensure consistent alignment as each color print with hand-applied color commonly made from the 1650s to 1740s. -
La Escuela Utagawa, Orgullo De Edo
La escuela Utagawa, orgullo de Edo Daniel Sastre de la Vega UNIVERSIDAD AUTÓNOMA DE MADRID Toyohara Kunichika El rufián Ushiwaka Denji (por Sawamura Tosshō II), 1867 (cat. 72 b) 44 La escuela Utagawa consiguió una popularidad, pujanza y permanencia supe- riores al resto de escuelas de ukiyo-e. Ninguna contó entre sus filas, al mismo tiempo, con tres artistas en plenas facultades creativas, cada uno líder de su propia especialidad. En la escuela Utagawa coincidieron, simultáneamente, Ku- nisada –maestro de retratos de bellezas femeninas y actores de kabuki–, Kuni- yoshi –especialista en estampas de guerreros– y Hiroshige –el gran creador de paisajes–1. Si en el siglo XVII destacó la escuela encabezada por Hishikawa Moronobu (1618-1694) y en el XVIII las escuelas Torii y Katsukawa, en el siglo XIX el pro- tagonismo fue acaparado por los Utagawa. Su ascenso al reconocimiento públi- co no se manifestó con el fundador de la escuela sino con la segunda generación de discípulos, que iniciaron su carrera ascendente en los últimos cinco años del siglo XVIII. Los datos que aportan los expertos sobre la producción de la escue- la son reveladores de la importancia económica alcanzada por la maquinaria artística Utagawa. Solamente atendiendo al número de artistas que añadieron Utagawa a su nombre, o que recibieron de un maestro de la escuela algunos de los caracteres de su identidad artística –gagō–, la cifra supera el centenar2. Si se compara este dato con los veinticinco artistas adscritos a la escuela Katsukawa, la diferencia resulta considerable. El estilo característico de sus estampas conformaría en el siglo XIX la imagen tópica de bellezas femeninas o actores de teatro kabuki, y llevaría a la identifi- cación de sus artistas con la ciudad de Edo –por trabajar y vivir allí3–. -
Japanese Style/Western Culture
Japonisme in Print Japanese Style/Western Culture lthough part of the Museum’s series on Japanese color woodblock prints, this Aexhibition takes a different approach by recognizing the impact of Japanese images on European and American printmaking in the late-nineteenth and early- twentieth centuries. During that time Japan’s involvement with the Western world was undergoing fundamental changes. From 1867 to 1868, Japanese political rule transitioned from the military dictatorship of the shogunate to the restoration of the authority of the emperor. Under the leadership of Emperor Meiji (r. 1867–1912), Japan experienced major shifts in political and social structures, economics, technology, industry, militarization, and foreign relations, especially with the West. As a signal of its new position in global affairs, Japan sponsored a pavilion at the 1867 Parisian Exposition universelle d’art et d’industrie (Universal Exhibition of Art and Industry), the second ever international showcase of its kind. This pivotal event, along with Japan’s burgeoning global trade, exposed European and American audiences to the distinctive materials and modes of representation of Japanese art, creating a furor for things à la Japonaise. The Western works of art, decorative art, and architecture referencing or imitating Japanese styles have come to be known as Japonisme, a French term that reflects the trend’s flashpoint in Paris in 1867. Japonisme, or Japanism, came to be an essential facet in the development of Modernist aesthetics and idioms, as the European and American prints showcased here demonstrate. Félix Bracquemond (French, 1833–1914) Vanneaux et Sarcelles (Lapwings and Teals), 1862 Etching and drypoint on chine collé Transferred from the University of Missouri (X-85) Félix Bracquemond is among the earliest French artists to have ‘discovered’ Japanese color woodblock prints and to have incorporated their formal qualities into his own art. -
Object Labels
OBJECT LABELS CONTEMPLATIVE SPACE SECTION 4 SECTION 3 SECTION 1 SECTION 2 PLAN OF THE GALLERY SECTION 1 Travel Utagawa Hiroshige Procession of children passing Mount Fuji 1830s Hiroshige playfully imitates with children a procession of a daimyo passing Mt Fuji. A popular subject for artists, a daimyo and his entourage could make for a lively scene. During Edo, daimyo were required to travel to Edo City every other year and live there under the alternate attendance (sankin- kōtai) system. Hundreds of retainers would transport weapons, ceremonial items, and personal effects that signal the daimyo’s military and financial might. Some would be mounted on horses; the daimyo and members of his family carried in palanquins. Cat. 5 Tōshūsai Sharaku Actor Arashi Ryūzō II as the Moneylender Ishibe Kinkichi 1794 Kabuki actor portraits were one of the most popular types of ukiyo-e prints. Audiences flocked to see their favourite kabuki performers, and avidly collected images of them. Actors were stars, celebrities much like the idols of today. Sharaku was able to brilliantly capture an actor’s performance in his expressive portrayals. This image illustrates a scene from a kabuki play about a moneylender enforcing payment of a debt owed by a sick and impoverished ronin and his wife. The couple give their daughter over to him, into a life of prostitution. Playing a repulsive figure, the actor Ryūzō II made the moneylender more complex: hard-hearted, gesturing like a bully – but his eyes reveal his lack of confidence. The character is meant to be disliked by the audience, but also somewhat comical. -
Japanese Art Contents
2 0 0 9 / 2 0 1 0 Japanese Art Japanese 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.