Japanese Prints
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Seduction: Japan's Floating World Transports Viewers to the Popular and Enticing Entertainment Districts Established in Edo (Present- Day Tokyo) in the Mid-1600S
PRESS CONTACTS: Tim Hallman Annie Tsang 415.581.3711 415.581.3560 [email protected] [email protected] SEDUCTION: JAPAN’S FLOATING WORLD Escape to Japan’s floating world through a selection of rare paintings, woodblock prints and kimonos at San Francisco’s Asian Art Museum SAN FRANCISCO, Feb. 13, 2015—Seduction: Japan's Floating World transports viewers to the popular and enticing entertainment districts established in Edo (present- day Tokyo) in the mid-1600s. Through more than 50 artworks from the acclaimed John C. Weber Collection, visitors can encounter the alluring realm known as the “floating world,” notably its famed pleasure quarter, the Yoshiwara. Masterpieces of painting, luxurious Japanese robes, woodblock-printed guides and decorative arts tell the story of how the art made to represent Edo’s seductive courtesans, flashy Kabuki actors and extravagant customs gratified fantasies and fueled desires. At a time when a strict social hierarchy regulated most aspects of the samurai and townsmen’s lives, the floating world provided a temporary escape. The term “floating world,” or ukiyo, originated from a common Buddhist phrase referring to the suffering of the physical world, which was inverted to signify a realm of boundless indulgence. Both a state of mind and a set of locales, the floating world refers to the diversions available in the brothel districts and Kabuki theaters of Edo, a city whose population had reached a million by the beginning of the 18th century. The floating world’s rise to prominence gave birth to an outpouring of new artistic production, in the form of paintings and woodblock prints that advertised celebrities and spread knowledge of the city’s famous theaters and brothels. -
HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon
SPIRITS AND IDENTITY IN NINETEENTH-CENTURY NORTHEASTERN JAPAN: HIRATA KOKUGAKU AND THE TSUGARU DISCIPLES by Gideon Fujiwara A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gideon Fujiwara, 2013 ABSTRACT While previous research on kokugaku , or nativism, has explained how intellectuals imagined the singular community of Japan, this study sheds light on how posthumous disciples of Hirata Atsutane based in Tsugaru juxtaposed two “countries”—their native Tsugaru and Imperial Japan—as they transitioned from early modern to modern society in the nineteenth century. This new perspective recognizes the multiplicity of community in “Japan,” which encompasses the domain, multiple levels of statehood, and “nation,” as uncovered in recent scholarship. My analysis accentuates the shared concerns of Atsutane and the Tsugaru nativists toward spirits and the spiritual realm, ethnographic studies of commoners, identification with the north, and religious thought and worship. I chronicle the formation of this scholarly community through their correspondence with the head academy in Edo (later Tokyo), and identify their autonomous character. Hirao Rosen conducted ethnography of Tsugaru and the “world” through visiting the northern island of Ezo in 1855, and observing Americans, Europeans, and Qing Chinese stationed there. I show how Rosen engaged in self-orientation and utilized Hirata nativist theory to locate Tsugaru within the spiritual landscape of Imperial Japan. Through poetry and prose, leader Tsuruya Ariyo identified Mount Iwaki as a sacred pillar of Tsugaru, and insisted one could experience “enjoyment” from this life and beyond death in the realm of spirits. -
Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance. -
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. -
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. -
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. -
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. -
Oda Nobunaga in Japanese Videogames the Case of Nobunaga’S Ambition: Sphere of Influence (Koei, 2013)
Trabajo Fin de Máster Oda Nobunaga en los videojuegos japoneses El caso de Nobunaga’s Ambition: Sphere of Influence (Koei, 2013) Oda Nobunaga in Japanese videogames The case of Nobunaga’s Ambition: Sphere of Influence (Koei, 2013) Autora Claudia Bonillo Fernández Directoras Elena Barlés Báguena Amparo Martínez Herranz Facultad de Filosofía y Letras/ Departamento de Historia del Arte Curso 2017-2018 2 ÍNDICE I. PRESENTACIÓN DEL TRABAJO .......................................................................................................................... 3 1. Delimitación del tema y causas de su elección ..................................................................................................... 3 2. Estado de la cuestión ............................................................................................................................................. 5 3. Objetivos del trabajo ............................................................................................................................................. 9 4. Metodología .......................................................................................................................................................... 9 4.1. Búsqueda, recopilación, lectura y análisis de material bibliográfico ........................................................... 10 4.2. Búsqueda, recopilación, lectura y análisis de material documental ............................................................. 11 4.3. Trabajo de campo ........................................................................................................................................ -
Ukiyo-E: Pictures of the Floating World
Ukiyo-e: pictures of the Floating World The V&A's collection of ukiyo- e is one of the largest and finest in the world, with over 25,000 prints, paintings, drawings and books. Ukiyo-e means 'Pictures of the Floating World'. Images of everyday Japan, mass- produced for popular consumption in the Edo period (1615-1868), they represent one of the highpoints of Japanese cultural achievement. Popular themes include famous beauties and well-known actors, renowned landscapes, heroic tales and folk stories. Oniwakamaru subduing the Giant Carp (detail), Totoya Hokkei, In the Edo period (1615- about 1830-1832. Museum no. E.3826:1&2-1916 1868), fans provided a popular format for print designers' ingenuity and imagination. The designs produced for fans are usually themed around summer, festivals, and the lighter side of life. Ukiyo-e prints from the collection are available for study in the V&A Prints and Drawings study room. What are ukiyo-e? The art of ukiyo-e is most frequently associated with colour woodblock prints, popular in Japan from their development in 1765 until the closing decades of the Meiji period Source URL: http://www.vam.ac.uk/content/articles/u/ukiyo-e-pictures-of-the-floating-world/ Saylor URL: http://www.saylor.org/courses/arth305/#3.4.2 © Victoria and Albert Museum Saylor.org Used by permission. Page 1 of 8 (1868-1912). The earliest prints were simple black and white prints taken from a single block. Sometimes these prints were coloured by hand, but this process was expensive. In the 1740s, additional woodblocks were used to print the colours pink and green, but it wasn't until 1765 that the technique of using multiple colour woodblocks was perfected. -
Minneapolis Institute of Art to Present Retrospective of Yoshitoshi, Japan’S Last Great Master of Woodblock Prints
PRESS RELEASE Minneapolis Institute of Art to Present Retrospective of Yoshitoshi, Japan’s Last Great Master of Woodblock Prints 2400 Third Avenue South Minneapolis, MN 55404 artsmia.org Moon: Actor Ichikawa Sanshō as Kezori Kuemon, from the series The Snow, Moon, and Flowers (Setsugekka no uchi), 1890, Published by Akiyama Buemon, Carved by Wada Yūjirō, Woodblock print (nishiki-e); ink and color on paper, The Mary Griggs Burke Endowment Fund established by the Mary Livingston Griggs and Mary Griggs Burke Foundation, gifts of various donors, by exchange, and gift of Edmond Freis in memory of his parents, Rose and Leon Freis 2017.106.239 MINNEAPOLIS—January 7, 2020—A new exhibition at the Minneapolis Institute of Art (Mia) celebrates the work of Tsukioka Yoshitoshi (1839–1892), considered the last major artist of the traditional Japanese woodblock print, known as ukiyo-e. “Yoshitoshi: Master Draftsman Transformed” highlights the artist’s process, his technical and innovative skills as a draftsman, and how he responded to Japan’s changing cultural tastes between 1860 and 1890. The 43 artworks on display—ranging from sketches, drawings, paintings, and many printed masterworks—include a selection from Mia’s 2017 acquisition of nearly 300 objects by Yoshitoshi from the Edmond Freis collection. The exhibition is on view February 1 through April 12, 2020, in Mia’s Cargill Gallery. “Yoshitoshi was a formidable draftsman and the exhibition includes works by his own hands that showcase his innovative vision and skills and how his original idea was turned into a woodblock print,” said Andreas Marks, PhD, Mary Griggs Burke Curator of Japanese & Korean Art at Mia. -
Encyclopedia of Japanese History
An Encyclopedia of Japanese History compiled by Chris Spackman Copyright Notice Copyright © 2002-2004 Chris Spackman and contributors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections, with no Front-Cover Texts, and with no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License.” Table of Contents Frontmatter........................................................... ......................................5 Abe Family (Mikawa) – Azukizaka, Battle of (1564)..................................11 Baba Family – Buzen Province............................................... ..................37 Chang Tso-lin – Currency............................................... ..........................45 Daido Masashige – Dutch Learning..........................................................75 Echigo Province – Etō Shinpei................................................................ ..78 Feminism – Fuwa Mitsuharu................................................... ..................83 Gamō Hideyuki – Gyoki................................................. ...........................88 Habu Yoshiharu – Hyūga Province............................................... ............99 Ibaraki Castle – Izu Province..................................................................118 Japan Communist Party – Jurakutei Castle............................................135 -
Pigments in Later Japanese Paintings : Studies Using Scientific Methods
ND 1510 ' .F48 20(}3 FREER GALLERY OF ART OCCASIONAL PAPERS NEW SERIES VOL. 1 FREER GALLERY OF ART OCCASIONAL PAPERS ORIGINAL SERIES, 1947-1971 A.G. Wenley, The Grand Empress Dowager Wen Ming and the Northern Wei Necropolis at FangShan , Vol. 1, no. 1, 1947 BurnsA. Stubbs, Paintings, Pastels, Drawings, Prints, and Copper Plates by and Attributed to American and European Artists, Together with a List of Original Whistleriana in the Freer Gallery of Art, Vol. 1, no. 2, 1948 Richard Ettinghausen, Studies in Muslim Iconography I: The Unicorn, Vol. 1, no. 3, 1950 Burns A. Stubbs, James McNeil/ Whistler: A Biographical Outline, Illustrated from the Collections of the Freer Gallery of Art, Vol. 1, no. 4, 1950 Georg Steindorff,A Royal Head from Ancient Egypt, Vol. 1, no. 5, 1951 John Alexander Pope, Fourteenth-Century Blue-and-White: A Group of Chinese Porcelains in the Topkap11 Sarayi Miizesi, Istanbul, Vol. 2, no. 1, 1952 Rutherford J. Gettens and Bertha M. Usilton, Abstracts ofTeclmical Studies in Art and Archaeology, 19--13-1952, Vol. 2, no. 2, 1955 Wen Fong, Tlie Lohans and a Bridge to Heaven, Vol. 3, no. 1, 1958 Calligraphers and Painters: A Treatise by QildfAhmad, Son of Mfr-Munshi, circa A.H. 1015/A.D. 1606, translated from the Persian by Vladimir Minorsky, Vol. 3, no. 2, 1959 Richard Edwards, LiTi, Vol. 3, no. 3, 1967 Rutherford J. Gettens, Roy S. Clarke Jr., and W. T. Chase, TivoEarly Chinese Bronze Weapons with Meteoritic Iron Blades, Vol. 4, no. 1, 1971 IN TERIM SERIES, 1998-2002, PUBLISHED BY BOTH THE FREER GALLERY OF ART AND THE ARTHUR M.