DOCSLIB.ORG

Israel Goldman Japanese Prints, Paintings and Books Recent Acquisitions Catalogue 25

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Israel Goldman Japanese Prints, Paintings and Books Recent Acquisitions Catalogue 25 Israel Israel Goldman Israel Goldman Japanese Prints, Paintings and Books Recent Acquisitions Catalogue 25 Japanese Prints, and Paintings Books 2019 P.O. Box 584 London NW3 1EQ England U.K. T (+44) (0) 20 7794 2686 E-mail [email protected] 25 www.israelgoldman.com Israel Goldman Japanese Prints, Paintings and Books Recent Acquisitions Catalogue 25 2019 1 Katsukawa Shunsho (1726-1792) Shoki the Demon Queller. Circa 1770’s. Pillar print. 62.5 x 8.4 cm. Fine impression. Very good condition. Though Shunsho designed a number of prints of this subject, this particular design appears to be unrecorded. 2 Suzuki Harunobu (1724/5-1770) A Couple Making Love Beneath a Bamboo Curtain on a Veranda. Late 1760’s. Chuban. 19.1 x 25.1 cm. Fine impression with the outlines of the figures embossed. Fine colour with attractive oxidation. Fine condition. 3 Suzuki Harunobu (1724/5-1770) A Couple Making Love Underneath a Futon, Behind a Screen. Late 1760’s. Chuban. 19.9 x 27.9 cm. Fine impression with embossing. Fine colour and condition. 4 Suzuki Harunobu (1724/5-1770) Lovers Beside a Vase of Iris. Late 1760’s. Chuban. 19.9 x 27.8 cm. Fine impression with extensive embossing on the outlines of the figures. Fine colour and condition. 5 Attributed to Suzuki Harunobu (1724/5-1770) A Couple Making Love While a Boy Plays with Goldfish. Circa 1770. Chuban. 20 x 28 cm. Waterhouse, The Harunobu Decade, no. 659. Fine impression with oxidation. Fine colour and condition. The transparency of the woman’s yukata is beautifully depicted. Waterhouse has attributed the faded impression in Boston to Kitao Shigemasa which, in our view, appears implausible. Their impression is mounted in a hand scroll together with nineteen other prints which are all by Harunobu. 6 Isoda Koryusai (Active 1764-1788) Lovers in an Interior with Attendant. No. 2. From the series Haikai meoto Mane’emon (Poems of the Male and Female Mane’emon). Circa 1770. Chuban. 21.2 x 28.1 cm. Fine impression, colour and condition. Faint centrefold. Apparently unrecorded. This is a large series with prints numbering up to twenty-four, though many designs are currently unknown. 7 Isoda Koryusai (Active 1764-1788) A Man Making Love to a Woman and a Younger Man. Circa 1770. Chuban. 21.1 x 28.1 cm. Fine impression. Very good colour and condition with several restored wormholes at top. An unusual subject for shunga. 8 Katsukawa Shunsho (1726-1792) Segawa Kikunojo III, Iwai Hanshiro IV and Ichikawa Monnosuke II in a Theatrical Scene in a Boat. 1784. Hosoban triptych. 32.4 x 45.1 cm. The Theatrical Prints of the Katsukawa Masters, Riccar Art Museum, Tokyo, 1992, nos. 39-41 (this impression). Fine impression, colour and condition. Unfaded hosoban actor triptychs are extremely rare on the market. A faded impression of the far right sheet is in the British Museum. 9 Katsukawa Shunsho (1726-1792) Nakamura Nakazo I as a Samurai. Circa 1770. Hosoban. 32.4 x 14.8 cm. Fine impression and colour. Very good condition with slight restored wormage at top. 10 Katsukawa Shunko (1743-1812) Nakamura Tomijuro I in the Lion Dance (Shakkyo) from a Dance of Seven Changes. From the play Kurikaesu shichiyo kagami. 1778. Hosoban. 31.5 x 15.3 cm. UTS/8/161. Fine impression. Very good colour. Fine condition. There are impressions in Boston and Minneapolis. 11 Kastukawa Shunko (1743-1812) Segawa Kikunojo III. Circa 1776. Hosoban. 33 x 15 cm. Clark & Ueda, The Actor’s Image, AIC/III/555. Fine impression, colour and condition. Clark & Ueda suggest that the role is that of the courtesan Takamura of Ono-Teruya from the play Sugata no hana yuki no kuronushi performed in 1776. 12 Katsukawa Shunsho (1726-1792) Ichikawa Monnosuke II as a Street Vendor. Circa mid-1780’s. Hosoban. 32.8 x 14.9 cm. Fine impression, colour and condition. 13 Katsukawa Shunko (1743-1812) Nakamura Denkuro as Suketsune Holding a Lantern. Circa 1785. Hosoban. 32.6 x 14.9 cm. Fine impression with extremely fine colour. Fine condition. This is the right- hand sheet of a diptych. The left-hand sheet shows Ichikawa Monnosuke II as Soga no Goro. 14 Kitagawa Utamaro (1753-1806) Hanahito of the Ogiya. From the series Gosetsu hana awase (Contest of Flowers of the Five Festivals). Mid-1790’s. Oban. 38.9 x 26.3 cm. Very good impression. Fine colour. A few restored wormholes, otherwise fine condition. 15 Kitagawa Utamaro (1753-1806) Morokoshi of the Echizenya. (Kamuro) Ayano and Orino. From the series Toji zensei nigao-zoroe (Array of Supreme Portraits of the Present Day). 1794. Oban. 38.6 x 25.3 cm. Asano & Clark, no. 140 (this impression apparently cited on page 133); Shibui 144-1-2, TNM/II/1859. Provenance: Charles Haviland, Estampes Japonaises (first sale), Hotel Drouot, Paris, 1922, lot 291, “Superb estampe, en parfait etat,” purchased by Andre Spoerry (1891-1940) for 950 francs. Fine impression with exquisite blind-printing in the kimono and the face of the courtesan embossed. Fine colour and condition. This is the only recorded impression of the first state, before the title was changed to Toji zensei bijin-zoroe (Array of Supreme Beauties of the Present Day). Five other designs from this series are known with the earlier title. For an extensive discussion of the prints from this series, see Asano & Clark (op. cit., pages 132-136). 16 Kitagawa Utamaro (1753-1806) Woman of Ohara (Oharame). From the series Onna fuzoku shinasadame (Comparisons of the Customs of Women). Circa 1801. Koban. 19 x 12.6 cm. Fine impression, colour and condition. Keyblock impressions of this and the following five prints are in Boston. 17 Kitagawa Utamaro (1753-1806) Shrine Maiden (Miko). From the series Onna fuzoku shinasadame (Comparisons of the Customs of Women). Circa 1801. 19.1 x 12.9 cm. Koban. Fine impression, colour and condition. 18 Kitagawa Utamaro (1753-1806) Courtesan (Yujo). From the series Onna fuzoku shinasadame (Comparisons of the Customs of Women). Circa 1801. Koban. 19.2 x 12.8 cm. Fine impression, colour and condition. 19 Kitagawa Utamaro (1753-1806) Wife (Nyobo). From the series Onna fuzoku shinasadame (Comparisons of the Customs of Women). Circa 1801. 19.1 x 12.7 cm. Koban. Fine impression, colour and condition. A faded and damaged impression is in Minneapolis. 20 Kitagawa Utamaro (1753-1806) Widow (Goke). From the series Onna fuzoku shinasadame (Comparisons of the Customs of Women). Circa 1801. Koban. 19.1 x 12.9 cm. Fine impression, colour and condition. 21 Kitagawa Utamaro (1753-1806) Wet nurse (Uba). From the series Onna fuzoku shinasadame (Comparisons of the Customs of Women). Circa 1801. Koban. 19.1 x 12.8 cm. Fine impression, colour and condition. 22 Kitagawa Utamaro (1753-1806) Woman Cleaning Her Ears. From the series Bijin menso juttai no zu (Ten Types of Women’s Physiognomies). Circa 1803. Koban. 18.8 x 12.7 cm. Shibui 54-1-1. Very good impression, colour and condition. 23 Kitagawa Utamaro (1753-1806) Woman Clipping Her Nails. From the series Bijin menso juttai no zu (Ten Types of Women’s Physiognomies). Circa 1803. Koban. 18.9 x 12.7 cm. Shibui 54-2-1. Very good impression, colour and condition. 24 Kitagawa Utamaro (1753-1806) Woman Picking Her Teeth. From the series Bijin menso juttai no zu (Ten Types of Women’s Physiognomies). Circa 1803. Koban. 18.6 x 12.7 cm. Shibui 54-1-4. Very good impression, colour and condition. 25 Kitagawa Utamaro (1753-1806) Woman Holding a Sake Cup. From the series Bijin menso juttai no zu (Ten Types of Women’s Physiognomies). Circa 1803. Koban. 18.8 x 12.8 cm. Very good impression, colour and condition. 26 Hosoda Eisho (Active 1790’s) A Seated Women Reading a Book. From the series Fuzoku juni tsuki (Customs and Manners in the Twelve Months). Mid-1790’s. Chuban. 32.2 x 17.5 cm. Brandt 420, no A110. Very good impression. Rather faded. Very good condition. 27 Eishosai Choki (Active circa 1790’s- early 1800’s) Hinazuru of the Chojiya with (Kamuro) Tsuruji and Tsuruno. Circa mid-1790’s. Aiban. 32.6 x 22.9 cm. Very good impression, colour and condition. Faint horizontal centrefold. We are unable to locate another impression. 28 Kubo Shumman (1757-1820) Flowering Plum with Moon. Hanging scroll. Ink on silk. 92.8 x 30.6 cm. Signed: Shumman. Sealed: Shumman. The kyoka verses are by Rokujuen (Ishikawa Masamochi, 1754-1830); Shokusanjin (Ota Nampo, 1749-1823), Shikatsube no Magao (Kitagawa Kahei, 1753-1829), and Shakuyakutei Nagane (Sugawara Saburobei, 1767- 1845). 29 Kubo Shumman (1757-1820) and Sakai Hoitsu (1761-1828) Flowering Plum with Moon. Hanging scroll. Ink on silk. 94.2 x 31.3 cm. Signed: Shumman hei sha. Sealed: Shumman. Signed: Hoitsu Kishin. Sealed: Monsen. The kyoka verses are by Shakuyakutei Nagane (Sugawara Saburobei, 1767- 1845); Shokusanjin (Ota Nampo, 1749-1823); Shikatsube no Magao (Kitagawa Kahei, 1753- 1829), Rokujuen (Ishikawa Masamochi, 1754-1830), Yomo no Takimizu Komendo (Enomoto Jihei, dates unknown), Asakusa- an Ichindo (Ogaki Kyu’emon, 1755-1820), and Enando (Katsura no Mayuzumi, 1763- 1833). 30 Kitao Masayoshi (1764-1824) Choju ryakuga-shiki (Methods of Cursive Drawings of Birds and Animals). 1797. Illustrated book. 1 volume complete. 26.5 x 18 cm (covers). Mitchell, page 240; Hillier, The Art of the Japanese Book, vol. 1, pl. 79, fig. 313. Fine, early impressions. Very good colour and condition. A wonderful volume, full of charming, endearing and inventive depictions of birds and animals. 31 Kunii Obun (1833-1887) Waterfall. 1872. Hanging scroll. Ink on paper. 132 x 55.2 cm.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
    Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media.
    [Show full text]
  • Japanese Woodblock Print Collection
    http://oac.cdlib.org/findaid/ark:/13030/c8qz2j76 No online items Inventory of the Japanese woodblock print collection Finding aid prepared by Hoover Institution Library and Archives Staff Hoover Institution Library and Archives © 2021 434 Galvez Mall Stanford University Stanford, CA 94305-6003 [email protected] URL: http://www.hoover.org/library-and-archives Inventory of the Japanese woodblock 2019C113 1 print collection Title: Japanese woodblock print collection Date (inclusive): ca. 1894-1932 Collection Number: 2019C113 Contributing Institution: Hoover Institution Library and Archives Language of Material: Japanese Physical Description: 2 oversize boxes(2.0 Linear Feet) Abstract: Japanese woodblock prints (nishiki-e) depicting battle and political scenes, primarily from the late 19th century. Hoover Institution Library & Archives Access The collection is open for research; materials must be requested at least two business days in advance of intended use. Publication Rights For copyright status, please contact the Hoover Institution Library & Archives. Acquisition Information Materials were acquired by the Hoover Institution Library & Archives in 2020. Preferred Citation [Identification of item], Japanese Woodblock Print Collection, [Box no., Folder no. or title], Hoover Institution Library & Archives Scope and Content of Collection Japanese woodblock prints (nishiki-e) of battle and political scenes, primarily from the late 19th century. Subjects and Indexing Terms Sino-Japanese War, 1894-1895 -- Pictorial works Russo-Japanese
    [Show full text]
  • Japanische Kunst
    Inhalt Japanische Kunst .............................................................................................................................. 2 Japanische Holzschnitte ................................................................................................................... 9 Shunga / Erotika ............................................................................................................................. 30 Chinesische Kunst ........................................................................................................................... 33 Südasien und Südostasien .............................................................................................................. 60 Afrika .............................................................................................................................................. 66 Südamerika ..................................................................................................................................... 69 Russische Kunst .............................................................................................................................. 70 Europäische Kunst .......................................................................................................................... 72 Europäisches Kunstgewerbe .......................................................................................................... 77 Signens Kunstauktionen • Julie Weißenberg-Déville • Riehler Str. 77 • 50668 Köln 2 Bücher / Books ..............................................................................................................................
    [Show full text]
  • 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]
  • Revealing Details in Light and Shadows
    ABOUT THE COVER Kobayashi Kiyochika (1847–1915), Mosquito Net and Full Moon at Shinagawa, 1884 (detail), from the series One Hundred Views of Musashi. Woodblock print; ink and color on paper 14 5/8 in x 9 13/16 in/ 37.2 cm x 24.9 cm). Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC, United States, Robert O. Muller Collection, S2003.8.1217. Revealing Details in Light and Shadows Byron Breedlove and Reginald Tucker uring the Edo period (1603–1868) in Japan, a time As an artist who successfully fused motifs and ideas Dwhen Tokugawa Ieyasu and his descendants ruled, from Japanese and Western art, Kobayashi Kiyochika occu- economic growth gave rise to a more literate, sophisticated, pies a unique niche among Japanese illustrators of the Edo and affluent culture, hungry for the trappings of luxury, in- period. Japanese art historian, dealer, and collector Rich- cluding extravagant art. This cultural shift was described ard Lane considers Kiyochika to be both the last important by the phrase ukiyo, or “floating world,” which was asso- ukiyo-e artist and the first exponent of the modern Japanese ciated with the pursuit of pleasure and hedonism in urban woodcut. Kato Yosuke, curator of Nerima Art Museum, areas. The art of the Edo period, dominated by painting and Tokyo, explains that “Kiyochika is often referred to as the woodblock prints, came to be known as “pictures of the last ukiyo-e artist” because he stuck to colored woodblock floating world” or ukiyo-e. prints and “kept pinning his hope on their potential until the end, despite the diversification and development of printing Author affiliation: Centers for Disease Control and Prevention, techniques in modern times.” Atlanta, Georgia, USA Kiyochika’s ukiyo-e color woodblock prints, as well DOI: https://doi.org/10.3201/eid2405.AC2405 as his newspaper illustrations and wartime propaganda art, Emerging Infectious Diseases • www.cdc.gov/eid • Vol.
    [Show full text]
  • Yosan-E and the Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 61 S , One One , Which in Which 2) Yōsan-E )
    ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints Vanessa Tothill （立命館大学 日本デジタル・ヒューマニティーズ拠点 博士課程後期課程D5） E-mail [email protected] abstract Sericulture prints (yōsan-e), showing women industriously cultivating silkworms, were a publishing trend that emerged in the late-eighteenth century, possibly in response to the growth of Japanese silk production and the spread of commercial agricultural practices. yōsan-e combined the content of informative agricultural texts (nōsho) with the aesthetic conventions of 'pictures of beauties' (bijinga) - an ukiyo-e genre commonly associated with the depiction of urban prostitutes and teahouse waitresses. An analysis of the text- image compositions published before and after the Tenpō Reforms (1841-1843) reveals how, in a small number of cases, nishiki-e publishers and kyōka poets exploited the official narratives of filial piety (kō) and diligence (kinben) as part of a larger strategy to allow for the continued production of prints of beauties during periods of heightened censorship. Introduction When looking at Edo-period yōsan-e, one should bear in mind that a large portion of the population was forbidden to wear silk by official This article will focus on three mid-nineteenth sumptuary laws that restricted the consumption century yōsan-e series, which depict silk cultivation: of luxury products. Excessive expenditure was from the careful handling of the egg papers, to linked to immorality, mainly because it could the reeling of raw silk from boiled cocoons by lead to insolvency, but also because it blurred the Yosan-e young female sericulturists. The kyōka poems that distinction between those of high and low status.
    [Show full text]
  • Landscapes Copyright © 2012
    104 CHAPTER SEVEN Landscapes Copyright © 2012. Tuttle Publishing. All rights reserved. © 2012. Tuttle Publishing. Copyright Harris, Frederick. Ukiyo-e : The Art of the Japanese Print, Tuttle Publishing, 2012. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ual/detail.action?docID=928253. Created from ual on 2018-10-15 14:05:49. INTRODUCTION 105 raditional landscape painting in Japan has its roots in China. TLikewise, the Chinese produced color prints about three-quarters of a century before the Japanese. There are basic differences between Chinese and Japanese landscape painting and their European counterpart, the most important being the European use of the sun to defi ne form and create shadows. Very seldom are there any shadows in Chinese and Japanese Traditional Japanese landscape FIG. 115 landscape painting. The second basic painting was not meant to describe a Katsushika HOKUSAI 北斎 (1760–1849) difference is the position of the viewer. particular location. If names of moun- Red Fuji, from Thirty-six Views of Mount Fuji In traditional Chinese painting, the tains or vistas were indicated on a 凱風快晴 (1826–31) viewer moves into the landscape, his picture, it was purely the imagination 28.5 x 38.8 cm viewpoint changing as he proceeds. It of the artist at work. Many Japanese Courtesy of Adachi Institute of Woodcut Prints is virtually impossible to see the tops scenes were placed in China and painted In this print, Hokusai achieved the ultimate state- of mountains or trees from the fore- by artists who had never set foot there. ment of Japan’s most revered natural wonder.
    [Show full text]
  • 01Between.Pdf
    “Between 'Nostalgie' and Sehnsucht' ―Kinoshita Mokutaro's Europe,”Return to Japan from Pilgrimage to the West, ed. by Yoichi Nagashima, Aarhus University Press,2001, pp.125-133. KINOSHITA MOKUTARO Between Between IINostalsie" and IISehnsucht" Kinoshita - Kinoshita Mokutaro's Europe Shigemi Shigemi INAGA Inaga Inaga Shigemi is Associate Professor at the International Research Center for Japanese Stud- iesjGraduate iesjGraduate School for Advanced Studies in Kyoto. He received his Ph.D from l'Universite Paris VII VII in Paris on Theodore Duret (1838 ・1927) du journaliste politique a l' histori 討1 d'artjaponisant in in 1988 and graduated from the Department of Comparative Literature and Culture at the Univer- sity sity of Tokyo the same year. Specialist in Orientalism and Japonism in artistic exchange between the the East and the Wes t， he has published extensively on historical as well as theoretical issues in Japanese ，English and French. His book The Twilight of Painting ， The Posthumous Struggle of Edouard Edouard Manet (University of Nagoya Press ， 1997) was awarded the Shibusawa-Claudel Special Prize ， The Suntry Scholary Prize and the Ringa Prize for the promotion in artistic research in 1997. 1997. He is prepa 吋ng his second book on The Orient in Painting and editing a critical reader ， Toward Toward the Ethics in Cross ・Cultural Understandings. Pilgrimage “Pilgrimage to Europe" and “ Return to ]apan" -a pattern widely observed among modern] apanese intellectuals 仕om the 1860s up to the 1980s ，finds a singularly singularly nuanced and particularly complicated example in Dr. Ota Masao ， alias alias Kinoshita Mokutaro (1885-1945). At first sight ， the “ looping pattern between the West of fantasy and the ]apan of nostalgia" does not typically fit in his his case.
    [Show full text]
  • Bridging East and West: the Search for Japan in the Midst of Modernization
    Connecticut College Digital Commons @ Connecticut College Friends of the Library Occasional Publications Friends of the Connecticut College Library 1-23-2008 Bridging East and West: The eS arch for Japan in the Midst of Modernization Sydney L. LaLonde Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/folpub Recommended Citation LaLonde, Sydney L., "Bridging East and West: The eS arch for Japan in the Midst of Modernization" (2008). Friends of the Library Occasional Publications. Paper 2. http://digitalcommons.conncoll.edu/folpub/2 This Article is brought to you for free and open access by the Friends of the Connecticut College Library at Digital Commons @ Connecticut College. It has been accepted for inclusion in Friends of the Library Occasional Publications by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Bridging East and West The Search for Japan in the Midst of Modernization An exhibition in the Charles E. Shain Library January 21-February 14, 2008 by Sydney LaLonde ‘08 Cover image: Great Bridge (Ōhashi) at Atake by Shōda Kōhō (1875-1946) Shain Library Collection The printing of this catalogue has been paid for by The Friends of the Connecticut College Library Bridging East and West: The Search for Japan in the Midst of Modernization Japanese woodblock printing experienced a resurgence and transformation in the wake of Japan’s modernization. After the collapse of the Tokugawa shogunate that indicated the end of the Edo period in 1868, Japan opened to the West and the country enthusiastically embraced Western ideas, institutions, and technology.
    [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]
  • Download File
    11 Hokusai and the Blue Revolution in Edo Prints HENRY D. SMITH 11 The Thirty-Six Views ofMt. Fuji is so pivotal to Hokusai's career and subsequent global fame that we lend to take it for granted, forgening how little we know about its particular genesis. I have written elsewhere of my conviction that it was above all a yearning for immortality that drove Hokusai 31the age of seventy to the specific depiction of Mt. Fuji, a mountain that both in older Japanese legend and in local Edo mythology had powerful associations with rebirth and longevity.' I continue to feel that the Thirty-Six Views was above all a personal spiritual quest, the result more of one man's life cycle than of any developments in woodblock print technology. At the same time, such technical changes were of great importance. One innovation now routinely cited in discussions of the Thirty-Six View.f is the popularity of the imported pigment Berlin blue, particularly in the 'ouurr mode-using only blue in several shades. It has long been known that ten of the prints in the Thirty-Six Views were issued in aiuai (or 'se mi-a izuri', with the sparing addition of other light colours), most likely as the very first in the series. Here I wish to look more closely at the atzuri fad itself by re-examining the key documentary evidence, and to propose a broader framework for understanding the introduction of Berlin blue into Japanese prints, and the particular appeal of this new colour for Hokusai.
    [Show full text]