FINE JAPANESE ART Thursday 9 November 2017
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The Lesson of the Japanese House
Structural Studies, Repairs and Maintenance of Heritage Architecture XV 275 LEARNING FROM THE PAST: THE LESSON OF THE JAPANESE HOUSE EMILIA GARDA, MARIKA MANGOSIO & LUIGI PASTORE Politecnico di Torino, Italy ABSTRACT Thanks to the great spiritual value linked to it, the Japanese house is one of the oldest and most fascinating architectural constructs of the eastern world. The religion and the environment of this region have had a central role in the evolution of the domestic spaces and in the choice of materials used. The eastern architects have kept some canons of construction that modern designers still use. These models have been source of inspiration of the greatest minds of the architectural landscape of the 20th century. The following analysis tries to understand how such cultural bases have defined construction choices, carefully describing all the spaces that characterize the domestic environment. The Japanese culture concerning daily life at home is very different from ours in the west; there is a different collocation of the spiritual value assigned to some rooms in the hierarchy of project prioritization: within the eastern mindset one should guarantee the harmony of spaces that are able to satisfy the spiritual needs of everyone that lives in that house. The Japanese house is a new world: every space is evolving thanks to its versatility. Lights and shadows coexist as they mingle with nature, another factor in understanding the ideology of Japanese architects. In the following research, besides a detailed description of the central elements, incorporates where necessary a comparison with the western world of thought. All the influences will be analysed, with a particular view to the architectural features that have influenced the Modern Movement. -
Netsuke Lots
HAP MOORE ANTIQUES AUCTIONS Auction of Estate Antiques Netsuke and Other Carved Japanese Objects Saturday Morning, August 23, 2008 Auction Begins at 10:00 a.m. Netsuke and Carved Japanese Objects Sold at Approximately 11:00 a.m. Preview Friday, August 22nd from 2:00 to 6:00 p.m., From 8:00 to 10:00 a.m. on the Day of Sale Or by Appointment Lot Description 608 Bronze sui teki (water dropper) for mixing ink. 609 Mingei pipe case and tobacco box. 610 Signed boxwood monkey Okimono. 611 Japanese bronze pocket sundial, giving time, month and phase of moon. 612 Boxwood tobacco box with ivory ojime with noh masks and 18th c. netsuke of Dutchman. 613 Tobacco box with signed ojime, inlaid stained ivory and bronze, featuring bronze tiger with silver eyes, the piece having early 19th c. netsuke of dog mask. 614 Tobacco box with gold, lacquer, pewter and gilt bronze onlay and Mother of Pearl accents, having a late 18th to early 19th c. frog netsuke with signed brown and gold lacquer ojime. 615 Pipe case, pipe and tobacco box in form of Daruma, having bone ojime. 616 Signed one case inro with inlaid ebony eyes, monkeys en suite. 617 Traveling shrine with Amida Buddha. 618 Unsigned monkey-form tobacco box. 619 Lacquer inro with two-piece Ojime, netsuke of snake attacking bird and shi-shi on a wood bell. Netsuke and Other Carved Japanese Objects 620 Late 19th c. gold lacquered two case inro with Mother of Pearl inlays with phoenix and ivory Ojime. 621 Signed boxwood guardian figure. -
2021 Olympic Guidebook
TOKYO SUMMER GAMES GUIDEBOOK PRESENTED BY VINE CONNECTIONS 2 Konnichiwa, The summer games in Tokyo are around the corner and it is the Summer of Sake! I’ve created this guide that features more about the Summer Games in Tokyo, when to watch, what’s new about the games, interesting culture and travel tips around Japan, how to enjoy Japanese sake and spirits, cocktail recipes, and more. At Vine Connections, we’ve been importing premium Japanese sake for over 19 years and currently represent 41 different sakes across 13 prefectures in Japan. Our breweries are steeped in centuries-old tradition, and our portfolio spans traditional style sakes to umami-driven to crisp daiginjos to the funky unexpected. Our sakes are intriguing, connective, provocative, magnetic, and innovative. We have the most comprehensive and diverse sake portfolio. Japanese culture and interest has never been more relevant. The Japanese restaurant industry in the US is projected to grow +25% in 2021, with $27.5 billion in restaurant sales. Consumer demand for Japanese sake is booming with a growth of 36% in retail, up +75% in grocery in 2020. So dive in with me, and let me know how I can be a resource for samples, article ideas, consumer insights and travel tips for future trips. Thank you, Monica Samuels Vine Connections Vice President of Sake & Spirits [email protected] | 562.331.0128 3 TOKYO SUMMER GAMES EVENTS SCHEDULE OPENING CEREMONY - JULY 23 Cycling Mountain Bike - July 26-27 Baseball/Softball - July 21-August 7 Canoe Slalom - July 25-30 Football - July -
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. -
Mapa Turistico
Forma de subir la línea Enoden Fronteras entre distritos Templo Jokomyoji Santuario Maruyamainarisha El “Kamakura Free Kankyo Tegata” Santuario Tsurugaoka Hachimangu C La línea Enoden (ferrocarril de Enoshima) es un C es un pase o billete muy útil para ferrocarril de pasajeros que enlaza Kamakura con Ⓟ Yukinoshita-nichome C Santuario realizar su visita en Kamakura. Enoshima y Fujisawa. Ogigayatsu-nichome Shirahatajinja - Compre su billete en la máquina expendedora. Es un pase o billete útil que Ud. puede usar libremente durante Templo Gokokuji Museo de Tesoros Cerezos en flor / Abr. Peonías / Abr. Azaleas, satsuki / Abr. - May. Wisterias japonesas / May. Hortensias / May. - Jun. Musgo / Jun.- Jul. Lotos / Jul.- Ago. Lilas de las Indias / Ago.- Sep. todo el día el recorrido especial de los autobuses de esas cinco líneas y trenes para ir - Hay estaciones en donde no hay empleados (esta- 文 Museo de Arte Moderno Nacionales de 文 a los principales puntos turísticos de la ciudad de Kamakura. Además, puede recibir Templo Eishoji de Kamakura Tokeiji,文 Kenchoji, Engakuji, Kenchoji, Dankazura Tsurugaoka Hachimangu, Tokeiji, Meigetsuin, Myohoji (hay restricciones Tsurugaoka Hachimangu, Tokeiji, Hasedera, ciones sin personal). Si se ha visto en la necesidad de Museo Kawakita Kamakura Dankazura, Tsurugaoka Tsurugaoka Hachimangu, Hasedera, Zuisenji Zuisenji, Hasedera, Jojuin en la admisión) Komyoji Hongakuji, Gokurakuji servicios especiales (descuentos) en las entradas para visitar los templos, museos y al abordar el tren sin haber comprado el billete en una estación sin personal, puede Templo Jufukuji de Filme Estanque Hachimangu , Hasedera Hasedera hacer las compras en las tiendas que participan en la promoción turística. pedirle al revisor que le venda un billete de reemplazo. -
CJEB Annual Report 2014-2015
Center on Japanese Economy and Business ANNUAL REPORT 2014–2015 Table of Contents Letter from the Directors 2 Gyoza, Rice and Noodles for the U.S. Mainstream Market 38 CJEB Team Resources 39 Leadership and Staff 4 Faculty Advisory Committee 39 Core Faculty 6 Visiting Fellows 40 Research and Faculty Engagement 9 2015 CJEB Visiting Fellow Reunion Reception 41 2015 Annual Visiting Fellow Business Field Trip 41 “Japan’s Abenomics Bumps Along” by Hugh Patrick 9 Research Associates 42 Current Research Highlights 21 Professional Fellows 43 Faculty Engagement 23 International Advisory Board 44 Research Paper Series 24 Promoting Exchange of Ideas 45 The New Global Financial Architecture 28 CJEB in the News 45 His Excellency Shinzo Abe, Prime Minister of Japan, 29 Enhancing the MBA Experience 46 Addresses the World Leaders Forum Enhancing the Columbia Experience 47 Events 30 Fellowship and Scholarship Programs 48 Conferences 30 Visits from Japan to Columbia 48 Challenges Facing the World Trade System 30 Library and Data Resources 49 Japan’s Changing Corporate Governance 30 Discussion Groups 50 The Japan Project Meeting with Joint ESRI Japan Economic Seminar 50 International Conference 31 James Nakamura Fund 50 Symposia 33 Monetary Policy Discussion Group 50 Abenomics, TPP, and the Future of Japan’s Agriculture 33 U.S.-Japan Discussion Group 50 “The Revival of Japan in the Global Economy,” Financial Support 51 Columbia Business School’s Pan-Asian Reunion 2014 in Singapore 33 Corporate Sponsorship Program 51 M&A in Japan: Reenergized 33 Letter from -
Art of Dynamic Symmetry: Ikebana, Japanese Traditional Flower Arrangement
Original Paper________________________________________________________ Forma, 16, 273–278, 2001 Art of Dynamic Symmetry: Ikebana, Japanese Traditional Flower Arrangement Marie MORIYAMA* and Megumi MORIYAMA *Department of French Literature, Graduate School of Keio University, Mita, Minato-ku, Tokyo 108-8345, Japan (Received September 17, 2001; Accepted October 22, 2001) Keywords: Dynamic Symmetry, Dissymmetry, Empty Center, Shintoism, Japanese Mythology Abstract. IKEBANA, Flower Arrangement, is one of the highly appreciated, traditional arts of Japan. While Western-style flower arranging has retained its symmetrical shape, Ikebana acquired a new form that can be characterized by dissymmetry or dynamic symmetry. These two styles of flower arrangements are compared to clarify the philosophy and spirit that contributed to these art forms. In addition, the history and cultural background of Ikebana, its materials, the spirit and the religions that mould the dissymmetry are discussed. The non-symmetric style of Ikebana is considered to be the result of the peculiar commingled religious environment of Shinto and Buddhism found in Japan. 1. Introduction In response to the opportunity to participate in ISIS-Symmetry in Sydney, we have revised and expanded our original paper presented at Tsukuba University (MORIYAMA and MORIYAMA, 1999). Its main purport was the contrast between Ikebana and Western flower arrangement, and an inquiry into the grounds for this difference. We consider that a key factor for this is the varying religious background of these styles of flower arranging. Whereas the compound religious environment of Shintoism and Buddhism helped to mould Ikebana, Christianity seems to sustain Western style flower arranging. In this paper, which is the result of further study, we have incorporated our new views on this topic, especially in regard to the role of Shintoism. -
Ikebana by Kathy Wolfe June 14, 2013
Ikebana By Kathy Wolfe June 14, 2013 The way of flowers A graceful twig, the perfect bloom presented in a pleasing vessel that reflects the spirit of the season: Such is the beauty of ikebana, the Japanese art of flower arranging. Ikebana is more than simply putting flowers in a container. It emphasizes the importance of developing a closeness with nature. Materials used include living branches, leaves, grasses and blossoms. The beauty of the arrangements come from color combinations, natural shapes, graceful lines and the overall form of the composition. Asymmetry and the use of empty spaces between the flowers can be as important as the flowers themselves. Within the confines of the rules governing ikebana lie great possibilities for creative expression. Ikebana may have sprung from the custom of presenting flower offerings to honor Buddha in the 6th century. The first school of Ikenobo was established in the 15th century with Buddha’s priests and members of the nobility perfecting rules regarding placement and type of plants used. This school celebrated its 550th anniversary last year. As time passed, many different schools arose, styles changed and ikebana came to be practiced at all levels of society. The Rikka (standing flower) style uses seven branches representing hills, valleys, waterfalls and other natural objects. The tea ceremony style (Chabana) focuses on rustic simplicity. Seika or Shoka combines three main branches to symbolize heaven, earth and man and showcases the beauty and uniqueness of each plant. The first modern school started in the late 19th century and used a form call Moribana (piled up flowers) in a shallow, flat container. -
Nature in Ikebana (Japanese Flower Arrangement): the Freestyle Ikebana Movement in the 1920’S and 1930’S, and Its Effect on Avant-Garde Ikebana After the War
Nature in Ikebana (Japanese Flower Arrangement): The Freestyle Ikebana Movement in the 1920’s and 1930’s, and Its Effect on Avant-Garde Ikebana After the War Shoso Shimbo, RMIT University, Australia The Asian Conference on Arts & Humanities 2020 Official Conference Proceedings Abstract Western culture, in particular the Modernism Art Movement has had a significant influence on the radical Freestyle Ikebana Movement (FIM) in the 1920’s and 1930’s. This paper is an introduction to my main research, and focuses on the socio-cultural contexts of the FIM rather than a philosophical analysis of its content. It also looks into how this cultural change can be explained by Pierre Bourdieu’s theory of cultural transformation. The FIM and Avant-garde Ikebana after the war are generally regarded as closely connected, sharing the same ideologies, with the former heralding the latter. Noting that the FIM was a movement against nationalistic ikebana at that time, however, this study suggests that the FIM and Avant-garde Ikebana belong to contrasting culture fields with different interests. Keywords: Ikebana, The Freestyle Ikebana Movement, Avant-Garde Ikebana, Cultural Change, Modernism, Fascism In Japan, Cultural Nationalism iafor The International Academic Forum www.iafor.org Introduction Research on the current environmental crisis we face today cannot avoid enquiry into our relationship with nature. In the history of ikebana, our relationship with nature was hotly debated by those who were involved with the Freestyle Ikebana Movement (FIM) in the 1920’s and 1930’s. The FIM was initiated by the impact of Western Modernism. Within the FIM there are two contrasting approaches to nature: nature as material for art and nature as a wholistic entity. -
Totally Fuji
PRESS RELEASE 2016.11.09 Totally Fuji Secondary Exhibition: Charles Emerson “Fuji” 2016 November 22 (Tue.) - 2017 January 29 (Sun.) Part 1: November 22 (Tue.) - December 25 (Sun.) Part 2: December 27 (Tue.) - January 29 (Sun.) The museum will be closed for the new year holiday from Dec. 28 (Wed.) to Jan. 4 (Wed.) Organizer: Shizuoka City Tokaido Hiroshige Museum of Art Designated Manager: NPO Hexaproject Cooperation: Antlers Gallery Support from The Daiwa Anglo-Japanese Foundation, The Great Britain Sasakawa Foundation Outline The beautiful and grand Mount Fuji has always been a symbol of worship as the mountain of god. Mount Fuji has fascinated many with its high altitude and symmetry of the foot of the mountain, and it has been expressed in many paintings and sculptures. This exhibition features the Ukiyoe-Hanga series including the Thirty-six Views of Mount Fuji (Horizontal) and the Thirty-six Views of Mount Fuji (Vertical) depicted by Eshi of the Edo period, Utagawa Hiroshige, and puts focus on the people of the Edo period. We have also exhibited a magical Mount Fuji captured using multiple exposure by British photographer, Charles Emerson. Hours 9:00 AM ‒ 5:00 PM (last admission 30 minutes before closing time) Closed Mondays (if it falls on a holiday, then the following Tuesday) Adults: 510 (410) yen / University / High School Students: 300 (240) yen / Junior high students and younger:120 (100) yen * ( ) indicates prices for groups of 20 or more * Persons with proof of disability and one accompanying person are admitted free of charge * Shizuoka City residents, junior high students and younger, as well as Shizuoka City residents over 70 are admitted free of charge. -
Ichiro: a Life's Work of Netsuke the Huey Shelton Collection
UNIVERSITY OF WYOMING ART MUSEUM 2009 Ichiro: A Life’s Work of Netsuke The Huey Shelton Collection PURPOSE OF THIS PACKET: EXPLORE: To provide K-12 teachers with background Students are encouraged to examine the various information on the exhibitions and suggest age professions, animals, and activities depicted in the appropriate applications for exploring concepts, netsuke carvings. What does the choice of subject say meaning, and artistic intent of work exhibited, before, about what is valued in the Japanese culture? during, and after the museum visit. CURRICULAR UNIT TopIC: CREATE: To examine netsuke sculptures as a means of artistic Students will be given time to create. They will sketch, and cultural expression. The focus of this educational draw, or sculpt a design for a netsuke that reflects the packet and curricular unit is to observe, question, student’s individual culture. explore, create, and reflect. OBSERVE: REFLECT: Students and teachers will observe the examples of Students will discuss their finished artwork with the netsuke carvings from master Netsuke carver Ichiro. other students and teachers and write a reflective paper Students will make comparisons between the different about the process they used to complete their work. styles and subject matter of netsuke. QUESTION: Students will have the opportunity to discuss the Japanese art form of netsuke. What are netsuke? What is the purpose? What materials are used? How do the netsuke carvings depict Japanese life? Ichiro Inada (Japanese, 1891-1977), Elderly Samurai Standing Pensively, Not dated, Ivory, 1-1/4 x 7/8 x 1 inches, The Huey G. and Phyllis T. -
A Comparison Between Asymmetric Japanese Ikebana and Symmetric Western Flower Arrangement
Original Paper Forma, 14, 355–361, 1999 A Comparison between Asymmetric Japanese Ikebana and Symmetric Western Flower Arrangement Marie MORIYAMA* and Megumi MORIYAMA *Department of French Literature, Graduate School of Keio University, Mita Minato-ku, Tokyo 108-8345, Japan E-mail: [email protected] (Received November 19, 1999; Accepted January 18, 2000) Keywords: Ikebana, Asymmetry, Western Flower Arrangement, Created Order, Condensed Cosmos Abstract. Ikebana, flower arrangement, is one of the traditional, highly appreciated arts of Japan. Even though “flower arrangement” is used in translation, there is a great contrast with Western style flower arranging. While the former has an asymmetric shape, the latter is based on symmetry. Why are they so different? What is the philosophy behind this? We would like to compare these two styles of flower arrangement and we hope to clarify the philosophy and spirit that supports these art forms. We will first talk about the history and cultural background of Ikebana, then the materials and the gardens (which can be regarded as flower arrangements on a large scale) of both Japanese and Western styles. Following on this, the spirit and religions that mold the asymmetry and the symmetry will be discussed. 1. Introduction The origin of Ikebana, Japanese flower arrangement, dates from around the seventh century with the arrival of Buddhism in Japan. Among the various religious practices that were adopted at that time was the custom of offering flowers to the Buddha. However it was only in the fifteenth century that Ikebana became a distinctive art form, independent of Buddhism. In studying this development, the role of symmetry is significant.