Collection of Ukiyo-E Japanese Prints in the National Gallery for Foreign Art
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FROM JAPONISME to ART NOUVEAU Matthew Martin Japanese Art Is Important As a Teacher
FROM JAPONISME TO ART NOUVEAU Matthew Martin Japanese art is important as a teacher. From it, we once again learn to feel clearly how far we have strayed from nature's true designs through the persistent imitation of fixed models; we learn how necessary it is to draw from the source; how the human spirit is able to absorb a wealth of magnificent, naive beauty from the organic forms of nature in place of pedantic, decrepit rigidity of form. Julius Lessing, Report from the Paris Exposition Universelle, 1878 In the nineteenth century, an age where art from many different cultures was available for consumption, no other art had such a deep, transformational and permanent impact on the West as that of Japan. A five decade-long fascination began in exoticism, with widespread, literal copying of Japanese motifs and techniques, and ended in the absorption of Japanese aesthetic principles to the point that we no longer see anything overtly Japanese in European art and design of the turn of the twentieth century—the brief, brilliant moment of Art Nouveau, now widely recognised as the beginning of modern design. As the term `Japonisme' suggests, Japanese art had an enormous impact on the arts in France from the 1860s onwards.' The second half of the nineteenth century was a period of soul searching for intellectuals and artists across Europe. Many believed that the rise of industrial production in the nineteenth century had destroyed taste. Concomitant with this was the belief that quality of taste reflected the health — or lack thereof— of a society. -
Ukiyoe : L’Arte Che Danza La Danza Giapponese Nelle Immagini Del Mondo Fluttuante
Corso di Laurea magistrale in Lingue e Civiltà dell’Asia e dell’Africa mediterranea Tesi di Laurea Ukiyoe : l’arte che danza La danza giapponese nelle immagini del mondo fluttuante. Relatore Ch. Prof. Silvia Vesco Correlatore Ch. Prof. Bonaventura Ruperti Laureando Claudia Mancini Matricola 820625 Anno Accademico 2013 / 2014 Ai miei genitori e ai miei amici in giro per mondo, mio cuore e forza. UKIYOE: L’ARTE CHE DANZA. La danza giapponese nelle immagini del mondo fluttuante. 序文 ............................................................................................ 1 PARTE I – Sulle immagini dell’ ukiyoe ......................................... 6 1. Il termine ukiyo e il contesto storico-sociale .......................... 7 2. Lo sviluppo, la tecnica e i formati ....................................... 14 3. I grandi maestri e i soggetti ................................................. 18 PARTE II – Sulla danza giapponese .......................................... 31 4. Introduzione: la danza e il suo linguaggio ........................... 32 5. La danza nel Giappone antico ............................................. 35 5.1. All’origine la danza ........................................................ 35 5.2. La danza come rituale: dal mito il kagura ...................... 41 5.3. La danza arriva a corte: gigaku e bugaku ........................ 49 6. La danza tra il IX e il XIII secolo ......................................... 64 6.1. Dalla corte al popolo: sangaku, sarugaku e dengaku ....... 64 6.2. La danza come cambiamento: -
View Checklist
Mountains and Rivers: Scenic Views of Japan, July 10, 2009-November 1, 2009 The landscape has long been an important part of Japanese art and literature. It was first celebrated in poetry, where invoking the name of a famous location, or meisho, was meant to summon a certain feeling. Later, paintings of these same locations would bring to mind their well-known poetic and literary history. Together, the poems and imagery comprised a canon of place and sentiment, as the same meisho were rendered again and again. During the Edo period (1603–1868) the landscape genre, initially available only to the elite, spread to the medium of woodblock printing, the art of commoner culture. In the 19th century, when most of the works in this exhibition were made, several factors led to the rise of the landscape genre in woodblock prints. Up to this time, the staples of the woodblock print medium had been images of beautiful courtesans and handsome kabuki theater actors. First among these factors was the rising popularity of domestic travel. The development of a system of major roads allowed many people to travel for both business and pleasure. Woodblock prints of locations along these travel routes could function as souvenirs for those who made the trip or as fantasy for those who could not. Rather than evoking a poetic past, these images of meisho were meant to tantalize viewers into imagining romantic far-off places. Another factor in the growth of the genre was the skill of two particular woodblock print artists— Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858) (whose works are heavily represented here). -
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. -
El Ciclo De Las Horas En Grabado Japonés Ukiyo-E Del Periodo Edo (1615-1868) V
EL RELOJ DE LA GEISHA: EL CICLO DE LAS HORAS EN GRABADO JAPONÉS UKIYO-E DEL PERIODO EDO (1615-1868) V. David Almazán Tomás* 1. La medición tradicional de las horas en Japón Las costumbres europeas para computar el tiempo difieren de las desarro- lladas por los japoneses a lo largo de su historia.1 En 1872, el gobierno refor- mista de la era Meiji (1868-1912) adoptó el calendario gregoriano y se cambió también la forma de medir la duración de las horas, que hasta entonces eran doce para todo el día. Aproximadamente sus horas eran como dos de las nues- tras, si bien esas doce horas tenían duración diferente por el día y por la noche. En el invierno, las horas de la noche son más largas que en el verano. La salida y la puesta de sol son los límites de las seis horas del día y las seis horas de la noche. Esas seis horas, en lugar de contarlas progresivamente, se computaban como en una cuenta atrás, comenzando por el número superior, del nueve al cuatro.2 Además de esta numeración, tan ajena a la que estamos acostumbra- dos, otra peculiaridad era que, además de los números, los japoneses también * Departamento de Historia del Arte de la Universidad de Zaragoza. HAR2014-55851-P y HAR2013-45058-P, Grupo «Japón» del Gobierno de Aragón y de la Universidad de Zaragoza. E-mail: [email protected] 1 Los japoneses por influencia china emplean con regularidad desde el siglo vii un sis- tema de eras denominado nengo que se determinaba por el reinado del emperador y tam- bién el Ciclo Sexagenario, un complejo sistema astrológico de vástagos celestiales y animales del zodiaco. -
Japonisme and Japanese Works on Paper: Cross-Cultural Influences and Hybrid Materials
Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 https://icon.org.uk/node/4998 Japonisme and Japanese works on paper: Cross-cultural influences and hybrid materials Rebecca Capua Copyright information: This article is published by Icon on an Open Access basis under a Creative Commons Attribution-NonCommercial-NoDerivatives License (CC BY-NC-ND) https://creativecommons.org/licenses/by-nc-nd/4.0/. You are free to copy and redistribute this material in any medium or format under the following terms: You must give appropriate credit and provide a link to the license (you may do so in any reasonable manner, but not in any way which suggests that Icon endorses you or your use); you may not use the material for commercial purposes; and if you remix, transform, or build upon the material you may not distribute the modified material without prior consent of the copyright holder. You must not detach this page. To cite this article: Rebecca Capua, ‘Japonisme and Japanese works on paper: Cross- cultural influences and hybrid materials’ in Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 (London, The Institute of Conservation: 2017), 28–42. Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8-10 April 2015 28 Rebecca Capua Japonisme and Japanese works on paper: Cross- cultural and hybrid materials The rise of Japonisme as an artistic movement came at a time when Western artists’ materials and practices were experiencing the impact of industrialization; as artists’ supplies were becoming more commodified and mass-produced, art was disseminated through commercial reproductions and schools were emphasizing the potential for art’s use in the service of industry. -
Chapter5: Ainsworth's Beloved Hiroshige
No. Artist Title Date Around Tenpō 14-Kōka 1 150 Utagawa Kuniyoshi Min Zigian (Binshiken), from the series A Mirror for Children of the Twenty-four Paragons of Filial Piety (c.1843-44) 151 Utagawa Kuniyoshi The Ghosts of the Slain Taira Warriors in Daimotsunoura Bay Around Kaei 2-4 (c.1849-51) Around Tenpō 14-Kōka 3 152 Keisai Eisen View of Kegon Waterfall, from the series Famous Places in the Mountains of Nikkō (c.1843-46) Chapter5: Ainsworth's Beloved Hiroshige 153 Utagawa Hiroshige Leafy Cherry Trees on the Sumidagawa River, from the series Famous Places in the Eastern Capital Around Tenpō 2 (c.1831) 154 Utagawa Hiroshige First Cuckoo of the Year at Tsukuda Island, from the series Famous Places in the Eastern Capital Around Tenpō 2 (c.1831) Clearing Weather at Awazu, Night Rain at Karasaki, Autumn Moon at Ishiyamadera Temple, Descending 155-162 Utagawa Hiroshige Geese at Katada, Sunset Glow at Seta, Returning Sails at Yabase, Evening Bell at Mii–dera Temple, Around Tenpō 2-3 (c.1831-32) Evening Snow at Hira, from the series Eight Views of Ōmi 163-164 Utagawa Hiroshige Morning Scene of Nihonbashi Bridge, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5 (c.1834) 165 Utagawa Hiroshige A Procession Sets Out at Nihonbashi Bridge, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5-6 (c.1834-35) 166 Utagawa Hiroshige Morning Mist at Mishima, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5 (c.1834) 167 Utagawa Hiroshige Twilight at Numazu, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5-6 (c.1834-35) 168 Utagawa Hiroshige Mt. -
Ukiyo-E DAIGINJO
EXCLUSIVE JAPANESE IMPORT Ukiyo-e DAIGINJO UKIYO-E BREWERY Ukiyo-e (ooh-kee-yoh-eh) is a Japanese Founded in 1743 in the Nada district of woodblock print or painting of famous Kobe, Hakutsuru is the #1 selling sake kabuki actors, beautiful women, travel brand in Japan. landscapes and city life from the Elegant, thoughtful, and delicious Edo period. Ukiyo-e is significant in sake defines Hakutsuru, but tireless expressing the sensual attributes of innovation places it in a class of its Japanese culture from 17th to 19th own. Whether it’s understanding water century. sources at the molecular level, building a facility to create one-of-a-kind yeast, ARTIST/CHARACTER or developing its own sake-specific rice, Hakutsuru Nishiki, it’s the deep dive into This woodblock print displays the famed research and development that explains kabuki actor, Otani Oniji III, as Yakko Hakutsuru’s ascension to the top of a Edobei in the play, Koi Nyobo Somewake centuries-old craft. Tazuna. The play was performed at the Kawarazakiza theater in May 1794. The artist, Toshusai Sharaku, was known for Brewery Location Hyogo Prefecture creating visually bold prints that gave a Founding Date 1743 Brewmaster Mitsuhiro Kosa revealing look into the world of kabuki. DAIGINJO DAIGINJO DEFINED Just like Ukiyo-e, making beautiful sake Sake made with rice milled to at least takes time, mastery, and creativity. To 50% of its original size, water, koji, and a craft an exquisite sake, such as this small amount of brewers’ alcohol added aromatic and enticing Daiginjo, is both for stylistic purposes. -
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). -
Kabuki: Kabuki
JAPANESE CRAFT & ART 2 Kabuki: a Sensory, Actor-centered Dramatic Art By Jean WILSON Nothing can impact the senses and transport you into the Japanese imagination as effectively as kabuki, Japan’s traditional theatrical art. Kabuki is a visual feast of color and tex- ture: the exquisite costumes, to be enjoyed just as much for their beauty as for their sig- nificance in indicating the status of the char- acter wearing them; the white or vivid make- Ichikawa Danjuro XII (center) as the “aragoto” hero in “Shibaraku” Photo: Shochiku Co. up, a throwback to the time before spot- lights when the actors had to be noticeable in a theater lit only by and spectators, and this mood is heightened by kakegoe, the candles; the colorful backdrops of scenery and flowers indicat- shouting out of an actor’s name by audience members to show ing to the audience the season in which the action is taking appreciation of his adroitness in creating a striking image or place, and even the beautifully embroidered fire curtains, works moving moment through swordplay, poses or emotional delivery. of art in themselves, which are lowered between performances. To the color and texture add sound and even smell – the exotic Kabuki’s History & Repertoire tones of various instruments which accompany the actor’s intrigu- ing speech patterns and impassioned exchanges, and in some Kabuki is said to have been started in 1603 by Okuni, an atten- plays the perfume or incense, which wafts hypnotically over the dant at the Izumo Shrine, and her troupe of entertainers, who also audience. -
Utagawa Hiroshige
Utagawa Hiroshige Contemporary Landscapes Utagawa Hiroshige (Japanese: 歌川 広重), also Andō Hiroshige (Japanese: 安藤 広重; 1797 – 12 October 1858) was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular Thirty-six Views of Mount Fuji series by Hokusai was a strong influence on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints. For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism. Western artists closely studied Hiroshige's compositions, and some, such as van Gogh, painted copies of Hiroshige's prints. Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo (modern Tokyo).[1] He was of a samurai background,[1] and was the great-grandson of Tanaka Tokuemon, who held a position of power under the Tsugaru clan in the northern province of Mutsu. -
Stars of the Tokyo Stage, Featuring Superb Woodblock-Printed Actor Portraits by Tokyo Artist Natori Shunsen (1886–1960), Explores This Relationship
TEACHERS’ NOTES Background For centuries, kabuki has been at the centre of Japanese life. This theatrical art form has inspired visual artists, especially printmakers concerned with depicting contemporary life and culture, for centuries. Stars of the Tokyo stage, featuring superb woodblock-printed actor portraits by Tokyo artist Natori Shunsen (1886–1960), explores this relationship. Kabuki theatre draws on Japan’s rich folklore, literature and history, as well as violent, romantic and scandalous events to present lavish performances. Shunsen’s prints have become internationally famous as outstanding examples of the shin-hanga movement, a twentieth-century revival of Japanese printmaking that included international influences. From the early days of kabuki, enthusiastic fans collected printed images of their favourite stars. Actor images were part of an old tradition of woodblock prints called ukiyo-e which emerged as a distinct genre by the early eighteenth century. Ukiyo-e grew out of the popular culture of the Edo period (1615–1868) and comprised both printed sheets and illustrated books and paintings. The full colour print developed in 1765. Production of a print involved specialist woodblock carvers, printers and publishers. Tokyo in the 1920s and early 30s was the scene of significant social change as the city was rapidly growing and modernising. The cityscape itself changed dramatically, accelerated by rebuilding programs after the Great Kanto earthquake of 1923. In this environment, there was an influx of Western ideas and fashions. Kabuki was mainstream entertainment: actors were idolised and performances were well attended. Kabuki was however forced to adapt to the changing times, as it had many times in the past, to compete with other modern pursuits such as attending the cinema, watching sports, dancing and going to cafés.