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Capitalscapes
Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge. These enormous and intricately detailed depictions of the ancient imperial capital were unprecedented in the history of Japanese painting and remain unmatched as representations of urban life in any artistic tradition. Capitalscapes, the first book-length study of the Kyoto screens, examines their inception in the sixteenth to early seventeenth centuries, focusing on the political motivations that sparked their creation. Close readings of the Kyoto screens reveal that they were initially commissioned by or for members of the Ashikaga shogunate a...
Traditions Unbound
Published on the occasion of the exhibition organized by the Asian Art Museum, Agency for Cultural Affairs of Japan, and Kyoto National Museum and presented at the Asian Art Museum--Chong-Moon Lee Center, Dec. 3, 2005-Feb. 26, 2006--T.p. verso.
Chinese Romance from a Japanese Brush
This sumptuous book takes as its subject the pair of magnificent picture-scrolls entitled Song of Everlasting Sorrow (Chogonka gakan) held in the Chester Beatty Library's Japanese collection. Created by the Kyoto Kano School master Sansetsu (1590-1651) i
Art in Time
Art in Time is the first book to embed art movements within the larger context of politics and history. Global in scope and featuring an innovative present‐to‐past arrangement, the book’s accessible text looks back on the most significant art styles and movements, from the present day to antiquity. Pages of historical photographs, documents, newspaper headlines, and other ephemera evoke the times in which styles and movements arose. The book opens with The Information Age (Internet Art, Neo‐Expressionaism, Arte Povera) and closes with The Classical Age (Roman wall painting, Hellenistic Greek style), covering everything from Photorealism, Art Brut, Ukiyo‐e, and Byzantine style in between. An integrated timeline provides a linear thread throughout the book, while succinct, authoritative text illuminates key points.
In the Moment
Filled with over 100 vivid works of art and insightful essays, In the Moment is an extensive work, featuring several Japanese art forms and crafts. Inspired by an early love of Japanese aesthetics, tech entrepreneur and avid art collector Larry Ellison has assembled an impressive collection of Japanese art spanning some eleven hundred years of history. The current selection, which introduces the collection to the public for the first time, is organized into four areas: sculpture, painting, lacquer, and metalwork. Highlights include a remarkable wood figure of Shotoku Taishi at age two, dating to the late 1200s or early 1300s; painted screens showcasing the use of classical Japanese and Chinese themes by Kano school artists in the late 1500s and early 1600s; and whimsical paintings of animals by innovative masters active in Kyoto in the 1700s. The catalogue also features lacquers representing the Rinpa and Ritsuo traditions of craftsmanship and design; examples of the Japanese armor maker's art; and bronze vases and objects from the Meiji (1868–1912) and Taisho periods (1912–1926).
Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries
Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries explores women’s and men’s contributions to the arts and gendered visual representations in China, Korea, and Japan from the premodern through modern eras. A critical introduction and nine essays consider how threads of continuity and exchanges between the cultures of East Asia, Europe, and the United States helped to shape modernity in this region, in the process revealing East Asia as a vital component of the trans-Pacific world. The essays are organized into three themes: representations of femininity, women as makers, and constructions of gender, and they consider examples of architecture, painting, woodblock prints and illustrated books, photography, and textiles. Contributors are: Lara C. W. Blanchard, Kristen L. Chiem, Charlotte Horlyck, Ikumi Kaminishi, Nayeon Kim, Sunglim Kim, Radu Leca, Elizabeth Lillehoj, Ying-chen Peng, and Christina M. Spiker. Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries is now available in paperback for individual customers.
Art and Palace Politics in Early Modern Japan, 1580s-1680s
Magnificent art and architecture created for the emperor with the financial support of powerful warlords at the beginning of Japan’s early modern era (1580s-1680s) testify to the continued cultural and ideological significance of the imperial family. Works created in this context are discussed in this groundbreaking study, with over 100 illustrations in color.
History of Art in Japan
In this book the leading authority on Japanese art history sheds light on how Japan has nurtured distinctive aesthetics, prominent artists, and movements that have achieved global influence and popularity. The History of Art in Japan discusses works ranging from earthenware figurines in 13,000 BCE to manga, anime, and modern subcultures.
The Aesthetics of Strangeness
Eccentric artists are “the vagaries of humanity” that inhabit the deviant underside of Japanese society: This was the conclusion drawn by pre–World War II commentators on most early modern Japanese artists. Postwar scholarship, as it searched for evidence of Japan’s modern roots, concluded the opposite: The eccentric, mad, and strange are moral exemplars, paragons of virtue, and shining hallmarks of modern consciousness. In recent years, the pendulum has swung again, this time in favor of viewing these oddballs as failures and dropouts without lasting cultural significance. This work corrects the disciplinary (and exclusionary) nature of such interpretations by reconsidering the sudd...
Challenging Past And Present
The complex and coherent development of Japanese art during thecourse of the nineteenth century was inadvertently disrupted by apolitical event: the Meiji Restoration of 1868. Scholars of both thepreceding Edo (1615-1868) and the succeeding Meiji (1868-1912) erashave shunned the decades bordering this arbitrary divide, thus creatingan art-historical void that the former view as a period of waningtechnical and creative inventiveness and the latter as one threatenedby Meiji reforms and indiscriminate westernization and modernization.Challenging Past and Present, to the contrary, demonstrates that theperiod 1840-1890, as seen progressively rather than retrospectively, experienced a dramatic transformation in the visual arts, which in turnmade possible the creative achievements of the twentieth century
