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The World of Netsuke
Amassed over more than thirty-five years, the Werdelmann Collection is one of the most important netsuke collections in the world. It provides a unique survey of this Japanese art form which was at its height between the late 17th century and the early 20th century. Comprising more than 1100 objects, the collection
Netsuke
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Netsuke
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Netsuke
This book features Netsuke objects from one of the world's leading collections. These beguiling and fascinating miniature works of art have become a very strong collecting subject.
Bamboo in old Japan : art and culture on the threshold to modernity : the Hans Spörry collection in the Ethnographic Museum of Zürich University
Hans Aporry, a resident of Yokohama from 1890 until 1896, lavished time and resources on amassing an incomparable collection of objects made of, or referring to, bamboo. This work celebrates the collection with photographs both old and new.
Japanese Bamboo Art: The Abbey Collection
Bamboo is present in nearly every aspect of traditional Japanese life, yet Japanese bamboo art, with its refined beauty and technical sophistication, has been little known in the West until recent years. This publication provides an overdue introduction to these exquisite works, which represent a cultural tradition stretching back hundreds of years. The works illustrated and discussed are exceptional for their broad representation of many notable bamboo masters, and highlight key stages in the modern history of Japanese bamboo art. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
Enchanted by Lohans
Finnish-Swedish art historian Osvald Sirén (1879–1966) was one of the pioneers of Chinese art scholarship in the West. This biography focuses on his four major voyages to East Asia: 1918, 1921–23, 1929–30 and 1935. This was a pivotal period in Chinese archaeology, art studies and formation of Western collections of Chinese art. Sirén gained international renown as a scholar of Italian art, particularly with his books on Leonardo da Vinci and Giotto. But when he was almost 40 years old, he was captivated by Chinese art (paintings of Lohans in the Museum of Fine Arts in Boston) to such an extent that he decided to start his career anew, in a way. He has left his mark in several fi elds in Chinese art studies: architecture, sculpture, painting and garden art. The study charts Sirén’s itineraries during his travels in Japan, Korea and China; it introduces the various people in those countries as well as in Europe and North America who defined the field in its early stages and were influential as collectors and dealers. It also explores the impact of theosophical ideas in his work.
