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This unique design treasury, consisting of lavish full-color pictures of a vibrant array of kimonos, is reproduced directly from two rare and costly original portfolios.
Monsters known as yōkai have long haunted the Japanese cultural landscape. This history of the strange and mysterious in Japan seeks out these creatures in folklore, encyclopedias, literature, art, science, games, manga, magazines and movies, exploring their meanings in the Japanese imagination over three centuries.
Monsters, ghosts, fantastic beings, and supernatural phenomena of all sorts haunt the folklore and popular culture of Japan. Broadly labeled yokai, these creatures come in infinite shapes and sizes, from tengu mountain goblins and kappa water spirits to shape-shifting foxes and long-tongued ceiling-lickers. Currently popular in anime, manga, film, and computer games, many yokai originated in local legends, folktales, and regional ghost stories. Drawing on years of research in Japan, Michael Dylan Foster unpacks the history and cultural context of yokai, tracing their roots, interpreting their meanings, and introducing people who have hunted them through the ages. In this delightful and acces...
This book approaches its subject from two angles. First, there is a detailed and descriptive analysis of the social organisation of, and place of marriage in, one community in Kyushu. To this extent, the study is a regional one and provides valuable ethnographic information. The second angle, however, is to analyse this material in the light of other historical ethnographical writings on Japan, which puts the regional material in a national context, and brings together a great deal of information about Japanese marriage hitherto unpublished in English.
Version bilingue francais/anglais. [...] nous nous demandons quel genie a bien pu les creer et faire preuve d'une telle originalite. Soetsu Yanagi (1889-1961) Le tsutsugaki, qui designe aussi bien une technique japonaise de decor reserve a la colle et de teinture a l'indigo que l'oeuvre textile qui en procede, connait son apogee durant l'epoque d'Edo (1603-1868) pour disparaitre progressivement a la fin de la seconde guerre mondiale. Il faut attendre, a la fin des annees 1930, le regard de Soetsu Yanagi, createur de la notion mingei ( art populaire ), pour que soit reconnu au tsutsugaki sa valeur proprement artistique. L'exposition du musee Guimet rassemble, aux cotes d'un tsutsugaki du peintre Foujita et de la collection Krishna Riboud, des oeuvres pour la premiere fois presentees hors du Japon. Veritables tableaux empreints de puissance et de serenite, ces textiles invitent a penetrer au coeur de la culture japonaise. Ce catalogue richement illustre aborde la technique des tsutsugaki, les contextes de leur apparition, de leur redecouverte et de leurs usages, ainsi que la symbolique des motifs qui les composent.
This richly illustrated volume offers the reader unique insight into the materiality of Asian cultures and the ways in which objects and practices can simultaneously embody and exhibit aesthetic and functional characteristics, as well as everyday and spiritual aspirations. Though each chapter is representative, rather than exhaustive, in its portrayal of Asian material culture, together they clearly demonstrate that objects are entities that resonate with discourses of human relationships, personal and group identity formations, ethics, values, trade, and, above all, distinctive futures.
Images of Familial Intimacy in Eastern and Western Art, explores art works depicting children, couples, families and the home through an examination of the value systems of the works' region and time periods from whence they originated.
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