Japanese Art

Transcription

Japanese Art

2014
Japanese Art
Contents
1
Books shown on cover page for quick reference
Japanese Visual Culture
13
Brill
17
Hotei Publishing
34
Global Oriental
38
Authors Index
41
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Edited by John T. Carpenter (managing editor), Julie Nelson Davis, Shigeru Oikawa, Henry D. Smith II, Hans Bjarne Thomsen and Gennifer Weisenfeld
JAPANESE V I SUAL C ULTURE
Japanese Visual Culture
1
The series is attractively designed and allows for copious
illustrative material, using the latest technology for highquality colour reproduction. The books rely on Brill’s wellestablished distribution networks to research libraries in
Europe, North America, and East Asia, especially Japan.
While the primary readership will be specialists and students
of Japanese art history and related fields, we expect the
attractively designed format will attract wider audiences.
• ISSN 2210-2868
For more information please visit brill.com/jvc
BR ILL’S JAPANE S E A RT CATALOG 201 4
Japanese Visual Culture is an academic series devoted to the
visual culture of the Japanese archipelago of every era. It
includes studies on the history of painting, prints, calligraphy,
sculpture, architecture and applied arts, but also extends to the
performing arts, cinema, manga and anime. Despite the recent
trend away from monographs on individual artists or objectbased studies, the Japanese Visual Culture series recognizes the
still-crucial need for research on Japanese artists or previously
neglected categories of art to help build the foundation for
the further development of the field. It also actively seeks
interdisciplinary or theoretical approaches to archaeology,
religion, literature, and the social sciences. Though all volumes
are published in English, the series encourages submission by
scholars based in Europe.
Forthcoming
Cover available soon
Performing Propaganda: Kamishibai in Japan’s Fifteen Year War
JAPANESE V ISUAL CU LTU R E
Sharalyn Orbaugh, University of British Columbia
Three chapters analyze a number of wartime kamishibai
plays, divided by the demographic segment to which their
specific propaganda messages were addressed: very young
children, older boys from poor neighborhoods, rural girls,
farmers, male urban shopkeepers, widows, etc.
B RI L L’ S JA PA N ESE ART CATALOG 2014
2
This will be the first scholarly book in English (and the most
complete in any language) on kamishibai (“paper theater”),
a performance/visual/textual art form that was popular
on the streets of Japan from 1930-1970, at times eclipsing
even the popularity of movies or manga. After providing an
introduction to the form and a history of its development
in the 1930s, the study turns to an in-depth exploration of
the way kamishibai was used for propaganda purposes by
governmental and quasi-governmental agencies during
Japan’s Fifteen Year War, 1931 to 1945.
• August 2014
• ISBN 978 90 04 24882 3
• Cloth with dustjacket (ca. 300 pp.)
• List price EUR 103.- / US$ 133.• Japanese Visual Culture, 13
Then the findings from those analyses are incorporated
into a consideration of the phenomenology and
neurobiology of propaganda: how this particular
medium with its unique combination of text, image and
performance, and its unique circumstances of consumption
(always in a tightly-huddled group of friends, neighbors,
schoolmates or workmates) functioned in helping to create
the propaganda environment that permeated Japan during
the Fifteen Year War.
Each “content” chapter is followed by the translation (with
illustrations) of a propaganda kamishibai play. The plays for
translation have been chosen to provide a broad sampling
of representative illustration styles, narrative types, and
target demographics.
Forthcoming
Courtly Visions
The Politics of Cultural Appropriation
and the Ise Stories (Ise monogatari)
Joshua S. Mostow, University of British Columbia
Courtly Visions: The Politics of Cultural Appropriation and The
Ise Stories traces—through the visual and literary record—
the reception and use of the 10th-century literary romance
from its creation in a salon of politically disenfranchised
courtiers, through its establishment as a canonical work for
female artistocratic readers, to use as cultural capital in the
struggles within the imperial household in the early 14th
century. Mostow traces the development of the standardized
iconographies of the Rinpa school and the printed Saga-bon
edition, examining what these tell us about how the Ise was
being read and why. The study ends with an Epilogue that
briefly surveys the uses Ise was put to throughout the Edo
period and into the modern day.
3
• June 2014
• ISBN 978 90 04 24485 6
• Cloth with dustjacket (ca. 300 pp.)
Painting Circles
Tsuchida Bakusen and Nihonga Collectives in Early Twentieth Century Japan
John D. Szostak, University of Hawaii at Manoa
Painting Circles addresses the changing professional milieu
of artists in early 20th century Japan, particularly the
development of new social roles and networks, and how these
factors informed the development of artistic identity. The
focus of the study is the Nihonga painter Tsuchida Bakusen
(1887-1936), who in 1918 founded an exhibition collective, the
Kokuga Society, in response to increasing dissatisfaction with
the nation’s government-sponsored exhibition salon. The
study examines efforts by Bakusen and company to establish
an independent position vis-à-vis the arts establishment by
demonstrating their reflexive knowledge of Western modernist
art movements on the one hand, and on the other, by showing
their deep commitment to preserving traditional Japanese
painting themes, media and techniques into the 20th century.
4
painting circles
1
bakusen’s early life and works
Tsuchida Bakusen, sketches, circa 1900. Ink on paper. Sado History Museum. Photo by author.
11
sor of philosophy at Kyoto University. Kyōson
wrote a description of his brother’s youthful days
on Sado, published in memoriam shortly after
Bakusen’s death in 1936. Kyōson describes Bakusen’s prodigious talent with the brush emerging
when his brother was four, and notes that he developed this talent largely through self-learning, complimented by rudimentary lessons in calligraphy
at elementary school and the occasional advice
from local amateur artists and traveling painters.
Kyōson identifies the various artworks Bakusen
studied at local temples and in local private collections, or encountered in periodic journals, as his
most important teachers, rather than any living
instructor. It was from these paintings and images,
Kyōson explains, that Bakusen absorbed a variety
of brush styles and painting techniques until he was
the notable personages in the medieval and early
modern periods exiled there. Bakusen was the second of three surviving sons born to Tsuchida
Chiyokichi, a successful farmer, businessman and
village official for Niibo; a fourth son, the family’s
firstborn, died in infancy. The Tsuchida family had
risen to local political and social prominence on
Sado in the late eighteenth and early nineteenth
centuries, and although the tenancy reforms of the
early Meiji era drastically affected the family’s
wealth and holdings, these had largely been recovered by the time of Bakusen’s birth, allowing him to
grow up in comparative privilege.2
Most of what we know about Bakusen’s early
years we learn from the family’s youngest son, Tsutomu, who made a name for himself as Tsuchida
Kyōson (1891–1934), an essayist, critic, and profes-
Tsuchida Bakusen, Punishment, 1908. Ink, colors on silk: framed (originally six-panel folding screen). National Museum
of Modern Art, Kyoto.
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where life and its problems were far less
complicated. In this sense, Punishment reflects
the salient facts about nostalgia observed by
Svetlana Boym:
a longing for an idyllic life set in Japan’s preindustrial landscape.77
When we compare Manchurian Summer
Heat with Punishment, we find an increased
sophistication in the later work in terms of composition and mise en scène. The prominently displayed
time schedule and a blossoming aster lying near the
girl’s foot, for example, supply clues regarding the
nature of the children's offense, suggesting the
three young students dawdled on the way to school
picking flowers. The scene, enhanced by an enveloping warm golden glow, seems tailor made to
arouse nostalgia in the viewer for a past time
(childhood) and place (Japan’s rural countryside)
At first glance, nostalgia is a longing for a place, but
actually it is a yearning for a different time – the
time of our childhood, the slower rhythms of our
dreams. In a broader sense, nostalgia is a rebellion
against the modern idea of time, the time of history
and progress.78
Overt sentimentalism of the sort on display in Punishment is rarely associated with artistic modernism
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• October 2013
• ISBN 978 90 04 21672 3
• Cloth with dustjacket (320 pp., 150 illus.)
04-09-13 12:53
The Life and Afterlives of Hanabusa Itchō,
Artist-Rebel of Edo
Miriam Wattles, UCEAP Tokyo Study Center
Miriam Wattles recounts the making of Hanabusa Itchō
(1652-1724), painter, haikai-poet, singer-songwriter, and artist
subversive, in The Life and Afterlives of Hanabusa Itchō, ArtistRebel of Edo. Translating literary motifs visually to encapsulate
the tensions of his time, many of Itchō’s original works became
models emulated by ukiyo-e and other artists. A wide array of
sources reveals a lifetime of multiple personas and positions
that are the source of his multifarious artistic reincarnations.
While, on the one hand, his legend as seditious exile appears
in the fictional cross-media worlds of theater, novels, and
prints, on the other hand, factual accounts of his complicated
artistic life reveal an important figure within the first artists’
biographies of early modern Japan.
5
5
multiple names for many personas
Hanabusa Itchō. The Bodhisattva Jizō. 1667–98. Hanging
scroll; mineral colors and gold on paper. 62.9 x 26.7 cm.
The Metropolitan Museum of Art.
11
Hanabusa Itchō. Standing Beauty.
Late 17th century. Hanging scroll;
color on silk. 71.5 x 29.8 cm. Chiba
City Museum of Art.
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• October 2013
• ISBN 978 90 04 20285 6
• Cloth with dustjacket (xii, 288 pp.)
the life and afterlives of hanabusa itchō
details of the young Itchō’s earliest associations with
Yasunobu.24 Almost no known works survive from
the period when Itchō was securely under Yasunobu’s wing in the Nakabashi school; we have merely a
textual record indicating that the boy signed a work
with the name Isaburō when he was ten.25 The best
record of Kanō-school training, a nineteenth-century account by Kanō Hōgai (1828–88), tells of a strict
hierarchy among the student-artists, who learned
primarily by reproducing models.26
One hanging scroll by Itchō, probably painted
sometime in the 1660s or 1670s, dates to the period
when he was still associated with his master. Depicting Jizō (the bodhisattva Kṣitigarbha), and now
at the Metropolitan Museum of Art in New York,
the work clearly reveals Itchō’s mastery of a standard Kanō subject, the religious icon (fig. 5). Icons
were necessary for the rituals that were held
throughout the year, and the official painters were
called on to render them. Itchō has signed the work
in gold, with his rarely found, Kanō-derived name
Shūrinsai, suggesting that he painted the image
while he still maintained an affiliation with the
school. An icon such as this was a typical proving
ground for a young painter. Given its small size, this
formal rendering of Jizō, the deity known for saving
souls from the various Buddhist hells, may have
been executed for a temple or a private household
shrine. This type of icon was a highly codified work
that necessitated knowledge of correct iconography
and materials, knowledge that could only be gained
through access to official painters. Itchō’s meticulous application and modulation of the colored pigments and gold, and the control evident in the perfectly round, unwavering flow of his brush in the
gold, black, gray, and red “iron lines” of the mandorla behind the figure, are clearly the result of conscientious practice that must have spanned years.
This is the gaku that Yasunobu so stresses in his
treatise, Gadō yōketsu. The signature notes that the
work was “reverently painted” (tsutsushinde egaki),
implying that its creation should be perceived as an
act of devotion; viewing the painting was an act of
reverence as well. This attitude, reflected in the signature, helps us to understand the grave purpose of
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Aesthetic Strategies of The Floating World
Mitate, Yatsushi, and Fūryū in Early Modern Japanese Popular Culture
6
Alfred Haft, Sainsbury Institute for the Study of Japanese Arts and Cultures
Japan’s classical tradition underpinned almost every area
of cultural production throughout the early modern or Edo
period (1615–1868). This book offers the first in-depth account
of three aesthetic strategies—unexpected juxtaposition
(mitate), casual adaptation (yatsushi) and modern standards
of style ( fūryū)—that shaped the way Edo popular culture and
particularly the Floating World absorbed and responded to this
force of cultural authority. Combining visual, documentary
and literary evidence, Alfred Haft here explores why the
three strategies were central to the life of the Floating World,
how they expanded the conceptual range of the popular
woodblock print (ukiyo-e), and what they reveal about the
role of humor in the Floating
World’s relationship with
established society. Through
a critical analysis of prints
by major artists such as
Harunobu, Koryūsai, Utamaro,
Eishi and Hiroshige, Aesthetic
Strategies of the Floating World
shows how the strategies
made ukiyo-e not merely the
by-product of a demimonde,
but an agent in the social and
cultural politics of their time.
• December 2012
• ISBN 978 90 04 20987 9
• Cloth with dustjacket (216 pp.; ca. 100 color illus.)
Painting Nature for the Nation
Taki Katei and the Challenges to Sinophile Culture in Meiji Japan
Rosina Buckland, National Museum of Scotland
In Painting Nature for the Nation: Taki Katei and the Challenges
to Sinophile Culture in Meiji Japan, Rosina Buckland offers an
account of the career of the painter Taki Katei (1830–1901).
Drawing on a large body of previously unpublished paintings,
collaborative works and book illustrations by this highly
successful, yet neglected, figure, Buckland traces how Katei
transformed his art and practice based in modes derived from
China in order to fulfil the needs of the modern nation-state at
large-scale exhibitions and at the imperial court. She provides
a rare examination of the vibrant world of Chinese-inspired
culture during the 1880s, and the hostility which it faced in the
following decade.
7
painting nature for the nation, 1886–1901
painting nature for the nation
Taki Katei. View of Audience Chamber, with One Thousand Plovers. 1892. Sliding door-panels; ink and colour on silk.
Each panel H. 170.0 x 140.0 cm. Rakujuen, Mishima.
95a
Taki Katei. Detail of One Thousand Plovers. 1892. Wainscot panel; ink and colour on silk. 29.5 114.5 cm.
Rakujuen, Mishima.
Taki Katei, Kano Eitoku Tatsunobu, and Noguchi Yūkoku. Sumiyoshi, Fuji, and Yos hino. 1889. Set of three hanging scrolls;
ink and colour on silk. Each H. 170.8 x 68.5 cm. Museum of the Imperial Collections.
higher-status Audience Chamber (Ekken-no-ma)
fitted with a tokonoma alcove, Katei’s One Thousand Plovers spreads over six doors and four wainscot-panels (fig. 95).44 Across the wide door-panels,
columns of birds in flight rise and swoop in an open
sky, moving from right to left away from the corridor into the room to create a powerful sense of the
undulations of the flock. Those at the front are
depicted clearly, while those further back are partially obscured by banks of gold mist. Their numbers thin towards the corner of the room, and on
the final panel of the sequence one line recedes into
the far distance. On the wainscot-panels, the birds
(gōtenjō). The subjects are birds and flowers of the
four seasons, as well as narrative scenes in Yamatoe style for the cupboard doors.42
The artists were all affiliated with the Japan Art
Association, chosen because they had participated
in the door-painting programme for the palace.
The two painters for the fusuma in the central
rooms were Katei and Noguchi Yūkoku, and their
selection echoed their prominent roles as artists of
the ceiling paintings for the imperial palace’s
East Antechamber.43 The paintings are on silk
and, as suits their location in rooms overlooking
a lake, they take water as their theme. For the
139
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• December 2012
• ISBN 978 90 04 23355 3
• Cloth with dustjacket (264 pp.; ca. 100 color illus.)
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91
95
Miyazawa Kenji and His Illustrators
Images of Nature and Buddhism in Japanese Children’s Literature
Helen Kilpatrick, University of Wollongong
In Miyazawa Kenji and His Illustrators, Helen Kilpatrick
examines re-visionings of the literature of one of Japan’s most
celebrated authors, Miyazawa Kenji (1896-1933). The deeply
Buddhist Kenji’s imaginative dōwa (children’s tales) are among
the most frequently illustrated in Japan today. Numerous
internationally renowned artists such as Munakata Shikō, Kim
Tschang-Yeul and Lee Ufan have represented his stories in an
array of intriguing visual styles, reinvigorating them as picture
books for modern audiences.
Focusing on some of Kenji’s most famous narratives, the author
analyses the ways artists respond to the stories’ metaphysical
philosophies, exploring the interaction of literature, art and
culture. Miyazawa Kenji and His Illustrators is richly depicted
with full colour images of the representations of Kenji’s work,
making the book a valuable resource on how illustrations
shape story, and how these picture books continue to convey
the texts’ witty and ironic messages more deeply than the
written word alone.
tic,
wer
ves
t, is
t is
the
e is
eohis
on.
und
city
his
8
Miki House,
1987.
discomfort as he stands, holding his umbrella as if
waiting for traffic lights. He is thus still subject to
outside forces, the ‘order’ and conformity demanded by city life. Moreover, the shape of his umbrella is
formed from curved lines in the background, suggestive of hills in the distance, reminiscent of the
mountain terrain which offered the unfulfilled possibility of a different kind of life. Shimada’s closure
thus accentuates the culture/nature dichotomy and
the men’s discomfort with their own choices. They
now have to conform to the dictates of their own
superficial modishness and endure the emptiness of
city life and their material desires.
miyazawa kenji and his illustrators
from a second person perspective in four different
postures. The picture and layout thus construct an
active subject position for the implied reader with
Konzaburō ‘demanding’ attention (fig. 26). At this
point in the narrative Konzaburō is trying to demonstrate his own sincerity by denying fox mischief
and inviting the children to the slide show, so the
viewpoint is impelling the viewer to believe him and
enter into a contract with him. Kobayashi’s chequerboard layout separates yet simultaneously links
the pictures and words by interspersing four pieces
of text in white rectangles with four blue rectangles
of a beckoning, anthropomorphic Konzaburō. The
first four boxes position Konzaburō against his
narrative denial of fox trickery and his recount
of Jimbē’s drunkenness (at top) and his offer of
miyazawa kenji and his illustrators
dumplings (at bottom – reading direction is right to
left). On the second (left hand) page, he is inviting
the children to the slide show after the children politely refuse Konzaburō’s offer of dumplings. This
aligns viewers with Shirō and Kanko’s position as
Konzaburō entreats them to both believe him and
accept his invitation.
The viewer is being positioned to trust
Konzaburō but also to share in the joke about the
drunken Jimbē’s all night antics, to be similarly
bemused by the human’s behaviour. Such positioning establishes a contract with Konzaburō before
the invitation to the slide show is issued. The dialogic interaction helps breaks down the dichotomy
in human/animal relationships and forms the basis
for further negotiations. By interpellating viewers
6
Kobayashi Toshiya (1947–);
pp. 32–3; Donguri to Yamaneko;
Paroru-sha, 1979.
174
7
26 Kobayashi Toshiya (1947–); pp. 8–9, Yukiwatari; Paroru-sha, 1989.
Kobayashi Toshiya (1947–); p. 35;
Donguri to Yamaneko; Paroru-sha, 1979.
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8
Kobayashi Toshiya (1947–); p. 39;
Donguri to Yamaneko; Paroru-sha, 1979.
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• December 2012
• ISBN 978 90 04 24307 1
• Cloth with dustjacket (232 pp., ca. 120 color illus.)
04-11-12 16:32
Hell-bent for Heaven in Tateyama Mandara
Painting and Religious Practice at a Japanese Mountain
Caroline Hirasawa, Sophia University, Tokyo
Hell-bent for Heaven in Tateyama mandara treats the history,
religious practice, and visual culture that developed around
the mountain Tateyama in Toyama prefecture. Caroline
Hirasawa traces the formation of institutions to worship
kami and Buddhist divinities in the area, examines how two
towns in the foothills fiercely fought over religious rights, and
demonstrates how this contributed to the creation of paintings
called Tateyama mandara.
The images depict pilgrims, monks, animals, and supernatural
beings occupying the mountain’s landscape, thought to
contain both hell and paradise. Sermons employing these
paintings taught that people were doomed to hell in the alpine
landscape without cult intervention—and promoted
rites of
JVC6_p001_272.indd
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salvation. Women were particular targets of cult campaigns.
Hirasawa concludes with an analysis of spatial practices at
the mountain and in the images that reveals what the cult
provided to female and male constituents.
9
hell-bent for heaven in tateyama mandara
Drawing on methodologies from historical, art historical, and
religious studies, this book untangles the complex premises
and mechanisms operating in these pictorializations of the
mountain’s mysteries and furthers our understanding of the
rich complexity of pre-modern
Japanese religion.
epilogue
125 Hōsenbō Tateyama mandara. Four hanging scrolls, ink and colors on silk. 1858. Private collection.
Image reproduced with permission from the Tateyama Museum.
• December 2012
• ISBN 978 90 04 20335 8
• Cloth with dustjacket (272 pp.;
ca. 100 color illus.)
of kami worship should be replaced; and that
Buddhist sculpture, temple bells, and other objects
should be removed from shrine precincts.15 These
edicts, intended to reorganize the hybrid religious
environment that had developed over many centuries, have been dubbed shinbutsu bunri-rei (kami and
buddha [shrine-temple] separation edicts; also
called hanzen-rei).16 An important object of this
“separation” was to intensify the new government’s
prerogatives through the emperor’s ancestral connection to and his embodiment of kami powers—
and to use this in creating a unified identity for citizens of the rapidly modernizing nation. Reinventing
practices related to kami worship and asserting
authority over restructured shrines contributed to
transforming Japan’s religious landscape.
59 Depiction of hell. Detail from the Sōshinbō [B] Tateyama mandara (42). Photograph by author.
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Shinbutsu bunri activities occurred throughout
Japan. There was, however, much regional variation; diverse kami-buddha combinatory arrangements obtained at different locations and the
individuals responsible for implementing these
policies held divergent ideas. In some places
separation was only loosely enforced; in others,
numerous temples and Buddhist sculptures were
destroyed. The most extreme examples, referred
to as haibutsu kishaku (expelling Buddhism and
destroying its teachings), amounted to a riotous
frenzy.
Research of these events tends to emphasize
virulent anti-Buddhist elements, reflecting the
interests of scholars in focusing on parts of the
country that were worst affected. Indeed, Buddhist
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06-11-12 09:59
Art and War in Japan and its Empire: 1931-1960
Art and War in Japan and its Empire: 1931-1960 is an anthology
that investigates the impact of the Fifteen-Year War (19311945) on artistic practices and brings together twenty scholars
including art historians, historians, and museum curators from
the United States, Canada, France, Taiwan, Korea, and Japan.
This will be the first art-historical anthology that examines
responses to the war within and outside Japan in the wartime
and postwar period. The anthology will scrutinize official and
unofficial war artists who recorded, propagated, or resented
the war; explore the unprecedented transnationality of artistic
activity under Japan’s colonial expansion; and consider the
role of today’s museum institutions in remembering the war
through art.
10
Contributors include: Asato Ikeda, Aya Lousa McDonald, Ming
Tiampo, Akihisa Kawata, Mikiko Hirayama, Mayu Tsuruya,
Michael Lucken, Bert Winther-Tamaki, Mark H. Sandler, Maki
Kaneko, Kendall Brown, Reita Hirase, Gennifer Weisenfeld,
Kari Shepherdson-Scott, Aida-Yuen Wong, Hyeshin Kim, Laura
Hein and Julia Adeney Thomas.
Asato Ikeda, Fordham University, New York, Aya Louisa McDonald, University of Nevada, and Ming Tiampo, Carleton University
• November 2012
• ISBN 978 90 04 22900 6
• Cloth with dustjacket
(400 pages, ca. 180 color illus.)
Edwardian London
through Japanese Eyes
Yui Suzuki
Elizabeth Lillehoj
Edwardian London Through Japanese
Eyes considers the career of the
Japanese artist Yoshio Markino (18691956), a prominent figure on the early
twentieth-century London art scene
whose popular illustrations of British
life adroitly blended stylistic elements
of East and West. He established his
reputation with watercolors for the
avant-garde Studio magazine and
attained success with The Colour of
London (1907), the book that offered,
in word and picture, his outsider’s
response to the modern Edwardian
metropolis. Three years later he
recounted his British experiences in
an admired autobiography aptly titled
A Japanese Artist in London. Here,
and in later publications, Markino
offered a distinctively Japanese
perspective on European life that won
him recognition and fame in a Britain
that was actively engaging with proWestern Meiji Japan. Based on a wide
range of unpublished manuscripts and
Edwardian commentary, this lavishly
illustrated book provides a close
examination of over 150 examples of
his art as well analysis of his writings
in English that covered topics as wideranging as the English and Japanese
theater, women’s suffrage, current
events in the Far East and observations
on traditional Asian art as well as
Western Post-Impressionism.
This profusely illustrated volume
illuminates the primacy of icons in
disseminating the worship of the
Medicine Master Buddha (J: Yakushi
Nyorai) in Japan. Suzuki’s meticulous
study explicates how the devotional
cult of Yakushi, one of the earliest
Buddhist cults imported to Japan from
the continent, interacted and blended
with local beliefs, religious dispositions, and ritual practices over the centuries, developing its own distinctive
imprint on Japanese soil. Worship of
the Medicine Master Buddha became
most influential during the Heian
period (794–1185), when Yakushi’s
popularity spread to different levels of
society and locales outside the capital.
The large number of Heian-period
Yakushi statues found all across Japan
demonstrates that Yakushi worship
was an integral component of Heian
religious practice.Medicine Master
Buddha focuses on the ninth-century
Tendai master Saichō (767–822) and
his personal reverence for a standing
Yakushi icon. The author proposes
that, after Saichō’s death, the Tendai
school played a critical role in popularizing the cult of this particular icon as
a way of memorializing its founding
master and strengthening its position
as a major school of Japanese Buddhism. This publication offers a fresh
perspective on sculptural representations of the Medicine Master Buddha,
and in so doing, reconsiders Yakushi
worship as foundational to Heian religious and artistic culture.
During the first century of Japan’s
early modern era (1580s to 1680s),
art and architecture created for the
imperial court served as markers
of social prestige, testifying to the
enduring centrality of the palace to
the cultural life of Kyoto. Emperors
Go-Yōzei and Go-Mizunoo relied
on financial support from ruling
warlords—Toyotomi Hideyoshi and
the Tokugawa shoguns—just as the
warlords sought imperial sanction
granting them legitimacy to rule.
Taking advantage of this complex
but oftentimes strained synergy, GoYōzei and Go-Mizunoo (and to an
unprecedented exent his empress,
Tōfukumon’in) enhanced the
heriditary prerogatives of the imperial
family.
• December 2011
• ISBN 978 90 04 22039 3
• Cloth with dustjacket (240 pp.;
with over 150 full-color illus.)
• December 2011
• ISBN 978 90 04 19601 8
• Cloth with dustjacket
(192 pp., 60 full-color illus.)
• September 2011
• ISBN 978 90 04 20612 0
• Cloth with dustjacket (296 pp.)
The Art and Writings of Yoshio Markino, 1897–1915
William S. Rodner
Among the works described in
this volume are masterpieces
commissioned for the residences
and temples of the imperial family,
which were painted by artists of the
Kano, Tosa and Sumiyoshi ateliers,
not to mention Tawaraya Sōtatsu.
Anonymous but deluxe painting
commissions depicting grand
imperial processions are examined
in detail. The court’s fascination
with calligraphy and tea, arts that
flourished in this age, is also discussed
in this profusely illustrated volume.
11
Art and Palace Politics
in Early Modern Japan,
1580s-1680s
Medicine Master Buddha:
The Iconic Worship of
Yakushi in Heian Japan
Related Journal
Now
available in
Paperback
Portraits of Chōgen
East Asian Publishing and Society
The Transformation of Buddhist Art in Early Medieval Japan
Edited by Peter Kornicki, University of Cambridge
Editorial Board: Cynthia Brokaw, Brown University, Matthi Forrer, Leiden University, Patricia
Sieber, Ohio State University, and Hilde De Weerdt,
Leiden University
John M. Rosenfield
12
This volume, the first in Brill’s Japanese Visual Culture
series, vividly describes the efforts of the Japanese monk
Shunjōbō Chōgen (1121–1206) to restore major buildings and
works of art lost in a brutal civil conflict in 1180. Chōgen is
best known for his role in the recasting of the Great Buddha
(Daibutsu) and the reconstructing of the South Great Gate
(Nandaimon) of Tōdaiji in Nara and its huge, dramatic
wooden guardian figures. This study concentrates on these
and other replacement statues and buildings associated
with Chōgen and situates the visual arts of Japan into the
spiritual and socio-political context of their times. Through
meticulous study of dedicatory material, Rosenfield is
able to place the splendid Buddhist statues made for
Chōgen in vivid new light. The volume also explores how
Japan’s rulers employed the visual arts as instruments of
government policy – a tactic that recurs throughout the
nation’s history. This publication includes an annotated
translation of Chōgen’s memoir, completed near the end of
his life, in which he recounts his many achievements. In
chapters on East Asian portraiture, Rosenfield claims that
surviving statues of Chōgen, carved with mordant realism,
rank among the world’s most eloquent portraits, and herald
the great changes that were to permeate Japanese religious
and secular arts in the centuries to come. While Chōgen
has been the subject of major art exhibitions and extensive
research in Japan; this is the first book-length study to
appear in the West.
• November 2010
• ISBN 978 90 04 16864 0
• Cloth with dustjacket (296 pp.; incl. 197 illus., mostly in color)
Also available in paperback
• October 2012
• ISBN 978 90 04 24325 5
• Paperback (296 pp.; incl. 197 illus., mostly in color)
• List price EUR 59.- / US$ 82.-
East Asian Publishing and Society is a new journal
dedicated to the study of the publishing of texts and
images in East Asia, from the earliest times up to
the present. The journal will provide a platform for
multi-disciplinary research by scholars addressing
publishing practices in China, Korea, Japan, Taiwan
and Vietnam.
East Asian Publishing and Society invites articles that
treat any aspect of publishing history: production,
distribution, and reception of manuscripts, imprints
(books, periodicals, pamphlets, and single sheet
prints), and electronic text. Studies of authorship and
editing, the business of publishing, reading audiences
and reading practices, libraries and book collection,
the relationship between the state and publishing—
to name just a few possible topics—are welcome.
Brill’s journal aims to print innovative studies on East
Asian publishing to meet the scholarly community’s
expanding interest in this rich and varied field.
For more information please visit brill.com/eaps
• 2014: Volume 4, in 2 issues
• ISSN 2210-6278 / E-ISSN 2210-6286
• Institutional Subscription rates
Electronic only: EUR 156.- / US$ 204.Print only: EUR 172.- / US$ 224.Electronic & print: EUR 187.- / US$ 245.• Individual Subscription rates
Print or Electronic only: EUR 57.- / US$ 75.-
The Shakuhachi
Roots and Routes
Henry Johnson
• June 2014
• ISBN 978 90 04 24339 2
• Hardback (ca. 172 pp., ca. 60 color illus.)
13
Related titles: See also The Shamisen: Tradition and Diversity
(p. 27) and The Koto (p. 31).
BRIL L
The shakuhachi is a traditional Japanese musical instrument.
The instrument – an end-blown, bamboo flute – has been
known in Japan since the Nara period (710-94), after being
introduced from China. In Japan, it was originally part of
the court orchestra (gagaku), but was soon disseminated to
other music styles and regions to become one of Japan’s most
mysterious and fascinating musical instruments. Yet, with
a very long history in Japan, over the last 30 years or so it is
increasingly establishing a place for itself outside Japan. The
shakuhachi has a long association with Fuke subsect of Rinzai
Zen Buddhism, especially during the Edo period (1600-1868).
These komusô mendicant monks had about 80 regional temples
around Japan and transmitted shakuhachi music orally. Later
performance traditions developed that focused more on the
music than on religion, and today several traditions or styles
are well known (e.g., Kinko and Tozan schools). Made of a
single stem of bamboo, the instrument is blown across one
end in order to make a sound. It is the sound of the shakuhachi
that has a haunting yet beautiful tone, which has intrigued
Japanese and non-Japanese alike for many years. In this book,
the instrument is explored through ethnographic research
with performers and instrument makers; with detailed study
of historical research materials; and through the depiction of
the instrument in Japanese art (e.g., Ukiyo-e woodblock prints).
This book is the first of its kind in English to investigate the
history of this intriguing instrument from its introduction
to Japan to the present-day phenomenon of becoming more
popular in international contexts.
xxxxx
Understanding Japanese Woodblock-Printed Illustrated Books
A Short Introduction to Their History, Bibliography and Format
Suzuki Jun and Ellis Tinios
BRIL L
Understanding Japanese Woodblock-Printed Illustrated Books
offers a wider understanding and appreciation of the illustrated
books produced in Japan between 1603 and 1912. It is a valuable
tool for scholars of early modern Japanese art and literature
and a broad range of other disciplines who wish to integrate
the content of Japanese illustrated books into their teaching
and research. As a handbook aimed at collectors, curators
and librarians, it is also an essential resource to assist in
evaluating, describing and conserving the books in their care.
The background essays, a detailed glossary and case studies are
equally of interest to students of the history and art of the book,
publishing, printing and book illustration.
14
part ii: understanding woodblock-printed illustrated books
suzuki & tinios
6
46
(Yoshiwara keisei) Shin bijin awase jihitsukagami. Illustrated by Kitao Masanobu. Edo, 1784. 38 x 25.5 cm. © Trustees
of the British Museum.
Tsutaya Jūzaburō, one of the most innovative Edo publishers, produced this sumptuous, exceptionally large
‘album-format’ book in which the top courtesans of the Yoshiwara—rivals in the quality of their calligraphy as
well as their beauty—are compared. Portrayed here are Hitomoto (right) and Tagasode (left), courtesans of the
Daimonjiya brothel, with members of their entourages.
further refinements such as blind-printing (karazuri
空摺り), the burnishing of printed areas (tsuyadashi
艶出し) and the application of metallic pigments
and mica (kirazuri 雲母摺り) had been perfected
(see Items 12 & 16). Because of the cost involved,
relatively few books were issued that employed the
full panoply of special printing techniques. Initially,
most of the more elaborate publications were commissioned by members of poetry circles. The latter
called upon artists of the stature of Kitagawa
Utamaro, Katsushika Hokusai and Kubo Shunman
to provide designs, and engaged the best block-
cutters and most skilful printers to realize them.
The resultant anthologies of their poems present
crisp, clear texts and subtly coloured images printed on the best quality paper (see Case study 3 & fig.
22). In addition to poetry albums, from the 1770s
some erotic books also sported elaborate colouring
and the highest production values. In the nineteenth century, until the about 1870, the majority of
multi-colour printed books were erotica (see figs.
24, 31 & 33). In those years, rental libraries
(kashihon’ya 貸本屋) played a role—as yet unquantified—in supporting the production of these
19-09-13 17:21
Tinios_p001_136 def.indd 79
• November 2013
• ISBN 978 90 04 25831 0
• Hardback (136 pp.)
90
Konotegashiwa. Illustrated by Keisai Eisen.
Edo, 1836. 22 x 15.2 cm. Ebi collection,
ARC database, Ritsumeikan University,
Ebi1000.
This half-sheet on the inside front cover
of a banned erotic book provides (bottom
right) the artist’s pseudonym: ‘Insai Hakusui’ 淫斎白水. The first character of Keisai
(渓 ‘mountain stream’) is replaced with
morphologically similar in 淫 ‘lewd’. Eisen
英泉 is replaced with the components of
the second character sen 泉 (haku 白 and
sui 水).
79
22
Tinios_p001_136 def.indd 22
47
Meika gafu. Edited by Mano Tōkei. Nagoya,
1814. 27.5 x 19 cm. Ebi collection, ARC
database, Ritsumeikan University, Ebi0361.
This half-sheet on the inside front cover
provides, from right to left: name of the
editor, title of the book and ‘studio name’
(Tōhekidō 東壁堂) of the Nagoya-based
publisher Eirakuya Tōshirō followed by
his seal. In the circular kaisei-in seal 魁星
印, there is an image of the Chinese god of
literature (Ch: Kuixing).
19-09-13 17:22
15-6 Fujita Tsuguharu (later Léonard, 1880-1968), Glorious Death on Saipan, (also titled Japanese compatriots carry out
their duty on Saipan Island) 1944, oil on canvas, 181 x 362cm, The National Museum of Modern Art, Tokyo.
15-7
Detail of 15-6.
Modernities of Japanese Art
John Clark
15A-23 Eugene Smith (1918-1978), Mass
grave for 2000 Japanese soldiers killed
in final Banzai charge (on Saipan),
photograph published in Life,
24.8.1944. The National Museum of
Modern Art, Kyoto.
This book contains foundational studies of various modernities
in Japanese art published since 1986 by John Clark. His articles
address modern Japanese print history, modern Japanese
aesthetics, the history of Japanese ‘Western-style’ painting
including the avant-garde, the relation of art and foreign
aggression, and the post-World War II development of critical
art, as well as post-modernism. The basis for these essays is
ongoing empirical research in Japanese sources over many
MODERNITIES
visits to Japan since 1969, with at the same time
a theoretical OF JAPANESE ART
rigour derived from semiotics applied to traditional ‘Japanesestyle’ painting and other subjects. Some of these essays which
were previously published in French and Japanese appear here
in English for the first time. Modernities of Japanese Art brings
together in one concise volume a large body of art historical and
critical work, not easily accessed otherwise.
234
Modernities-S7_HT 2012.indd 234
30-10-12 12:36
MODERNITIES OF JAPANESE ART
1-25 Calendar in the form of Japanese Coins, 1865, etching, (B-70).
1-26 Shuntōsai (Okada, fl.1832-1861) att., The God of Fortune Calculator, 1850s, etching, 6.9 x 10.5cm (B-54).
1-27 Gengendō Studio, Commentary on Domestic Security, ca.
1850s, etching, 8.8 x 14.5cm, (B-88).
BRIL L
This book forms a pair with the author’s Modernities of Chinese
Art (Brill, 2010).
1-24 Matsumoto Yasuoki, Shimabara, Kyoto, ca. 1840s, etching.
(S-11), Reproduced by permission of the Trustees of the
National Library of Scotland.
1-28 Shōshitsu (Mizuhikidō, fl.1860s) att., Kannon of the ThirtyThree (Pilgrimage) Sites, ca 1860s, etching, 12.6 x 9.7cm (B-46).
1-30 (B-39, B-48) children’s diversions.
42
Modernities-S1_HT2012.indd 42
30-10-12 12:41
JAPANESE ETCHINGS
• December 2012
• ISBN 978 90 04 23689 9
1-35 Shuntōsai, A Sea and Land Battle, ca, 1830s-40s, etching, 15 x
20.6cm, (B-10).
1-36 Shuntōsai, European Scene, ca.1830s-40s, etching, 15 x
20.6cm, (B-9).
1-37 Matsumoto Yasuoki, Sea Battle, 1840-50s, etching, (from
Nishimura Tei, Nihon Dōbanga-shi, Tokyo: Fujimori Shoten,
1939).
1-38 Artist unknown, A Black Ship, ca. 1854-60, monochrome
wood block print.
1-39 Yasuda Raishū, Stoomboot, ca. 1850s, etching, 11.9 x 18.5,
(from Sugano Yō, Nihon Dōbanga no Kenkyū, Kinsei, Tokyo:
Bijutsu Shuppansha, 1974).
1-40 Artist Unknown, Kyoto School, Steamship, ca.1860s, etching,
31.6 x 21.5cm, (B-5).
10-8 Asai Chū, Willows at Grez, 1901, oil on canvas, 58 x 70cm, Kyoto Municipal Museum of Art.
Modernities-S1_HT2012.indd 45
brushwork without a built –up chromatic palette which was to
1-29 Umekawa Kahoku (1799-1847) after Nakabayashi Chikkei
(1816-1867), Buddhist admonitions against animal slaughter and
the Three Jewels (of the Buddhist Law), ca. 1840s, etchings, each
14.7 x 9.4cm, (B-28, B-29).
15
45
30-10-12 12:41
through the matière of paint as one might have expected had
Images of Familial Intimacy in Eastern and Western Art
Edited by Nakamura Toshiharu, Kyoto University
BRIL L
Images of Familial Intimacy in Eastern and Western Art
offers a comparative art and socio-historical analysis of
selected images of familial intimacy in Asia and Europe
from the pre-modern era to the present day based on an
examination of the value systems and expectations existing
at the time in the regions in which the works were created.
A wide variety of images are discussed ranging from family
portraits and depictions of the home in seventeenthcentury Dutch genre paintings, ukiyoe prints and fusuma
sliding wall panels of the Edo period, to familial images
made after the Korean War of 1950-53, providing the reader
with a rare insight into the evolution East and West of the
cultural norms and customs impacting on the family and
personal space.
Optical Allusions
Screens, Paintings, and Poetry in Classical Japan (ca. 800-1200)
Joseph T. Sorensen, University of California at Davis
In Optical Allusions: Screens, Paintings, and Poetry in
Classical Japan (ca. 800-1200), Joseph T. Sorensen illustrates
how, on both the theoretical and the practical level, painted
screens and other visual art objects helped define some of
the essential characteristics of Japanese court poetry. In his
examination of the important genre later termed screen
poetry, Sorensen employs ekphrasis (the literary description
of a visual art object) as a framework to analyze poems
composed on or for painted screens. He provides close
readings of poems and their social, political, and cultural
contexts to argue the importance of the visual arts in the
formation of Japanese poetics and poetic conventions.
16
• February 2014
• ISBN 978 90 04 24820 5
• Hardback
• List price EUR 115.- / US$ 160.• The Intimate and the Public in Asian
and Global Perspectives, 4
• July 2012
• ISBN 978 90 04 21931 1
• Hardback (xii, 294 pp.)
• List price EUR 112.- / US$ 156.• Brill’s Japanese Studies Library, 40
Erotic Japonisme
The Influence of Japanese Sexual Imagery on Western Art
Ricard Bru
17
68
HOTEI PUBL ISHING
At its height in the late nineteenth and early twentieth
centuries, Japonisme had a tremendous impact on Western art.
In this publication, author Ricard Bru approaches the cultural
phenomenon of Japonisme from an innovative standpoint. He
presents an in-depth discussion of the influence of Japanese
printed erotic imagery by ukiyo-e masters such as Kitagawa
Utamaro, Katsushika Hokusai, and Utagawa Hiroshige on
European artists, including Edgar Degas, Auguste Rodin, Henri
de Toulouse-Lautrec, Gustav Klimt and Pablo Picasso, as well
as writers, critics, and collectors, such as Edmond de Goncourt,
Joris-Karl Huysmans, and Émile Zola. With over 160 color
illustrations sourced from public and private collections, Erotic
Japonisme demonstrates the rich artistic dialogue that existed
between Europe and Japan.
127 Gustav Klimt. The Blood of Fish (Fischblut),
in Ver Sacrum 1, February 1898. Book illustration,
print based on ink drawing, 18.5 x 18.5 cm.
Museum of Applied Arts, Vienna, ZII167.
As seen in this piece, the curvilinear
forms that Klimt observed in Japanese stencils
(katagami) and in the Japanese prints in his private collection provided inspiration for his erotic
drawings and illustrations. This image was created for the journal Ver Sacrum, founded by Klimt,
Koloman Moser (1868–1905), and Josef Hoffmann
(1870–1956) as the official magazine of the Vienna
Secession. Ver Sacrum illustrated countless examples of the diverse influences of Japonisme on
Viennese artists.
69
however, Japonisme did not advance in Vienna until the turn of the
century: it was not until this time, with the emergence of the Secessionist movement in 1897 and its fourth exhibition in 1900, that
Japonisme became firmly rooted in that city.247
Gustav Klimt’s richly ornate style perhaps best exemplifies the
influence of Japonisme on the development of modern Viennese
painting. Klimt’s use of flat surfaces, gold backgrounds, and a sense
of two dimensionality—as well as the embellishment of the forms
and clothing with repetitive, schematic, abstract elements, or motifs
inspired by Japanese heraldic symbols—offered a new concept in
decorative painting.248 The Kiss (fig. 128), a work dating to the artist’s
so-called “golden phase,” is the ultimate expression of this decorative effect, illustrating an isolated couple whose passionate embrace
envelops them such that they appear as a unified whole.
In addition to his paintings, Klimt’s drawings and those by Egon
Schiele created between 1905 and 1918, approximate the same type
of pure eroticism encountered in Japanese prints (figs. 129 & 130).
This personal, pure, and aesthetic eroticism is grounded in the compositional elements, in the configuration of the figures, and in the
manner in which the artist represented the forms of his subjects.249
Unfortunately, there is no detailed information regarding the nature of the Japanese print collections of Klimt and Schiele, even
68
Torii Kiyonaga. Interior of a Bathhouse, ca. 1787. Color woodblock print, diptych, 38.8 x 26.3 cm (each sheet). Former Edgar Degas
collection. Museum of Fine Arts, Boston, William Sturgis Bigelow
Collection, 30.46-7.
Edgar Degas. The Tub (Le tub), 1886. Pastel on card, 83 x 60 cm.
69
Musée d’Orsay, Paris, RF4046.
Kiyonaga’s Interior of a Bathhouse is a rare print with only three
copies known today (Boston Museum of Fine Arts, Guimet Museum,
and Kawasaki Isago no Sato Museum). It illustrates a scene of naked
and semi-naked women at a public bath in poses similar to those of
women in the bath portrayed by Degas, such as Woman in a Tub (ca.
1883, Tate Gallery, London) or The Tub. Kiyonaga’s diptych was one of
Degas’s favorites, and it apparently hung above his bed, close to two
drawings by Jean-Auguste-Dominique Ingres and a landscape by
Camille Corot (1796–1875).
78
Erotic_Japonisme_p001_192.indd 78
• December 2013
• ISBN 978 90 04 25832 7
• Paperback (192 pp., with 200 illus.)
though both men made erotic drawings that call to mind shunga.250
Klimt was a collector of Asian art with wide ranging tastes: his Japanese holdings included samurai armor, kimono, and masks. His ukiyo-e collection included material by Kiyonaga, Hokusai, Kuniyoshi,
and Kunisada, and some of these were on display in his studio on
Feldmühlgasse in Vienna. Furthermore, Klimt’s library contained
works by Hayashi Tadamasa, Siegfried Bing, Ernest Fenollosa (1853–
1908), and books on Japanese art, including the volumes of Kōrin-ha
gashū (1903–1906), which dealt with the decorative Rinpa school,
and the volume Japanische Erotik (fig. 52). The latter two were important sources for his paintings.251 On the other hand, according to
Frank Whitford, Schiele’s atelier was “reputed to have possessed the
best collection of erotic Japanese prints in Vienna.”252 Schiele, impressed by the theories of Sigmund Freud, also portrayed sexual
scenes as a means of expressing his inner world, one filled with obsession and emotion (fig. 131). The impact of shunga on his nudes is
detectable through the suggestive positions of his subjects: couples
caressing, embracing, or engaged in sexual intercourse. However, to
date the only woodblock prints documented from his collection are
two landscapes, a portrait by Utamaro, and an erotic image by Hokusai.253 Nevertheless, there is no doubt that both he and Klimt had
easy, direct access to a great number of Japanese woodblock prints
118
28-10-13 08:47
Erotic_Japonisme_p001_192.indd 118
28-10-13 08:49
Kuniyoshi
Japanese master of imagined worlds
Iwakiri Yuriko and Amy Newland
HOTEI PUBL ISH I NG
Enjoying a career spanning almost fifty years, from the 1810s
to his death in 1861, Utagawa Kuniyoshi (1797–1861) was
instrumental in establishing warrior prints as one of the
major genres in the history of Japanese woodblock prints
(ukiyo-e). His most spectacular triptychs of warriors resonate
even in contemporary culture, their influence reflected
in modern graphic media such as manga. This publication
demonstrates that Kuniyoshi’s artistic genius also extended
to the creation of striking prints in other genres: images of
beautiful women and kabuki actors, ghosts, demons and
monsters, anthropomorphic renditions of animals illustrating
everyday life, as well as compositions replete with humour
and often involving witty wordplay. Examples of Kuniyoshi’s
work also reveal the artist’s dialogue with aspects of European
pictorial traditions in his experimentation with shading and
perspective. The selection of prints in Kuniyoshi: Japanese
master of imagined worlds includes representative pieces of
the highest quality, a number of which are illustrated for the
first time outside Japan. Descriptive texts accompany the 136
prints in the publication and these are introduced by an indepth discussion of Kuniyoshi’s life and his art.
18
Kuniyoshi_p025_097_Layout 1 11-10-13 12:10 Pagina 97
Kuniyoshi_p025_097_Layout 1 11-10-13 12:05 Pagina 32
Catalogue – Prints of beautiful women
Catalogue – Warrior prints
71. Shellfish from Fukagawa
8. Matsui Tamijirö
(Fukagawa no mukimi 深川のむきみ)
(Matsui Tamijirö 魔津伊多見治郎)
From the series Pride of Edo:
From an untitled series of
comparison of famous products (Edo
warrior prints
jiman meibutsu kurabe 江戸じまん名物
Date: c.1826–1827
くらべ)
Signature: Ichiyüsai Kuniyoshi ga
Chüban
Censorship seal: kiwame
Date: c.1844
Publisher: Tsutaya Kichizö
Signature: Ichiyüsai Kuniyoshi ga
Artist’s seal: yoshikiri
The title slip on this print lists
Censor’s seal: Hama
the name ‘Matsui Tamijirö’
Publisher: Ibaya Kyübei
(魔津伊多見治郎), but the
figure is actually Matsui
Each of the seven designs in this
Tamijirö (松井民次郎) written
series has inset landscapes that
with different, yet
illustrate a famous site in the capital
homophonous, characters.
Edo. Here, it is the gate of the
Matsui Tamijirö is the second
Tomioka Hachiman shrine and the
son of Matsui Kura, a feudal
approach to the shrine was the
retainer in Dewa province in
location of one of the Fukagawa
Yamagata. Tamijirö studies
district’s pleasure quarters. Many
fencing (kenpö) with a
pedlars came from nearby
foreigner and later sets off to
Hamaguri-chö to this area selling
avenge his brother who is
shucked shellfish, a famous product
killed by Takahashi Yakurö.
(meibutsu) of the Fukagawa.
He proceeds to the fief of the
The woman sports a casual
Miharu clan in Öshü province,
chignon fastened at the back known
where he subjugates a giant
as ‘the horse’s tail’ (uma no shippo),
serpent that attacks the castle
and the shells she opens are a type of
of Lord Akita Kawachi no
trough shell (Mactra chinensis) referred
Kami, thereby achieving
to as bakagai, literally, ‘horse/deer [or
military fame. This narrative
foolish] shell’, thus creating an
appears in the 1806 yomihon,
entertaining wordplay for the viewer.
Senkutsushi (History of the
Because bakagai are generally gritty,
hermit’s cave, also known as
they can be easily removed from their
Matsui Tamijirö monogatari
shells and cleaned. The orange
[Tale of Matsui Tamijirö]), with
‘tongue’ (the foot) of the trough shell
text by Akagi Sanjin and
– called aoyagi, literally ‘green willow’
pictures by Kitagawa
– can be removed from the body and
Masaatsu.
eaten as such, or dried, as seen in the
upper right corner in this print.
Kuniyoshi
97
• December 2013
• ISBN 978 90 04 25830 3
• Paperback (168 pp., 140 illus.)
32
K uni y o s hi
Kunisada’s Tōkaidō
Riddles in Japanese Woodblock Prints
Andreas Marks
HOTEI PUBL ISHING
The Tōkaidō highway, connecting Edo with Kyoto, was the
most vital thoroughfare in Japan. Its cultural presence in
pre- to early modern Japanese society led to the publication of
woodblock print series, such as the widely known landscape
prints by Hiroshige, that took this famous road as their theme.
The prints of Utagawa Kunisada, the most sought-after
woodblock print designer of his day, represent a different
treatment of the Tōkaidō, in which popular kabuki actors
in specific roles are paired with Tōkaidō post stations. This
study discusses the phenomenon of serialization in Japanese
prints outlining its marketing mechanisms and concepts. It
then proceeds to unravel Kunisada’s pairings of post-stations
and kabuki roles, which served as puzzles for his audience
to decipher. Finally, this study analyses Kunisada’s methods
when he invented and developed these patterns.
19
Kunisada’s Tōkaidō is a valuable visual source for the print
collector, illustrating over 700 prints.
figure 61
figure 19
Utagawa Kunisada. The actors Bandō Takesaburō I as Oguri Hangan
Utagawa Hiroshige. No. 3: Odawara, Hakone, Mishima, Numazu, from
(right), Nakayama Ichizō as Ariwaraya Narihira (centre), and Iwai
the series Gojūsan tsugi harimaze (Cutouts of the Fifty-three Stations).
Kumesaburō III as Okoma (left), in the play Sekai no hana Oguri gaiden
xii/1852. Published by Izumiya Ichibei. Colour woodblock print, ōban.
(Worldly Flowers, an Oguri Anecdote), performed at the Nakamura
© Trustees of the British Museum
Theatre in IV/1851, from an untitled series of horizontal actor prints. c.
iv/1851. Published by Tsujiokaya Bunsuke. Colour woodblock print,
ōban. Waseda University The Tsubouchi Memorial Theatre Museum
figure 20
Utagawa Kunisada ii. Tora and Soga Jūrō Sukenari Juxtaposed to Hiratsuka, from the series Shoga gojūsan tsugi (Writings and Paintings Along
the Fifty-three Stations). x/1872. Published by Sawamuraya Seikichi.
Colour woodblock print, ōban. National Diet Library, Tokyo
Utagawa Yoshitora designed most of the main motifs. Other designers involved were Kunisada ii, Kyōsai, Utagawa
Shigekiyo (act. c.1854–87), and Utagawa Yoshimori (1830–1884). Additional images and inscriptions were contributed by Hiroshige iii, Utagawa Yoshiharu (1828–1888), Utagawa Yoshimune (1817–1880), Tani Bunchū (1823–1876),
Koyama Unsen (1855–1911), Matsumoto Fūko (1840–1923), Noguchi Yūkoku (1814–1898), Iijima Kōga (1829–1900),
Sugihara Chikuho (1833–1882), Nakajima Kyōsai (d. 1896), and others.144
The series breaks with the traditional system of Tōkaidō stations by renaming some of them, reflecting the changes
taking place during the Meiji period. Fuchū becomes Shizuoka, Yoshida turns into Toyobashi, Miya is now Atsuta,
and Kyoto takes on the name Saikyō (Western Capital).145 Another sign of the changing times is the electricity pylon
at the right border of each design.
figure 62
Utagawa Kunisada. Fifty-one: The actors (from right to left) Ichikawa
2.3.2.7 Warrior Tōkaidō series
To date, the only Tōkaidō series that has surfaced with warriors as the main motif is by Yoshitora. Published in 1850,
only three designs are known. Just as his teacher Kuniyoshi had a few years earlier in the series Fifty-three Pairs of
the Tōkaidō (Tōkaidō gojūsan tsui) so did Yoshitora also choose Nitta Yoshioki (died 1358) as the motif to pair with
Kawasaki. For the station Yui, Hōjō Tsunashige (1515–1587) holding off the attacks of Takeda Shingen (1521–1573) is
the motif associated with the place.
Kodanji IV as the fisher Namishichi, Seki Utasuke as Zeze no Shōzō, Nakayama Ichizō as Onigawara no Dōhachi, Arashi Otohachi III as Untenbō,
Onoe Kikujirō II as Princess Terute, in the play Sekai no hana Oguri gaiden
(Worldly Flowers, an Oguri Anecdote), performed at the Nakamura
Theatre in IV/1851, from an untitled series of horizontal actor prints. c.
iv/1851. Published by Kobayashi Taijirō. Colour woodblock print, ōban.
Ritsumeikan University
Canonization of station-character motif schemes 245
Kunisada_p001_360.indd 245
• December 2013
• ISBN 978 90 04 19146 4
• Hardback with dustjacket (360 pp., 700 illus.)
52 Kunisada’s Tōkaidō. Riddles in Japanese Woodblock Prints
08-10-13 16:06
Kunisada_p001_360.indd 52
08-10-13 15:51
The Harunobu Decade
A Catalogue of Woodcuts by Suzuki Harunobu
and his followers in the Museum of Fine Arts,
Boston
HOTEI PUBL ISH I NG
David Waterhouse
20
The Museum of Fine Arts in Boston is home to the world’s
largest and richest collection of works by Suzuki Harunobu
(1725?–70), the first great artist of the full-colour Japanese
woodcut (nishiki-e). This complete and very detailed catalogue,
compiled and revised intermittently over forty years, describes
and illustrates in colour 721 single-sheet prints, including 589
by Harunobu himself. Most of these designs were produced in
the 1760s, the majority during the six years from 1765 to 1770.
Harunobu is famous for his sylph-like young women (and young
men); but, as the catalogue shows, his range was astonishingly
wide. His work is notable for its witty allusions, sometimes
concealed, to classical Japanese and Chinese poetry, Nō drama,
Japanese and Chinese folklore and history, and events and
personalities of the day. These allusions are explained in the
catalogue, often for the first time.
A lengthy Introduction places Harunobu’s life
and work in context, explains the principles
applied in dating the prints, and summarises
previous studies. In the Catalogue itself, all
quoted poems are transliterated and translated
into English, usually according to the original
metre; and in addition to background historical
information the commentaries include, as far as
possible, references to other known specimens
and states. Descriptions of prints issued as sets
appear under the first entry for each, often
accompanied by a summary table, and with what
on occasion amounts to a free-standing essay. A
series of Appendixes contains indexes of Chinese,
Korean and Japanese characters, a glossary of
names and terms, and lists of institutional and
private collections. The extensive Bibliographies
list books illustrated by Harunobu himself,
pre-modern Japanese publications, and modern
publications in Japanese and other languages.
The book concludes with a comprehensive Index.
• November 2013
• ISBN 978 90 04 23354 6
• Cloth with dustjacket (750 pp.; 2 vols. in slipcase; over 700 color illus.)
Shunga
Sex and Pleasure in Japanese Art
Edited by: Timothy Clark, C.Andrew Gerstle, Aki Ishigami and Akiko Yano
• October 2013
• ISBN 978 90 04 26326 0
• Hardback (560 pp., 420 illus.)
Drawing on the latest scholarship from the leading experts
in the field and featuring over 400 images of works from
major public and private collections, this landmark book
looks at painted and printed erotic images produced in
Japan during the Edo period (1600–1868) and early Meiji
era (1868–1912). These are related to the wider contexts of
literature, theatre, the culture of the pleasure quarters,
and urban consumerism; and interpreted in terms of their
sensuality, reverence, humour and parody.
This title is only available through Hotei Publishing in the
United States of America, Canada and the Philippines.
21
Shunga is in some ways a unique phenomenon in premodern world culture, in terms of the quantity, the quality
and the nature of the art that was produced. This catalogue
of a major exhibition at the British Museum marks the
culmination of a substantial international research project
and aims to answer some key questions about what shunga
was and why it was produced. In particular the social and
cultural contexts for sex art in Japan are explored.
Erotic Japanese art was heavily suppressed in Japan
from the 1870s onwards as part of a process of cultural
‘modernisation’ that imported many contemporary western
moral values. Only in the last twenty years or so has it been
possible to publish unexpurgated examples in Japan and
this ground-breaking publication presents this fascinating
art in its historical and cultural context for the first time.
HOTEI PUBL ISHING
In early modern Japan, 1600–1900, thousands of sexually
explicit paintings, prints, and illustrated books with
texts were produced, known as ‘spring pictures’ (shunga).
Frequently tender, funny and beautiful, shunga were mostly
produced within the popular school known as ‘pictures of
the floating world’ (ukiyo-e), by celebrated artists such as
Utamaro and Hokusai. Early modern Japan was certainly
not a sex-paradise; however, the values promoted in shunga
are generally positive towards sexual pleasure for all.
Official life in this period was governed by strict Confucian
laws, but private life was less controlled in practice.
The art of influence. Asian propaganda
Mary Ginsberg
Revolutionary art generally means propaganda – art with a
political message that is intended to motivate or persuade.
However, propaganda is not just a sinister manipulation, as
connoted in the West since the early twentieth century.
HOTEI PUBL ISH I NG
In revolutionary and wartime societies, propaganda is
considered a vital part of education and political participation.
Propaganda encourages or condemns; reinforces existing
attitudes and behaviour; and promotes social membership
within nation, class or work unit.
Drawing on the British Museum’s wide-ranging collection, this
book provides a fascinating contextual survey of political art
across Asia, covering the period from about 1900 to 1976. The
author explores themes such as propaganda in daily life; heroes
and villains; the use of the past; symbolism; dissent; women and
children; and revolutionary inspirations. Over 100 works of art
from China, Japan, Vietnam, Korea, India and other countries
are featured. Here are posters, prints, cartoons, calligraphy,
ceramics, paper cuts, textiles, panels and badges – powerful
images designed to move hearts and minds.
22
This title is only
available through
Hotei Publishing
in the United States
of America, Canada
and the Philippines.
21
FRONT magazine
1942
Japan
Coloured photographs, printed on paper
41.5  19 cm
British Museum 2008,3035.133, PB.390
Purchase funded by Brooke Sewell Bequest
FRONT magazine was published by the Eastern
Way Company (Tohosha), a private company
established by the Japanese military specifically
to produce propaganda for foreign audiences.1
FRONT was modelled on the 1930s publication
USSR in Construction, which was designed by the
avant-garde graphic artist El Lissitzky (1890–
1941) with contributions by the photomontage
innovator Alexander Rodchenko (1891–1956).2
Sent to all countries of the Greater East-Asia
Co-Prosperity Sphere, FRONT was published in
fifteen languages.
FRONT portrayed the daily actions of ordinary
soldiers, showing the development of the war
through dynamic design and the advances of
propaganda technology. ‘Media technologists’
pointed to new ways of working with ‘background,
foreground, color, layout, font and montage’.3
A series of special themed issues of FRONT
covered branches of the armed services,
Manchuria, Tokyo at war and other subjects. The
British Museum has three volumes comprising
two issues each.4 The volume dealing with the
navy is in French, the air force volume is in
English and the Manchuria issues are in Japanese.
1 Kushner 2006, pp. 71–2.
2 Fraser 1996, p. 103. For several covers and double-page spreads,
see pp. 103–4.
3 Kushner 2006, p. 74.
4 Ten volumes were produced, but copies of only nine survive.
The entire stock of the tenth was destroyed in a 1945 air raid.
British Museum Collections Online.
86
the art of influence
3 CATALOGUE LAYOUTS 18-03-13.indd 86
wartime
21/03/2013 15:12
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87
21/03/2013 15:12
• June 2013
• ISBN 978 90 04 25631 6
• Paperback (192 pages, ca. 100 full color illus.)
Surimono in the Rijksmuseum Amsterdam
Matthi Forrer
HOTEI PUBL ISHING
Surimono (literally ‘printed things’) constitute one of the most
delicate genres in Japanese printmaking. This genre fascinates
because it combines poetry and image and because it presents
a pictorial puzzle, which provides the viewer with a particular
insight into the intellectual and literary world of late 18th- and
early 19th-century Edo (today’s Tokyo). Major artists such as
Katsushika Hokusai, Utagawa Kunisada, Totoya Hokkei and
Yashima Gakutei, to name but a few, provided imagery to
accompany the poetic exploits of poetry club members. The
prints were circulated among networks of poets and friends
and, in contrast to other prints of the period, were not produced
for commercial gain. Intricate still lifes, historical and mythical
heroes, actors on the stage and tranquil landscapes form a
visual partnership with the witty poems (kyōka). The beauty
of these prints is enhanced by the astonishing printing quality,
including the use of metallic pigments and blindprinting.
The Rijksmuseum Amsterdam is home to one of the most
important collections of surimono in the world. Two recent
major donations have enriched the collection to such a degree
that a publication documenting the complete surimono
holdings of the museum is justified. The true beauty of the
collection can now be appreciated in full, with all the prints
illustrated in colour for the first time.
23
Surimono_p011_026_Opmaak Surimono 2 (okt.) 27-10-12 19:55 Pagina 21
Matthi Forrer’s deep understanding of poetry
circles and of the major artists of the time has
resulted in numerous revisions of the existing
descriptions and of previously established
chronologies within the genre.
Surimono in the Rijksmuseum Amsterdam is thus
an essential work of reference and at the same
time a source of endless aesthetic enjoyment.
• December 2012
• ISBN 978 90 74 82240 4
• Cloth with dustjacket (332 pp.,
more than 600 color illus.)
Surimono in the Rijksmuseum Amsterdam
21
Genji’s World in Japanese Woodblock Prints
Andreas Marks, with contributions by Bruce A. Coats, Michael Emmerich, Susanne Formanek, Sepp Linhart and Rhiannon Paget
HOTEI PUBL ISH I NG
Genji’s world in Japanese Woodblock Prints provides the first
comprehensive overview of Genji prints, an exceptional subject
and publishing phenomenon among Japanese woodblock prints
that gives insight into nineteenth-century Japan and its art
practices.
In the late 1820s, when the writer Ryūtei Tanehiko (1783–1842),
the print designer and book illustrator Utagawa Kunisada
(1786–1865) and the publisher Tsuruya Kiemon sat down
together in Edo to plot the inaugural chapter of the serial novel
A Rustic Genji by a Fraudulent Murasaki (Nise Murasaki inaka
Genji), it is doubtful that any one of them envisioned that their
actions would generate a new genre in Japanese woodblock
prints that would flourish until the turn of the century, Genjie
(“Genji pictures”). During these sixty years, over 1,300 original
designs were created, of which many were very popular at their
time of release.
24
The story of A Rustic Genji, set in fifteenth-century Japan, is in
many respects drawn from Murasaki Shikibu’s (c.973–1014/25)
classic novel The Tale of Genji from the early eleventh century.
As the foremost collection of prints of this subject, the extensive
holdings of Paulette and Jack Lantz provided the majority of
images necessary for this publication.
9
Utagawa Kunimori. A Critical Study of the Charms of
Women (Enshoku shina sadame), vol. 1, p. (4/5). 1852.
Hanshibon. S039
9a NMIG, Chap. 19, p. 12/13. 1836
41
62
Genji_p001_288_HT.indd 62
09-08-12 23:30
Genji_p001_288_HT.indd 41
• September 2012
• ISBN 978 90 04 23353 9
• Cloth with dustjacket (256 pp., with over 300 color illus.)
09-08-12 20:00
Yoshitoshi
Splendid Impressions
Masterpieces from the Ed Freis Collection
Japanese Secular Painting 1400-1900, in the Museum of East Asian Art Cologne
Chris Uhlenbeck and Amy Reigle Newland, with contributions by Maureen de Vries, Ed Freis and Robert Schaap
The more than 160 illustrations in the volume are fully
annotated. Ed Freis has selected a handful of Yoshitoshi’s
signature works to highlight the details of process and
variant editions. Maureen de Vries succinctly describes the
often complex, layered iconography of Yoshitoshi’s imagery.
Robert Schaap has created a valuable pictorial appendix of
all Yoshitoshi’s documented serial works.
• December 2011
• ISBN 978 90 04 21958 8
• Paperback (160 pp.; incl. 160 full-color illus.)
The publication is divided into two parts: the first section
discusses the reception of Japanese art and the dawn of
East Asian art history in Germany, as well as shedding new
light on the role of the monk painter as mediator between
Chinese and Japanese concepts of secular art.
The main body of the publication is the catalogue
section. Here, 94 works (divided into seven subject
categories) are presented: hand scrolls, fans, hanging
scrolls and folding screens. All works are reproduced in
full colour, many scrolls being shown in their entirety.
Each chapter is preceded by an introduction, elucidating
the historiographical, aesthetic and methodological
questions that are central to current research in the visual
culture of pre-modern Japan. The illuminating entries are
followed by a comprehensive appendices section, including
photographs of the paintings’ signatures, seals and
transcriptions of the inscriptions in the paintings.
Splendid Impressions will serve as a reference source not
only for curators, scholars and students of Japanese art and
culture, but also for anyone who has a personal interest in
Japanese painting.
• November 2011
• ISBN 978 90 04 20611 3
25
The two essays in the volume by Chris Uhlenbeck and Amy
Reigle Newland take new approaches in the discussion
of the art and life of Yoshitoshi, and depend little on the
usual, at times dubitable, sources frequently used to paint
a portrait of the artist. Chris Uhlenbeck offers insight into
Yoshitoshi through a discussion of extant prints. He charts
the development of Yoshitoshi’s work from the late 1850s,
when he received his first substantial commissions from
various publishers, to his death at the age fifty-three in
1892. Amy Reigle Newland establishes Yoshitoshi’s position
among his peers using contemporary accounts found in
types of popular guidebooks known as nazorae saiken(ki)
(‘riddle guidebooks’) and in the emerging press.
This publication focuses on the collection of Japanese
secular painting in the Museum of East Asian Art in
Cologne, a large part of which was acquired by the
museum’s founders Adolf and Frieda Fischer before 1913. Six
internationally renowned specialists of Japanese art present
new insights and approaches to pre-modern Japanese visual
culture in this exquisitely illustrated catalogue.
HOTEI PUBL ISHING
Tsukioka Yoshitoshi (1839–1892) created some of the most
spectacular designs in 19th century Japanese woodblock
prints. The last comprehensive overview of Yoshitoshi’s
work was published almost twenty years ago, but advances
in scholarship since then have resulted in a re-evaluation
of his work. This publication draws from the Ed Freis
collection, which was assembled over the course of thirty
years. It illustrates numerous works from Yoshitoshi’s
early career, including several prints that have to date not
appeared in Western language catalogues.
Edited by Doris Croissant, with a foreword by Adele Schlombs and with contributions by Yukio Lippit, Melissa McCormick, Matthew McKelway,
Joshua S. Mostow and Melanie Trede
Publishers of Japanese Woodblock Prints: A Compendium
HOTEI PUBL ISH I NG
Andreas Marks
26
Japanese woodblock prints exemplified by such
iconographic images as Hokusai’s Great Wave, Hiroshige’s
Heavy Rain on Ohashi bridge, or Utamaro’s enticing
beauties, constitute one of the most important and
influential art forms in art history.
Today, the names of these artists themselves are celebrated
throughout the world, and yet very little is known about
the publishers of these artworks, despite the fact that they
played a crucial role in the production, visual appearance
and actual distribution of the works within the highly
commercial world of Japanese printmaking. It was the
publisher who gauged the markets, commissioned the
artists and took on the risks of production. Once a design
was completed by an artist, it was the publisher who
coordinated the production process, farming out the work
to the block carvers and printers, and also managed the
distribution of the prints in the appropriate markets.
This volume champions the publisher – the enabler –
without whom the great artworks which influenced
painters like Monet, Toulouse-Lautrec, Van Gogh and
others, would never have been produced.
Publishers of Japanese Woodblock Prints: A Compendium
focuses on the production process of Japanese woodblock
prints with an emphasis on the role of the publisher.
This publication presents over 1,100 publishers, with
comprehensive lists of publications by a total of 572 artists
and facsimiles of over 2300 publisher seals, spanning a
time period from the 1650s to the 1990s. The publisher
entries include details on the residence of a publisher, his
clientele, the period of his commercial activity as well as a
list of issued print series in chronological order. This listing
offers insight into the status and versatility of a publisher,
as well as indicating the publisher’s specialities, favoured
artists and the particular strategies pursued. With almost
600 pages of information on the publishers of Japanese
woodblock prints, this publication is an essential reference
work for scholars and collectors of Japanese prints alike.
• December 2010
• ISBN 978 90 04 18531 9
The Beauty of Silence
Japanese Nō and Nature Prints by Tsukioka Kōgyo (1869-1927)
Robert Schaap and J. Thomas Rimer
The Beauty of Silence. Japanese Nō and Nature Prints by
Tsukioka Kōgyo (1867-1927) is the first monograph in English
on Tsukioka Kōgyo, one of the lesser-known exponents of
Japanese woodblock prints of the Meiji period (1868-1912).
This publication exposes Kōgyo’s life and work, presenting
a detailed and abundantly-illustrated overview of his rich
oeuvre of prints and paintings, and places them in the
context of his times. For the first time, Kōgyo’s life and
work are accessible to readers throughout the world.
Kōgyo is particularly well-known for his many depictions
of the Nō, Japan’s elegant and poetic theatrical form, dating
back to medieval times. Performances of Nō continue to
have wide audiences even today, with admirers not only in
Japan, but throughout Asia, Europe and the United States.
Kōgyo often created unusual images of the theatrical
productions he attended, and his prints provide fascinating
visual clues and insights into how these classic plays were
actually performed during his lifetime. In these theatrical
prints, Kōgyo created images of an evocative beauty that
are comparable with the work of some of the great artists
in the European tradition who also recorded the theatrical
practices of their times.
The Beauty of Silence illustrates a range of Kōgyo’s works
on a variety of subjects, including landscapes, as well as
samples of his art created in other media. The publication
includes his biography, historical information on the Nō,
a detailed analysis of the prints, and useful information
on each of the Nō plays pictured. The appendices section
includes listings of more than a hundred artist-seals used
by Kōgyo, an index of Nō plays and illustrations of all 120
prints belonging to Kōgyo’s famous print series Nōgaku
hyakuban (One Hundred Nō Plays).
This book, with almost 400 full color illustrations, will be
of wide interest both to lovers of woodblock prints and
to those interested in the power and beauty of Japan’s
theatrical traditions.
• October 2010
• ISBN 978 90 04 19385 7
The Shamisen: Tradition and Diversity
Crows, Cranes & Camellias
Henry Johnson
The Natural World of Ohara Koson 1877-1945
• December 2009
• ISBN 978 90 04 18137 3
• Cloth with dustjacket (xx, 145 pp.)
• December 2009
• ISBN 978 90 04 18106 9
The Interplay of Text and
Image in Japanese Prints
With a catalogue of the Marino Lusy Collection, edited by John T. Carpenter
• November 2008
• ISBN 978 90 04 16841 1
• Cloth with dustjacket (432 pp., over 400 colour illus.)
HOTEI PUBL ISHING
See also: The Shakuhachi (p. 13)
Amy Reigle Newland, Jan Perrée and Robert Schaap
Reading Surimono
27
Chris Uhlenbeck and Marije Jansen
• November 2008
• ISBN 978 90 04 17195 4
• Paperback (112 pp., over 140 colour illus.)
A Brush With Animals
Japanese Paintings 1700-1950
Robert Schaap, with essays by Willem van Gulik, Henk Herwig,
Arendie Herwig-Kempers, Daniel
McKee and Andrew Thompson
• January 2008
• ISBN 978 90 70 21607 8
• Cloth with dustjacket (206 pp. 275 color illus.)
Competition and Collaboration
Japanese Prints of the Utagawa School
Laura Mueller with essays by Fujisawa Akane, Kobayashi Tadashi
and Ellis Tinios
• November 2007
• ISBN 978 90 04 15539 8
• Cloth with dustjacket (232 pp. over 220 color illus.)
Hiroshige, Shaping the Image of Japan
Japanese Warrior Prints
1646-1905
The Hundred Poets
Compared
James King and Yuriko Iwakiri
A Print Series by Kuniyoshi,
Hiroshige, and Kunisada
• July 2007
• ISBN 978 90 74 82284 8
• Cloth with dustjacket (400 pp., over 200 color illus.)
Henk J. Herwig and Joshua S. Mostow
HOTEI PUBL ISH I NG
• June 2007
• ISBN 978 90 74 82282 4
Chikanobu
Modernity and Nostalgia in Japanese Prints
Bruce A. Coats, with essays by Allen Hockley, Kyoko Kurita and Joshua Mostow
• August 2006
• ISBN 978 90 74 82288 6
28
Heroes of the Grand Pacification
Kuniyoshi’s Taiheiki eiyū den
E. Varshavskaya
• January 2006
• ISBN 978 90 74 82269 5
• Cloth with dustjacket (192 pp. 50 color & 16 b/w illus.)
Haiku & Haiga
Moments in Word and Image
Edited by Ron Manheim
• January 2006
• ISBN 978 90 74 82286 2
Yoshitoshi’s Strange Tales
John Stevenson
• December 2005
• ISBN 978 90 74 82271 8
Kuniyoshi. The Faithful Samurai
David R. Weinberg
Foreword by B.W. Robinson
Translations and essay by Alfred H. Marks
Sexual Imagery of the Edo Period
Edited by Chris Uhlenbeck and Margarita Winkel
• January 2005
• ISBN 978 90 74 82266 4
Strong Women, Beautiful Men
Japanese Portrait Prints from the Toledo Museum of Art
Laura Mueller
• January 2005
• ISBN 978 90 74 82278 7
• Paperback (96 pp. 58 color illus.)
HOTEI PUBL ISHING
• December 2005
• ISBN 978 90 74 82285 5
Japanese Erotic Fantasies
29
Japanese Export Lacquer
The Akita Ranga Art School and Foreign Books
1580-1850
Hiroko Johnson
• January 2005
• ISBN 978 90 74 82264 0
• Cloth with dustjacket (176 pp. 57 illus., some color)
Oliver Impey and Christiaan Jörg
• January 2005
• ISBN 978 90 74 82272 5
• Cloth with dustjacket (384 pp. 657 illus., mostly color)
The Hotei Encyclopedia
of Japanese Woodblock
Prints (2 vols.)
General Editor: Amy Reigle Newland
Specialist Advisers: Julie Nelson Davis,
Oikawa Shigeru, Ellis Tinios and Chris Uhlenbeck
• January 2005
• ISBN 978 90 74 82265 7
• Cloth with dustjacket (600 pp. over 300 color illus.)
Western Influences on Japanese Art
Written Texts - Visual Texts
Woodblock-printed Media in Early Modern Japan
HOTEI PUBL ISH I NG
Edited by Susanne Formanek and Sepp Linhart
• January 2005
• ISBN 978 90 74 82258 9
• Cloth with dustjacket (368 pp. 139 b/w illus.)
• List price EUR 100.- / US$ 130.• European Studies on Japan, 3
A Guide to Japanese Art Collections
in the UK
Gregory Irvine
• January 2004
• ISBN 978 90 74 82274 9
Heroes of the Kabuki Stage
An Introduction to the World
of Kabuki with Retellings of
Famous Plays, illustrated by
Woodblock Prints
Henk Herwig and Arendie Herwig
• January 2004
• ISBN 978 90 74 82261 9
30
Printed to Perfection
Reflecting Truth
Visions of Japan
Twentieth-century Japanese Prints from the
Robert O. Muller Collection
Japanese Photography in the 19th Century
Kawase Hasui’s Masterpieces
Joan B. Mirviss, Amy Reigle
Newland, Chris Uhlenbeck, Marije Jansen with Henk Herwig
• January 2004
• ISBN 978 90 74 82273 2
• Paperback (132 pp. 123 color & 6 b/w illus.)
Edited by Nicole Coolidge
Rousmaniere and Mikiko Hirayama
• January 2004
• ISBN 978 90 74 82276 3
• Paperback (112 pp. 60 b/w illus.)
Kendall H. Brown
• January 2004
• ISBN 978 90 74 82268 8
The Koto
A Traditional Instrument in Contemporary Japan
The Commercial and
Cultural Climate of
Japanese Printmaking
Edited by Amy Reigle Newland
• January 2004
• ISBN 978 90 74 82263 3
• January 2004
• ISBN 978 90 74 82249 7
See also: The Shakuhachi (p. 13)
Essays by Cecilia Segawa Seigle,
Alfred H. Marks, Harue M. Summersgill, Amy Reigle Newland and Monika Hinkel with assistance from Kodaira Takashi and Ishigami Hidemi
• January 2004
• ISBN 978 90 74 82259 6
• List price EUR 40.- / US$ 52.• Famous Japanese Prints Series, 2
HOTEI PUBL ISHING
Henry Johnson
A Courtesan’s Day: Hour by Hour
31
Dismissed as elegant fossils
Marije Jansen
Konoe Nobutada and the role of aristocrats in Early Modern Japan
• January 2004
• ISBN 978 90 74 82260 2
• List price EUR 48.- / US$ 62.• Famous Japanese Prints Series, 1
Lee Bruschke-Johnson
• January 2004
• ISBN 978 90 74 82252 7
• List price EUR 84.- / US$ 109.• Japonica Neerlandica, 9
Kawase Hasui
The Complete Woodblock
Prints
Kendall H. Brown with an essay by Watanabe Shōichirō
• January 2003
• ISBN 978 90 74 82246 6
Hiroshige’s journey in the 60-odd provinces
Fine & Curious
Japanese Export Porcelain Japanese Erotic Prints
Japanese Export Porcelain in Dutch Collections
Catalogue of the Collection
of the Ashmolean Museum,
Oxford
HOTEI PUBL ISH I NG
Christiaan J.A. Jörg
• January 2003
• ISBN 978 90 74 82216 9
Oliver Impey
• January 2002
• ISBN 978 90 74 82239 8
Shunga by Harunobu and Koryūsai
Inge Klompmakers
• June 2001
• ISBN 978 90 74 82237 4
32
Yoshitoshi’s One Hundred
Aspects of the Moon
Births and Rebirths
in Japanese Art
John Stevenson
Essays Celebrating the
Inauguration of The
Sainsbury Institute for the
Study of Japanese Arts and
Cultures
• January 2001
• ISBN 978 90 74 82242 8
Edited by Nicole Coolidge
Rousmaniere
• January 2001
• ISBN 978 90 74 82244 2
Mount Fuji
Sacred Mountain of Japan
Chris Uhlenbeck and Merel Molenaar
• January 2000
• ISBN 978 90 74 82232 9
Plunder and Pleasure
The Female Image
Japanese Art in the West, 1860 - 1930
20th Century Japanese Prints of Japanese Beauties
Max Put
Shinji Hamanaka and Amy Reigle Newland
• January 2000
• ISBN 978 90 74 82220 6
Images of a forgotten Master: Toyohara Kunichika
(1835 - 1900)
Amy Reigle Newland with an essay by Shigeru Oikawa
• January 1999
• ISBN 978 90 74 82211 4
New Series
Edited by Kuiyi Shen, University of California, San Diego, Sonal Khullar, University of Washington, and Patrick D. Flores, University of the Philippines
brill.com/maav ISSN 2214-5257
Modern Asian Art and Visual Culture is an academic series devoted to the visual culture
of Asia of the modern period, spanning roughly from the mid-1850s up to the present
day. It includes monographs and edited volumes on art and architecture; art history;
art worlds and markets; visual materials related to propaganda; religion and art and
also extends to the performing arts, cinema and media studies. It also actively seeks
interdisciplinary or theoretical approaches to archaeology, religion, literature, and the
social sciences as well as projects that address modern Asian art and visual culture
from a comparative or interregional perspective.
Between State and Market
Contemporary Art in the Post-Mao Era
Jane DeBevoise
• November 2014
• ISBN 978 90 04 26801 2
• Hardback
• List price EUR 103.- / US$ 133.• Modern Asian Art and Visual Culture, 2
Liangyou, Kaleidoscopic Modernity and the Shanghai Global Metropolis,
1926-1945
Edited by Paul G. Pickowicz, Kuiyi Shen and Yingjin Zhang
• November 2013
• ISBN 978 90 04 24534 1
• Hardback with dustjacket (xii, 288 pp.)
• List price EUR 98.- / US$ 127.• Modern Asian Art and Visual Culture, 1
33
Modern Asian Art and Visual Culture
HOTEI PUBL ISHING
• January 2000
• ISBN 978 90 74 82209 1
Time Present and Time Past
The Anime Paradox
Kabuki at the Crossroads
Kurokawa Nō
Patterns and Practices
Through the Lens of
Traditional Japanese Theater
Years of Crisis, 1952-1965
Shaping the Image and
Perception of Japan’s Folk
Traditions, Performing Arts
and Rural Tourism
GLOBAL ORIENTAL
Stevie Suan, University of Hawai‛i
34
Founded on richly stylized expression,
Anime has developed into an art
with a high degree of sophistication
that is comparable to that of the
traditional theatrical forms of Noh,
Bunraku, and Kabuki. By analyzing
Anime through the lens of traditional
Japanese theater, the patterns and
practices in Anime can be mapped
out. In The Anime Paradox, Stevie
Suan utilizes this framework to reveal
Anime’s distinct form, examining
and delineating the particular formal
qualities of Anime’s structure,
conventions, aesthetics, and modes
of viewing. However, the comparison
works both ways—just as Japanese
theater can give us analytical insights
into Anime, Anime can enrich our
understanding of Japanese classical
theater.
Samuel L. Leiter
Samuel L. Leiter’s Kabuki at the
Crossroads: Years of Crisis, 19521965 is the first detailed account of
Japan’s kabuki theatre in the years
immediately following the end of
the Occupation. It examines every
aspect of this traditional theatre as
it struggled to maintain its position
in a rapidly changing postwar
entertainment environment. It covers
acting rivalries, major productions,
theatres, international tours, the
convention of men playing female
roles, name-taking and memorial
ceremonies, the company system and
managerial strategies. In addition,
the volume includes numerous
appendixes chronicling the period,
including a thorough chronology and
150 summaries of new plays never
previously discussed in English.
Eike Grossmann, Hamburg University
In the 1960s, Kurokawa’s historic nō
tradition, as theatre and festival, came
under the spotlight of the Japanese
public. Advertised as ‘secret nō of the
snow country’ it soon became one of
the most well-known and long-studied
folk performing arts traditions.
That a secluded village isolated by
mountainous country around it
should have developed and sustained
a high cultural entertainment such
as nō theatre and integrated it into
Shinto shrine festivals, prompted
considerable interest among folklore
scholars, theatre researchers,
politicians, and tourists alike. Even
today Kurokawa nō continues to be
regarded as an example of an earlier
form of Japanese culture and folk
tradition that essentially has been
frozen in time over the course of many
centuries.
In this volume, the author provides
a detailed record of the history and
development of Kurokawa nō and the
processes of its transmission over the
generations. The author also examines
its impact on the wider cultural life
of Japan and its literary heritage, the
travel industry, government policy
and folklore traditions in Japan
generally. In addition, Kurokawa Nō
offers an invaluable, authentic case
study in the wider context of notions
of Japanese self-perception and selfrepresentation.
• May 2013
• ISBN 978 90 04 22214 4
• Hardback (358 pp., 45 illus.)
• April 2013
• ISBN 978 90 04 25009 3
• Hardback (approx. 575 pp.)
• January 2013
• ISBN 978 90 04 22334 9
Commerce and Culture at the 1910 Japan-British Exhibition:
Centenary Perspectives
Edited by Ayako Hotta-Lister and Ian Nish
The contents include the following themes: The Exhibition
and domestic conditions in Britain and Japan; the
Exhibition and Japan’s economic background; selling
the ‘backward’ Japanese economy; imperialism and the
Exhibition; the Japanese media and the Exhibition; the arts
of Britain and Japan; Ainu in London; Japanese fine art; the
human legacy; Japanese gardens.
Makiko Yamanashi
Founded in the hot-spring resort town of the same name
in 1914, Takarazuka is a kaleidoscopic medium, both in
terms of its theatricality and visual characteristics. Yet,
despite its prominence and popularity, it has not received
the academic attention it deserves, especially in the
context of theatre studies. This book, therefore, by taking
an interdisciplinary approach, endeavours to fill this
gap through a detailed analysis of the Takarazuka Revue
Company’s history, educational traditions and theatrical
ethos viewed from the prism of Japan’s modernization
and globalization in the twentieth century. Its important
relationship to Japanese popular culture, especially
in the fields of manga and fashion are also given due
consideration.
Furthermore, because of its unique features as an allfemale performance art appealing mostly to female
Japanese audiences, the study also includes an in-depth
consideration of its continuing success, way of life
and wider social impact from both cultural and social
perspectives.
With Takarazuka’s centenary fast approaching, A
History of the Takarazuka Revue Since 1914 will have wide
interdisciplinary appeal, as well as in the particular context
of Japanese Studies. Illustrated throughout, supported by
an extensive bibliography, it is divided into five chapters:
l. The Formative Years of Takarazuka; 2.The Mechanisms
of Takarazuka; 3. The Stage Art of Takarazuka ‘Fantasy
Adventure’; 4. The Taishō ‘Modern’; in the Female Domain
of Shōjo Bunka; 5. Takarazuka in the Modern Heritage of
Girls’ Culture and Beyond.
This book has wide inter-disciplinary relevance for students
in modern East Asian Studies, but especially in the context
of colonial and economic history, inter-cultural exchange
and Anglo-Japanese relations.
• October 2012
• ISBN 978 90 04 22916 7
• Hardback (xvii, 231 pp. incl. several illus.)
• May 2012
• ISBN 978 90 04 20386 0
• Hardback (248 pp. including 130 color illus.)
35
In the event, the Japanese press, unlike the British press,
took umbrage at what they considered the trivialization
of Japanese culture, thus in part frustrating the positive
cultural, commercial and political outcomes that were
hoped for. Eighteen months later, Emperor Meiji died
and the Great War of 1914-18 followed soon after, thereby
relegating the exhibition – its origins, composition,
relevance and impact – to oblivion until recent times.
The papers in this volume, therefore, drawn from four
‘centenary conferences’ held in London and Tokyo, offer an
important spotlight on the exhibition’s legacy – specifically
in the contexts of commerce and culture.
Modernity, Girls’ Culture, Japan Pop
GLOBAL ORIENTAL
This volume, intended to complement Hotta-Lister’s
original 1999 study, marks the centenary of London’s 1910
great Japan-British Exhibition, which was held at White
City, Shepherd’s Bush, and attracted over eight million
visitors during its six-month stay. While the initiative came
from Britain, the Japanese Government was the major
source of funding for the Japanese side of the Exhibition.
Using the Anglo-Japanese Alliance as its springboard, Japan
– at the time a new colonial power – hoped to bring about
a greater understanding of its cultures and traditions and
thereby stimulate trade and commerce between the two
countries.
A History of the Takarazuka Revue Since 1914
GLOBAL ORIENTAL
36
Japan and The Graphic
Japan and The Illustrated London News
A Complete Record of Events, 1870-1899
Complete Record of Reported Events, 1853–1899
Compiled and introduced by Terry Bennett
Edited by Terry Bennett
Launched in December 1869 in direct competition to The
Illustrated London News, (ILN) which first appeared in 1842,
The Graphic set out to upstage its competitor through the
quality and amount of its illustrations (including colour)
and the paper it was printed on. Together, however, the
two periodicals dominated nineteenth-century British
journalism. With circulations far in excess of The Times,
the extent of the news – including considerable foreign
reporting – opinion and miscellaneous data of these
two publications provides an invaluable resource for
researchers and historians.
The Illustrated London News, launched in 1842, was the
world’s first illustrated newspaper and an immediate
success. Its first report on Japan, however, was not until
eleven years later. Japan and The Illustrated London News
provides a ‘one-stop’ access point to the complete record of
reported events relating to Japan in the critical half century
following its opening to the West.
As with the ILN, this complementary one-stop reference
volume brings together the complete archive of all reports,
features, illustrations and incidental commentaries relating
to Japan from the first report of 5 February 1870 discussing
Japan’s recent civil war, the overthrow of the ‘Shiogoon or
Tyocoon’, the restoration of the Emperor (Mikado) and a
vindication of Britain’s ‘policy of firmness’ vis à vis Japan.
Its concluding report on 16 December 1899 (the year of
the ratification of the ending of the Unequal Treaties was
concluded) notes: ‘No power in the world stands in a more
delicate and difficult position than Japan does just now.’
This volume of 400 pages includes an 8-page plate section
featuring a selection of The Graphic’s colour printing
relating to Japan, a full cross-referenced Index by J.E.
Hoare, together with an historical perspective by former
British Ambassador to Japan Sir Hugh Cortazzi and an
introduction to The Graphic in the context of nineteenthcentury media history by Terry Bennett.
• November 2011
• ISBN 978 19 06 87651 7
• September 2006
• ISBN 978 19 01 90326 3
• Hardback (394 pp., highly illus.)
Tengu
The Shamanic and Esoteric Origins of the Japanese Martial Arts
Roald Knutsen
As this study shows, the part-hidden tengu under review
passed on and taught the clearest theory of tactics and
strategy to bushi of the highest calibre, the absorption and
mastery of which often decided if the warrior and his clan
lived or were annihilated on the all-too-frequent killing
grounds of the Muromachi age.
Traditional Monster Imagery in Manga, Anime and Japanese
Cinema builds on the earlier volume Anime and its Roots
in Early Japanese Monster Art, that aimed to position
contemporary Japanese animation within a wider art
historical context by tracing the development of monster
representations in Edo- and Meiji-period art works and
post-war visual media.
While the previous volume concentrated on modern media
representations, this work focuses on how Western art
historical concepts and methodology might be adapted
when considering non-Western works, introducing
traditional monster art in more detail, while also
maintaining its links to post-war animation, sequential art
and Japanese cinema.
The book aims at a general readership interested in
Japanese art and media as well as graduate students
who might be searching for a research model within
the fields of Animation Studies, Media Studies or Visual
Communication Design.
Tengu will be widely welcomed in many contexts including
studies relating to martial arts, religion and folklore,
shamanism and mythology, and the social and military
history of Japan.
• August 2011
• ISBN 978 19 06 87622 7
• October 2010
• ISBN 978 19 06 87652 4
• Hardback (272 pp. including 4 color illus.)
37
According to Roald Knutsen, who is widely known for his
writings on the samurai tradition, prompting his life-long
study of tengu – the part-human, part-animal creatures –
was the early discovery that the tengu of the Muromachi
period were interacting with the deadly serious bugei
masters teaching the arts of war. Here were beings who did
not conform to the comic, goblin-like creatures of common
folklore and were not the creations of the Buddhist priests
intent on demonizing that which they did not understand
and could not control.
Zília Papp
GLOBAL ORIENTAL
This fully illustrated volume, including an eight-page
colour-plate section, is the first in-depth study in English
to examine the warrior and shamanic characteristics and
significance of tengu in the martial art culture (bugei) of
Muromachi Japan (1336-1573).
Traditional Monster Imagery in Manga, Anime and Japanese Cinema
AUTHORS IND E X
38
36 Bennett, T. (ed.) Japan and The Graphic, A Complete
Record of Events, 1870-1899
36 Bennett, T. (ed.) Japan and The Illustrated London
News, Complete Record of Reported Events, 1853–1899
31 Brown, K. Kawase Hasui, The Complete Woodblock Prints
30 Brown, K. Visions of Japan, Kawase Hasui’s Masterpieces
17 Bru, R. Erotic Japonisme, The Influence of Japanese
Sexual Imagery on Western Art
31 Bruschke-Johnson, L. Dismissed as elegant fossils,
Konoe Nobutada and the role of aristocrats in Early
Modern Japan
7 Buckland, R. Painting Nature for the Nation, Taki Katei
and the Challenges to Sinophile Culture in Meiji Japan
27 Carpenter, J. Reading Surimono, The Interplay of Text
and Image in Japanese Prints
15 Clark, J. Modernities of Japanese Art
21 Clark, T.; Gerstle, C.A.; Ishigami, A.; Yano, A. (eds.)
Shunga, Sex and Pleasure in Japanese Art
28 Coats, B. Chikanobu, Modernity and Nostalgia in
Japanese Prints
32 Coolidge Rousmaniere, N. (ed.) Births and Rebirths in
Japanese Art, Essays Celebrating the Inauguration of The
Sainsbury Institute for the Study of Japanese Arts and
Cultures
30 Coolidge Rousmaniere, N.; Hirayama, M. Reflecting
Truth, Japanese Photography in the 19th Century
25 Croissant, D. Splendid Impressions, Japanese Secular
Painting 1400-1900, in the Museum of East Asian Art
Cologne
30 Formanek, S.; Linhart, S. (eds.) Written Texts - Visual
Texts, Woodblock-printed Media in Early Modern Japan
23 Forrer, M. Surimono in the Rijksmuseum Amsterdam
22 Ginsberg, M. The art of influence. Asian propaganda
34 Grossmann, E. Kurokawa Nō, Shaping the Image and
Perception of Japan’s Folk Traditions, Performing Arts and Rural Tourism
6 Haft, A. Aesthetic Strategies of The Floating World,
Mitate, Yatsushi, and Fūryū in Early Modern Japanese
Popular Culture
33 Hamanaka, S.; Reigle Newland, A. The Female Image,
20th Century Japanese Prints of Japanese Beauties.
30 Herwig, H.; Herwig, A. Heroes of the Kabuki Stage, An Introduction to the World of Kabuki with Retellings of Famous Plays, illustrated by Woodblock Prints
28 Herwig, H.; Mostow, J.S. The Hundred Poets Compared,
A Print Series by Kuniyoshi, Hiroshige, and Kunisada
9 Hirasawa, C. Hell-bent for Heaven in Tateyama
Mandara, Painting and Religious Practice at a Japanese
Mountain
35 Hotta-Lister, A.; Nish, I. (eds.) Commerce and Culture
at the 1910 Japan-British Exhibition: Centenary
Perspectives
10 Ikeda, A.; McDonald, A.L.; Tiampo, M. (eds.) Art and War in Japan and its Empire: 1931-1960
29 Impey, O.; Jörg, C. Japanese Export Lacquer 1580-1850
32 Impey, O. Japanese Export Porcelain, Catalogue of the
Collection of the Ashmolean Museum, Oxford
30 Irvine, G. A Guide to Japanese Art Collections in the UK
18 Iwakiri, Y.; Newland, A. Kuniyoshi, Japanese master of
imagined worlds
31 Jansen, M. Hiroshige’s journey in the 60-odd provinces
31 Johnson, H. The Koto, A Traditional Instrument in
Contemporary Japan
13 Johnson, H. The Shakuhachi, Roots and Routes
27 Johnson, H. The Shamisen: Tradition and Diversity
29 Johnson, H. Western Influences on Japanese Art, The Akita Ranga Art School and Foreign Books
32 Jörg, C. Fine & Curious, Japanese Export Porcelain in
Dutch Collections
8 Kilpatrick, H. Miyazawa Kenji and His Illustrators,
Images of Nature and Buddhism in Japanese Children’s
Literature
28 King, J.; Iwakiri, Y. Japanese Warrior Prints 1646-1905
32 Klompmakers, I. Japanese Erotic Prints, Shunga by
Harunobu and Koryūsai
37 Knutsen, R. Tengu, The Shamanic and Esoteric Origins of the Japanese Martial Arts
34 Leiter, S.L. Kabuki at the Crossroads, Years of Crisis,
1952-1965
11 Lillehoj, E. Art and Palace Politics in Early Modern
Japan, 1580s-1680s
28 Manheim, R. Haiku & Haiga, Moments in Word and Image
24 Marks, A. Genji’s World in Japanese Woodblock Prints
19 Marks, A. Kunisada’s Tōkaidō, Riddles in Japanese
Woodblock Prints
26 Marks, A. Publishers of Japanese Woodblock Prints: A Compendium
3 Mostow, J.S. Courtly Visions, The Politics of Cultural
Appropriation and the Ise Stories (Ise monogatari)
27 Mueller, J. Competition and Collaboration, Japanese
Prints of the Utagawa School
29 Mueller, J. Strong Women, Beautiful Men, Japanese
Portrait Prints from the Toledo Museum of Art
16 Nakamura, T. (ed.) Images of Familial Intimacy in Eastern and Western Art
2 Orbaugh, S. Performing Propaganda: Kamishibai in Japan’s Fifteen Year War (provisional)
37 Papp, Z. Traditional Monster Imagery in Manga, Anime
and Japanese Cinema
33 Put, M. Plunder and Pleasure, Japanese Art in the West,
1860 - 1930
30 Reigle Newland, A. (ed.) Printed to Perfection,
Twentieth-century Japanese Prints from the Robert O. Muller Collection
31 Reigle Newland, A. (ed.) The Commercial and Cultural
Climate of Japanese Printmaking
29 Reigle Newland, A. (ed.) The Hotei Encyclopedia of Japanese Woodblock Prints (2 vols.)
33 Reigle Newland, A. (ed.) Time Present and Time Past,
Images of a forgotten Master: Toyohara Kunichika (1835 - 1900)
27 Reigle Newland, A.; Perrée, J.; Schaap, R. Crows, Cranes
& Camellias, The Natural World of Ohara Koson 1877-1945
11 Rodner, W.S. Edwardian London through Japanese Eyes,
The Art and Writings of Yoshio Markino, 1897–1915
12 Rosenfield, J. Portraits of Chōgen, The Transformation of Buddhist Art in Early Medieval Japan
27 Schaap, R. A Brush With Animals [hardback], Japanese Paintings 1700-1950
26 Schaap, R.; Rimer, J.T. The Beauty of Silence, Japanese
Nō and Nature Prints by Tsukioka Kōgyo (1869-1927)
31 Segawa Seigle, C.; Marks, A. H.; Summersgill, H. M.;
Reigle Newland, A.; Hinkel, M. A Courtesan’s Day: Hour by Hour
AUTHORS IND E X
39
32 Stevenson,
Yoshitoshi’s
One
Aspects of the
he fisher Namishichi,
SekiJ.Utasuke
as Zeze
noHundred
Shōzō, Na-
Moon
28 Stevenson, J. Yoshitoshi’s Strange Tales
II as Princess
inThe
the play
Sekai
no hana
Oguri gaiden
34 Terute,
Suan, S.
Anime
Paradox,
Patterns
and Practices
ers, an Oguri Anecdote),
performed
at
the
Nakamura
Through the Lens of Traditional Japanese Theater
Suzuki, series
J.; Tinios,
E. (eds.) Understanding
1851, from 14
an untitled
of horizontal
actor prints. c. Japanese
Woodblock-Printed
Illustrated
Short
shed by Kobayashi Taijirō. Colour woodblockBooks,
print, A
ōban.
Introduction to Their History, Bibliography and Format
University
11 Suzuki, Y. Medicine Master Buddha: The Iconic Worship of Yakushi in Heian Japan
4 Szostak, J. Painting Circles: Tsuchida Bakusen and
Nihonga Collectives in Early Twentieth Century Japan
27 Uhlenbeck, C.; Jansen, M. Hiroshige, Shaping the Image of Japan
as Onigawara no Dōhachi, Arashi Otohachi III as Untenbō,
32 Uhlenbeck, C.; Molenaar, M. Mount Fuji, Sacred Mountain of Japan
25 Uhlenbeck, C.; Reigle Newland, A. (eds.) Yoshitoshi,
Masterpieces from the Ed Freis Collection
29 Uhlenbeck, C.; Winkel, M. Japanese Erotic Fantasies,
Sexual Imagery of the Edo Period
28 Varshavskaya, E. Heroes of the Grand Pacification,
Kuniyoshi’s Taiheiki eiyū den
20 Waterhouse, D. The Harunobu Decade, A Catalogue of Woodcuts by Suzuki Harunobu and his followers
in the Museum of Fine Arts, Boston
5 Wattles, M. The Life and Afterlives of Hanabusa Itchō,
Artist-Rebel of Edo
29 Weinberg, D.R. Kuniyoshi. The Faithful Samurai
35 Yamanashi, M. A History of the Takarazuka Revue
Canonization
of station-c
Since 1914, Modernity, Girls’ Culture, Japan Pop
16 Sorensen, J.T. Optical Allusions, Screens, Paintings, and
Poetry
in (from
Classical
Japan
(ca.Ichikawa
800-1200)
sada. Fifty-one:
The
actors
right
to left)
40
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