20th Century Japanese Prints

Bridges to Heaven: Essays on East Asian Art in Honor of Professor Wen C. Fong, 2011

Reassessing the Dating of Chinese Jade Forked Blades zhixin jason sun Regionalism in Han Dynasty Stone Carving and Lacquer Painting 259 anthony barbieri-low Contents part three out in the world : the public figure Pedagogue on the Go: Portraits of Confucius as an Itinerant Teacher julia k. murr ay The Ming Imperial Image: The Transformation from Hongwu to Hongzhi dor a c.y. ching An Analytical Reading of Portraits of Emperor Qianlong and His Consorts chen pao-chen The Making of Royal Portraits during the Chosŏn Dynasty: What the Ŭigwe Books Reveal yi sŏng-mi A Group of Anonymous Northern Figure Paintings from the Qianlong Period james cahill Josetsu's Catching a Catfish with a Gourd: Cultural Agendas and the Early Fifteenth-Century Shogunal Academy richard stanley-baker volume two part four working on faith : buddhist and daoist arts A Tale of Two Scrolls: The Luo Nymph Rhapsody in Peking and London roderick whitfield Visualizing Paradise and Configuring Conventions: Cave 334, Dunhuang jennifer noering m c intire The Three Purities Grotto at Nanshan, Dazu 495 anning jing A Change of Clothes: The Selective Japanization of Female Buddhist Images in the Late Heian and Kamakura Periods nicole fabricand-person part five le arning from nature : the l andsc ape and the garden Multipanel Landscape Screens as Spatial Simulacra at the Mogao Caves, Dunhuang foong ping Commentary on the Rock lothar ledderose Strange Pictures: Images Made by Chance and Pictorial Representation in an Album by Xuezhuang robert e. harrist, jr. Beyond the Representation of Streams and Mountains: The Development of Chinese Landscape Painting from the Tenth to the Mid-Eleventh Century shih shou-chien Reconfirming the Attribution of Snow-Capped Peaks to the Early Qing Painter Zhang Jisu shen c.y. fu Northern Song Landscape Styles in the Seikadō Ten Kings of Hell Paintings cheeyun kwon A Handscroll of Orchid and Bamboo by Zhao Mengfu and Guan Daosheng chu-tsing li The Lion Grove in Space and Time david ake sensabaugh Brushwork Behavior from Song to Qing joan stanley-baker part six collection and appreciation : the arts on displ ay Seeking Delight in the Arts: Literary Gathering by Ikeda Koson helmut brinker Practices of Display: The Significance of Stands for Chinese Art Objects jan stuart Imaging Oriental Art in Late Nineteenth-Century America: The Walters Collection Catalogue hui-wen lu part se ven tr ansmit ting the image : inscriptions and copy work, print and photogr aphic media Calligraphy and a Changing World: A Study of Yang Weizhen's Inscription for the Collection of Ancient Coins hui-liang chu Copying in Japanese Art: Calligraphy, Painting, and Architecture yoshiaki shimizu A Study of the Xinjuan hainei qiguan, a Ming Dynasty Book of Famous Sites lin li-chiang Chinese Print Culture and the Proliferation of "One Hundred Beauties" Imagery christine c.y. tan

This is a continuation of my paper on the influence/influencing of Japanese arts associated with Japanism, Arts and Crafts and most importantly Art Nouveau

ARTISTIC CULTURE. TOPICAL ISSUES, 2018

The high rise of the Japanese theatrical engraving as a self-sufficient and independent art is observed in the 17th–19th centuries and has no analogies not only in the culture of other Eastern countries, but in the whole world culture in general. Extremely strong influence on the modern ecological poster had the work of Tusyushai Syaraku. The peculiarity of the artistic manner of Syaraku is that in his work he embraced almost the full spectrum of the theater performing staff, and not just the popular “stars”. The circle of characters in Syaraku is more complete and “democratic”, in comparison with other masters. Among the modern masters who were influenced by the work of Tosyushaya Syaraku, we note Takanokuro Yoshinori, Norizako Kita, Shuzo, Sato Koichi and many others. In their posters, masters use o-kubi-e techniques.

Ukiyo-e prints of the Edo period (1603-1868): Social and economic factors, technical matters

New Frontiers in Asian Scholarship, 2015

Book review in New Frontiers in Asian Scholarship: Sugawara, Mayumi, The Nineteenth Century of Ukiyo-e Woodblock Prints: Time in Landscape, Space in Historical Imagery (Ukiyo-e hanga no jūkyūseiki: Fūkei no jikan, Rekishi no kūkan 『浮世絵版画の十九世紀 風景の時間、歴史の空間』, Tokyo: Brücke, 2009), February 28, 2015. http://www.harvard-yenching.org/features/nineteenth-century-ukiyo-e-woodblock-prints-time-landscape-space-historical-imagery

Anais do Congresso de Iniciação Científica da Unicamp, 2015

This study approaches the aspects of drawing in ukiyo-e woodblock prints, which emerged in Edo period Japan (1603-1867). It is intended to investigate stylistic and historic origins of the prints along with the technical process of producing one, but the research focus will be on graphical and spatial specificities within the drawing involved. Also, there will be a brief discussion over the main topics-or "commonplaces" for expressions-depicted in the prints and a listing of Edo period's main artists, according to renown and influence on Western art. The research covers an interview with Professor Madalena Hashimoto Cordaro, Ph.D., specialist in Japanese art and literature from the University of São Paulo.

Living Proof: Drawing in 19th Century Japan, 2017

Living Proof: Drawings from 19th-Century Japan examines varying approaches to draftsmanship by Japanese artists in the nineteenth century, shining a light on this underappreciated and understudied body of work. While traditional Japanese woodblock prints are widely admired, this exhibition is the first of this kind in the United States in more than three decades, presenting a range of drawings and sketches that were intended as didactic tools, meditative exercises, or preliminary proofs for woodblock carvings. More than seventy works are featured from such celebrated figures as Hokusai, Kuniyoshi, and Yoshitoshi, as well as lesser-known but significant artists. These materials reveal much about their methods, from re-workings of initial sketches in various stages of the creative process to collaborative engagement of subsequent woodblock carvers and printers. By highlighting the often-unseen processes, alterations, and even imperfections that have been excluded from a celebrated history of printmaking in Japan, Living Proof offers a rare opportunity to witness the artist's hand directly, reframing these preliminary drawings as artworks in their own right. For the great care, attention, and commitment with which they organized this exhibition, I wish to extend my deep gratitude to Kit Brooks, independent curator, and Tamara H. Schenkenberg, Associate Curator of the Pulitzer Arts Foundation. Working in collaboration, Kit and Tamara have brought together an unprecedented range of works that speak to the varied functions and roles common at the time of their creation. I thank Kit and Tamara for realizing Living Proof, and for revealing the great wealth of surprises, details, and delights that these works present to the viewer. This exhibition would not be possible without the judicious care and stewardship of the collectors and institutions that loaned these works for this installation.

2017

Ars Orientalis, 2019

Contributors to this volume have linked the flourishing of art-historical art in the Song period (960-1279) and beyond to an overall change in historical consciousness. The surge in art-historical art in eighteenth-and early nineteenth-century Japan similarly marks a fundamental change in historical consciousness and methodology. From the early 1700s onward, Japan saw the dawn of an information age in response to urbanization, commercial printing, and the encouragement of foreign books and learning by the shogun Yoshimune (in office 1716-45). This essay explores the impact of this eighteenth-century information age on visual art, distinguishing new developments from earlier forms of Japanese art-historical consciousness found primarily in the Kano school. Printed seventeenth-and eighteenth-century Chinese painting albums and manuals arrived in Japan shortly after their issuance, but certain conditions had to be met before similar books could be published in Japan. First, artists and publishers needed to circumvent the ban on publishing information related to members of the ruling class (including paintings owned by these elites). Second, independent painters who had been trained in the Kano school also were obliged to find a means of breaking with medieval codes of secret transmission in a way that benefited rather than harmed their careers. Finally, the emergence of printed painting manuals was predicated on the presence of artists and audiences who saw value in the accurate transcription of existing paintings and their circulation in woodblock form. In the 1670s and 80s, the Edo-based painter Hishikawa Moronobu (1618-1694) popularized the ezukushi (exhaustive compendium) form of illustrated book. While some of his images were based loosely on existing paintings, his books show little interest in faithful reproduction. By the late eighteenth century, by contrast, the market saw the appearance of numerous books about painting with the stated goal of the reproduction and circulation of painting models for the historical or practical benefit of their audiences. Ōoka Shunboku (1680-1763), one of the most important contributors to this trend, presented his own compilations of pictorial models as a response to Honchō gashi (A History of Painting of Our Realm), the textual history of Japanese painting that had been published in Kyoto in 1693. From this, we can conclude that the rise of woodblock-printed painting compendia emerged from broader changes in historical consciousness, and would, in turn, come to affect the ways in which painters and audiences perceived the act of creating new paintings.