Japanese Woodblock Prints

Esse artigo pretende analisar os aspectos técnicos da produção de uma xilogravura japonesa levando-se em conta as especificidades que tal mídia transmite para o resultado final da obra. Para tal fim, além da experiência obtida pela prática, será feito um breve relato acerca dos métodos e procedimentos empregados na produção de uma xilogravura tradicional japonesa no período Edo, que vai de 1603 até 1868 e que constitui a época de maior desenvolvimento da estampa ukiyo-e. Ademais, será feito, sempre que pertinente, um levantamento entre os processos históricos da xilogravura desenvolvida no ocidente e da estampa japonesa ukiyo-e para determinar os usos e possibilidades de expressão artística contidas na xilogravura japonesa.

The 240 University students that participated in Aruki−henro expressed their own impression by writing Haikus, a Japanese poem of seventeen syllables. This study examined quality of the being deeply impressed with the Aruki−henro experience by analyzing scene images and an author’s feeling described in 600 haiku poems composed by university students that participated in Aruki−henro. In this study, we used the theory of a emotional intelligence as reference. This study proved that collabolative learning, consisting Aruki−henro experience and expression of the impression acquired by that experience, will form the foundation of human development

Winner of the 2023 Prix Paul Marmottan, this densely written tome presents an in-depth examination of the dynamics of French Japonisme, enhanced by a rich collection of 246 illustrations, many in color, as well as a substantial bibliography of primary and secondary sources. These elements support a thoughtful analysis of an undeniably important and unique cultural phenomenon characteristic of the French nineteenth century. In fact, the very title of the study insists on Japonisme as it manifested in France, even as the author acknowledges the universal nature of the movement. "Ce livre ne parle pas du Japon mais de la France," she explains in the introduction ("This book does not speak of Japan, but of France") (6). The Japonisme of other countries is therefore not the book's subject, nor is the evolution of Japanese art from 1800 to the present day. This emphasis on a specifically French artistic perspective also comes through forcefully in an assessment of critical studies and exhibition catalogues dedicated to Japonisme. Sophie Basch presents a robust critique of many analyses written in English in the twentieth and twenty-first centuries, particularly with regard to what the author sees as ambiguous readings of notions such as influence, prefiguration, and communication between cultures-notions that, she argues, need to be rethought in a more inclusive context. The author emphasizes the visual arts, exploring the ways in which Japanese masters of ukiyo-e, such as Hokusai and Utamaro, interact with the work of a host of French artists (especially those born between 1820 and 1850). Accordingly, she traces an eccentric tradition perceptible as early as the work of Jean-Auguste-Dominique Ingres (1780-1867) and moving through other, more canonical figures for Japonisme, such as Edgar Degas (1834-1917) and James McNeill Whistler (1834-1903).

apanese has a set of lexicogrammatical resources generally referred to as honorifics. SFL exploration so far has shown a variety of interpersonal meanings to negotiate tenor relationships including hierarchical interpersonal relationships, distance, and/or solidarity in modern Japanese society (e.g. Teruya, 2007; Inako, 2019a, b, 2021). But how was the case in the older days? With the concept of phylogenesis, ‘the evolution of human language (and of particular languages as manifestations of this)’ (Halliday & Matthiessen 1999), this paper embarks on the evolution of the meaning potential of these resources. In this preliminary study, I examine extracts from classical texts written in Early Middle Japanese that belong to the narrative, personal recount, and historical recount genres. Honorific resources in the texts and projected speeches are analyzed in terms of the interpersonal meanings they manifest in relation to the generic and register variables as well as in terms of the social hierarchical relationships of the time. The discussion will compare similarities and differences in meanings made by the same categories of resources in Early Middle and Modern Japanese, making the first step in the SFL exploration of the phylogenesis of honorifics in Japanese.

A fiber probe has been developed that enables simultaneous acquisition of mid-infrared (MIR) and Raman spectra in the region of 3100-2600 cm -1 . Multimodal measurement is based on a proposed ZrO 2 crystal design at the tip of an attenuated total reflection (ATR) probe. Mid-infrared ATR spectra are obtained through a pair of chalcogenide infrared (CIR) fibers mounted at the base of the crystal. The probe enables both excitation and acquisition of a weak Raman signal from a portion of the sample in front of the crystal using an additional pair of silica fibers located in a plane perpendicular to the CIR fibers. The advantages of combining MIR and Raman spectra in a single probe have been discussed.

az ElTE BTk Filozófia intézete és az mTa-ElTE nyelvfilozófiai kutatócsoportja rendezésében Nyelv, hatalom, morál címmel 2010. szeptember 30. és október 1. között Budapesten rendezett konferencián elhangzott előadás írott változata. 1 az irodalomjegyzék után közöljük azt a néhány írásjegyet, amelyeknek a tanulmány vizuális megjelenésére is utal.

La historia del coleccionismo de arte japonés en España es uno de los campos de estudio que nos deben ayudar a descifrar la incidencia real del japonismo en la península. Desde este punto de vista, este artículo tiene como objetivo presentar la antigua colección de estampas japonesas de los hermanos Mélida Alinari, formada durante el último cuarto del siglo XIX en el contexto del primer japonismo en Madrid.

The chapter describes the bequest to Newnham College made in 1929 of the collection of c. 86 items by the artist, collector and supporter of women's education and suffrage, Christiana Herringham (1852-1929). The collection can be broadly divided into four main groups of fine and decorative art: paintings by Herringham herself, including three of her tempera copies after Italian 'Primitives' and eight watercolour studies of plants showing the influence of Ruskin; an important collection of Japanese watercolours including kakemonos (hanging scrolls), and woodblock prints; a collection of textiles, ranging from English embroideries to Far Eastern textiles and robes; and Oriental export furniture, small decorative objects and books. The artworks are the subject of a full catalogue currently being undertaken by the author.

This review views Rubin's approach in terms of current fashionable trends of analysis and accuses it of never addressing the central problematic about the relation of imagery and general approach, quoting Monet's words to indicate how it falls short of 'getting' Impressionism overall.

Employing a multiplicity of perspectives, King traces the story of an adolescent outcast. As a social horror story, it reveals the problems connected to maturation, the conservative nature of high schools and the dangers of religious fanaticism. This dark Cinderella story is about a girl feeling her powers for the first time and getting her revenge for her past humiliations

Resumen Este artículo se remonta a los orígenes del grabado entendido como obra de arte, entre los siglos XV y XVII en Europa, para explorar las posibilidades eminentemente autorreflexivas del medio, cuyas particularidades de "reproductibilidad" redimensionan la noción del arte en Occidente; establece una comparación entre el fenómeno de las réplicas en el grabado y la pintura a partir del nuevo entendimiento renacentista de la identidad artística y de la firma como extensión de la persona. Investiga la relación histórica entre original y copia, insinuando la manera en que el grabado relativiza algunas nociones actuales sobre la reproducción, a partir de conceptos como invención e imitación, y la "mano" del artista. Para poner estas ideas en juego, propone una interpretación de un grabado específico, la Ninfa de Fontainebleau, y su reproducción en distintos contextos. Atribuida a Pierre Milan y René Boyvin, esta imagen puede leerse como una declaración artística sobre la capacidad del grabado de recrear otros medios visuales, y de extenderse tanto espacial como temporalmente.

Red organic dye identification is an important topic for conservation of Japanese ukiyo-e prints. Of particular interest are the works of Suzuki Harunobu, who was working at the inception of full-color printmaking. These prints were made on thin kōzo paper and woodblock printed with semi-transparent to opaque regions of dye(s) and/or pigment(s) mixed with binder. This study used imaging analysis, X-ray fluorescence (XRF), Raman, and surface-enhanced Raman spectroscopies (SERS) to identify the red dyes and pigments on Harunobu prints in the collection of the Portland Art Museum. Through image analysis (visible, UV, and IR illuminations), 23 prints were categorized by appearance. XRF results provided identification of vermilion and ochre pigments, and identified color fields that contained lead. Raman analysis allowed the identification of red lead, and SERS was used to identify both safflower and madder dyes. This work is expected to contribute to the body of knowledge regarding the ...

In 1961, the Central Bureau of Art Exhibitions in Warsaw presented an exhibition of woodcuts by Shikō Munakata (1903-1975). The show coincided with the time when the artist-known for his inspirations from Japanese folk art and Buddhism-gained international recognition.

This scientific study of color prints from chiaroscuro woodcuts is of particular interest and has not yet been carried out on Northern European prints. The aim of this work is to analyze the ink and paper chemical composition, and to define the sequence of printed layers in order to understand how the artists and their workshop achieved visual effects. The methodology, entirely non-invasive and non-destructive, involves the complementary use of imaging and spectroscopic techniques. Imaging techniques provide microscopic and macroscopic observations of the color prints. Together with infrared false color (IRFC) photography, they allow to make the first assumptions regarding the pigments and dyes used in the inks and their sequence of application. Xray fluorescence (XRF) spectroscopy and fiber optics reflectance spectroscopy (FORS) in visible range enable to detect presence of paper treatments and to characterize pigments and, in some cases, dyes. The paper demonstrates the great potentiality and ability of the totally non-invasive imaging and spectroscopic techniques and shows, for the first time, the results obtained on Northern European chiaroscuro woodcuts produced during the 16 th century.

À travers une analyse diachronique, nous montrons comment les conditions de production de la danse en Tunisie (circonstances, usages, fonction remplie, interdits sur le corps, etc.) ont contribué à sa mise en forme et déterminé à la fois ses capacités productrices et sa dynamique d'évolution interne.

La geisha japonaise attise la curiosité et la crédulité. L'Occident la dépeint plus ou moins comme une prostituée de luxe, mythe qui dérive de l'occupation américaine de l'aprèsguerre. Des prostituées se faisaient passer pour des geishas afin d'attirer les soldats étasuniens qui ont rapidement propagé ce leurre. Ce mythe est tellement enraciné dans l'esprit occidental que beaucoup refusent de croire qu'il puisse en être autrement. Encore aujourd'hui, la majorité des textes journalistiques et autres qui en font état entretiennent cette affabulation, même si des documentaires récents ont tenté de rétablir la vérité.

El presente trabajo pretende ampliar el conocimiento que se tiene del arte japonés como influencia en el primer movimiento del arte moderno contemporáneo: el impresionismo, a través de su autor más conocido: Claude Monet. Además de analizar la obra de los impresionistas a partir de nuevos marcos culturales, el objetivo es poner en valor la filosofía japonesa más allá del exotismo y de la visión racista e imperialista del conocimiento.

El 20 de maig de 1985, el guardó mes prestigiós concedit als intellectuais en I'ambit de les terres de parla catalana. el Premi dSHonor de les Lletres Catalanes, va ser atorgat a Maria Manent, per la seva tasca continuada en els camps de la poesia. la traducció, la critica i les edicions. Aquesta avinentesa ens serveix per recordar que. dins la producció poetica d'aquest autor, trobem dos textos de tematica relacionada amb les nostres contrades, coucretament amb la vila d'Altafulla, un que duu per tito1 aquest toponim, «Altafulla» i «Afuada i altiva...)). Maria Manent. nascut a Barcelona el 1898. és considerat com un poeta adscrit al Noucentisme, o en tot cas evolucionant en aquest i desembocant en els anys de maduresa cap el Simbolisme. Bs autor d'una poesia que «canta», subjectiva, pero. alhora. trascendent. Com a persona. s'ha caracteritzat sempre per la discreció absoluta. lluny

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.

Gender and Power in the Japanese Visual Field represents the results of a group research project that critically examines the representations of gender and sexuality in Japanese visual cultures. We include not only examinations of representations from Japan's medieval, early modern, and modern periods, but also interventions in the study and representation of such visual artifacts in contemporary scholarship. In other words, essays in this volume not only reexamine artifacts from the past, but also examine the historiography that surround the objects, that is, their reception history. In all cases, our concern is how the cultural constructions of gender and sexuality serve the purposes of power, especially as it is organized under state and interstate regimes. Feminist Art History Outside Japan Feminist art history is a relatively new development both within Japan and without. In North America its inception is often dated to the publication of Linda Nochlin's 1971 essay "Why Have There Been No Great Women Artists?" 1 It took about a decade before critical mass had been generated to publish Feminism and Art History: Questioning the Litany, edited by Norma Broude and Mary D. Garrard, and advertised as "the first collection of feminist art historical essays to appear in the United States." That volume contained seventeen essays "arranged chronologically and cover[ing] every major period from the ancient Egyptian to the present." 2 A decade later the same editors published a second volume, The Expanding Discourse: Feminism and Art History (1992). As they note in their preface, this second time their "task was entirely different [from that in the 1982 volume]. We were confronted by a rich harvest of scholarship in art history, nourished by new theoretical and critical perspectives and by the new interdisciplinary fields of 'women's studies' and 'gender studies.

Extrait de : Brigitte BERTONCELLO (dir.), Les Acteurs de la composition urbaine, Paris, Édition électronique du CTHS (Actes des congrès des sociétés historiques et scientifiques), 2013. Cet article a été validé par le comité de lecture des Éditions du CTHS dans le cadre de la publication des actes du 137 e Congrès national des sociétés historiques et scientifiques tenu à Tours en 2012. 2. Edo ou Yedo a pris le nom de Tokyo au début de l'ère Meiji. 3. J. W. Dower, « Foreigner in treaty-port Japan », Chapter 4, p. 1. 4. A. Sakai, « The hybridation of ideas on public parks : introduction of western thought and practice into the nineteenth-century Japan », p. 351.

Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today's artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled "Effects of fine art printmaking on the phenomenon of contemporary art".

Blue colors were sparsely used in the first colored Japanese ukiyo‐e prints but became predominant during the 19th century, mainly due to the integration of the synthetic Prussian blue in the palette of the printers around 1830. For a long time, researchers have assumed that the traditional Japanese organic blue colorants such as indigo were substituted by cheaper Prussian blue. Some analytical studies conducted on such artworks showed evidence of the common use of indigo and Prussian blue in Japanese paintings, alone or mixed together. Recent measurements carried out on bluish areas of an ukiyo‐e designed by Utamaro showed the simultaneous use of the two pigments. However, if visible reflectance spectroscopy suggested the single use of Indigo, Fourier transform infrared spectroscopy (FTIR) also indicated the presence of Prussian blue. These results question about the possible identification of all the pigments of a colored mixture by using a single analytical technique. Without usi...