Download Free Chikanobu Book in PDF and EPUB Free Download. You can read online Chikanobu and write the review.

Japanese woodblock prints, or ukiyo-e, are the most recognizable Japanese art form. Their massive popularity has spread from Japan to be embraced by a worldwide audience. Covering the period from the beginning of the Japanese woodblock print in the 1680s until the year 1900, Japanese Woodblock Prints provides a detailed survey of all the famous ukiyo-e artists, along with over 500 full-color prints. Unlike previous examinations of this art form, Japanese Woodblock Prints includes detailed histories of the publishers of woodblock prints--who were often the driving force determining which prints, and therefore which artists, would make it into mass circulation for a chance at critical and popular success. Invaluable as a guide for ukiyo-e enthusiasts looking for detailed information about their favorite Japanese woodblock print artists and prints, it is also an ideal introduction for newcomers to the world of the woodblock print. This lavishly illustrated book will be a valued addition to the libraries of scholars, as well as the general art enthusiast.
Chikanobu. Modernity and Nostalgia in Japanese Prints is the first monograph in English on the Meiji print artist Yōshū Chikanobu (1838-1912), well known for his depictions of women and scenes of Japanese history and legends. Author Bruce A. Coats presents a detailed overview of Chikanobu's life and works, placed within the historical and artistic context of Meiji Japan, when its rapid modernization and westernization created an interest for 'old' Japan among the Japanese and when the arts underwent significant changes as well. Essays by Bruce A. Coats, Allen Hockley, Kyoko Kurita and Joshua Mostow draw upon various topics related to Chikanobu's work, such as Meiji literature and the heroic ethos in the late Meiji period. Works donated to the Scripps College collection form the core of the illustrative material. The images are accompanied by elaborate descriptions and in a number of cases compared with similar designs from other artists. Two of Chikanobu's well known series of 50 prints each, Snow, Moon, Flowers (Setsugekka) and Eastern Brocades: Day and Night Compared (Azuma nishiki chūya kurabe) are illustrated in their entirety. And with over 270 full color illustrations, Chikanobu. Modernity and Nostalgia in Japanese Prints truly displays the richness of the intense Meiji print palette.
This handsome volume explores the life and work of Utagawa Kuniyoshi (1798-1861), one of Japan's greatest print artists. Alongside such illustrious names as Hokusai and Hiroshige, he dominated the 19th-century production of the popular genre of woodblock prints known as ukiyo-e, literally, "pictures of the floating world." The only major book to illustrate the entirety of the artist's work, Kuniyoshi explores his extraordinary imagination across an impressive range of subject matter, from his portraits of Japanese warrior heroes and fashionable beauties to his satirical themes and innovative landscape prints. Published to accompany a spectacular exhibition, Kuniyoshi is an essential reference for Japanese art collectors and enthusiasts.
"[An] impressive volume, with a valuable amount of information not otherwise available in one source." --Choice Companion volume to Merritt's Modern Japanese Woodblock Prints. This volume is a reference work that is both comprehensive and rigorously chronological.
This book charts the process of civilisation in Japan. Using the theory of civilising processes developed by Norbert Elias, the author examines the complex underlying structural and psychological processes from the seventh century to the twentieth century. Furthermore, by drawing on rich historical data, the author illustrates how these complex processes led the Japanese to see themselves as ‘more civilised’ than their forebears and neighbouring countries. Although the theory serves as an important reference point, the author draws on other works to address different complex questions surrounding Japanese development. Therefore, this book presents three key themes: first, it gives an alternative understanding of the complex developments of Japanese society; second, it intercedes into an ongoing debate about the applicability of Elias’s theory in a non-Western context; and third, it expands Elias’s theory.
Der Japanische Biographische Index verzeichnet in drei Bänden die 86.800 im Japanischen Biographischen Archiv enthaltenen Persönlichkeiten und erschließt 127.000 biographische Einträge aus 77 Quellenwerken in 178 Bänden, erschienen zwischen 1646 und 1998.
Why We War begins a new dialog about war and the social organization of peace. This book re-orients the thinking about war from a preoccupation with "a war," to an investigation into the phenomenon of war itself. There is an unequal investment in war that has historically damaged the ability of social systems to perform adequately for all members of society. The result is ongoing strife, warfare, and poverty. War emerges as the disease of civilization and the bane of human rights.
Japanese folklore abounds with bizarre creatures collectively referred to as the yokai ― the ancestors of the monsters populating Japanese film, literature, manga, and anime. Artist Toriyama Sekien (1712–88) was the first to compile illustrated encyclopedias detailing the appearances and habits of these creepy-crawlies from myth and folklore. Ever since their debut over two centuries ago, the encyclopedias have inspired generations of Japanese artists. Japandemonium Illustrated represents the very first time they have ever been available in English. This historically groundbreaking compilation includes complete translations of all four of Sekien's yokai masterworks: the 1776 Gazu Hyakki Yagyō (The Illustrated Demon Horde's Night Parade), the 1779 Konjaku Gazu Zoku Hyakki (The Illustrated Demon Horde from Past and Present, Continued), the 1781 Konjaku Hyakki Shū (More of the Demon Horde from Past and Present), and the 1784 Hyakki Tsurezure Bukuro (A Horde of Haunted Housewares). The collection is complemented by a detailed introduction and helpful annotations for modern-day readers.
This compelling account of collaboration in the genre of ukiyo-e (pictures of the floating world) offers a new approach to understanding the production and reception of print culture in early modern Japan. It provides a corrective to the perception that the ukiyo-e tradition was the product of the creative talents of individual artists, revealing instead the many identities that made and disseminated printed work. Julie Nelson Davis demonstrates by way of examples from the later eighteenth century that this popular genre was the result of an exchange among publishers, designers, writers, carvers, printers, patrons, buyers, and readers. By recasting these works as examples of a network of commercial and artistic cooperation, she offers a nuanced view of the complexity of this tradition and expands our understanding of the dynamic processes of production, reception, and intention in floating world print culture. Four case studies give evidence of what constituted modes of collaboration among artistic producers in the period. In each case Davis explores a different configuration of collaboration: that between a teacher and a student, two painters and their publishers, a designer and a publisher, and a writer and an illustrator. Each investigates a mode of partnership through a single work: a specially commissioned print, a lavishly illustrated album, a printed handscroll, and an inexpensive illustrated novel. These case studies explore the diversity of printed things in the period ranging from expensive works made for a select circle of connoisseurs to those meant to be sold at a modest price to a large audience. They take up familiar subjects from the floating world—connoisseurship, beauty, sex, and humor—and explore multiple dimensions of inquiry vital to that dynamic culture: the status of art, the evaluation of beauty, the representation of sexuality, and the tension between mind and body. Where earlier studies of woodblock prints have tended to focus on the individual artist, Partners in Print takes the subject a major step forward to a richer picture of the creative process. Placing these works in their period context not only reveals an aesthetic network responsive to and shaped by the desires of consumers in a specific place and time, but also contributes to a larger discussion about the role of art and the place of the material text in the early modern world.