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A lavishly illustrated history of Japanese screens—limited to 3,000 numbered copies Japanese screens (byobu, meaning “barrier against the wind”) are made of wooden lattices with two to twelve panels, covered with a paper or fabric canvas. They are unique for being beautiful artworks as well as portable furnishings, acting as backdrops for court ceremonies or partitions for intimate tea services. Artists have embraced screens as three-dimensional objects, creating dynamic compositions that guide the viewer’s eye from one panel to the next. This sumptuous book explores the 1,300-year history of Japanese screens. The authors, leading experts on Japanese art and culture, describe how screens developed from the eighth to the twenty-first century, from their ceremonial use in palaces and temples to their functional and decorative use in ordinary Japanese homes. They examine the stylistic evolution of screens and the wide variety of subjects, such as animals, the seasons, The Tale of Genji, and calligraphic designs. Bound in the Japanese style and housed in a handsome clamshell box, this volume also comes with a poster-sized reproduction of an exceptional screen, suitable for framing. Japanese Screens will be an essential addition to any art lover’s library.
Susannah had met Fernando Cuevas in London, and in a whirlwind romance had fallen wildly and irrevocably in love with him. She could hardly believe it when Fernando, on what seemed to be an unconvincing excuse, ended it all, and disappeared out of her life as quickly as he had come into it. The only thing to do, Susannah decided, was to make a new life for herself, so she took a job as governess to a young Spanish girl which would take her to live in Spain for a while. She was horrified, on arriving at her destination, to realise that the child was Fernando's daughter; that he was very much married; and that she was going to meet him again at any moment. What was she to do now?
Presents 17 classic Japanese stories as told through 30 illustrated handscrolls ranging from the 13th to 19th centuries.
Japanese Screens in Miniature is a collection of six of Japan's masterpieces reproduced as actual miniature screens, with an introduction to this most colorful, exuberant, and decorative aspects of the Golden Age of Japanese art. The development of the Japanese screen as an ant form in the Momoyama period (1575-1615) presents a fascinating example of the converging influences of art traditions,history, politics, religion, and architecture.
Exhibition of paintings, lacquerwork, ceramics, textiles, calligraphy, and other media all in the Rinpa style from 1600 to the present day.
From its earliest days the Cleveland Museum of Art has demonstrated an active interest in Asian art. An important aspect of this initiative is the interest in the indigenous art of Japan evident in the museum's collection of screens, in which narrative subjects receive emphasis equal to those of the earlier Chinese-dominated tradition. Forty-four Japanese screens (many of them pairs), from the late 15th to the early 19th centuries, represent one of the largest and best collections in the West. This exhibition catalogue illustrates all these extraordinary objects together for the first time, in a generous format and the highest quality reproduction.
Following the pioneering work of Francis Xavier in establishing Christianity in Japan, his successor Alessandro Valignano, decided to send a legation to Europe representing the three Christian daimyo of Kyushu, southern Japan. It consisted of two Christian samurai boys who were chosen as legates, together with two teenage companions. The group set sail from Nagasaki in February 1582 and were to be away for eight years. The purpose of the mission was twofold: it would give Europeans the chance of seeing Japanese people at first hand and appreciating their culture, thereby publicising the work of the Catholic Church in Japan and so (it was hoped) increase much-needed financial support; and secondly on their return to Japan the envoys would give eyewitness reports of the splendours of Renaissance Europe, thus moderating Japanese notions about the outside world and foreign barbarians. The boys travelled through Portugal, Spain and Italy and were feted wherever they went. In Venice, the authorities even postponed the annual festival in honour of St Mark, the city’s patron, so that the Japanese might view the spectacle. More importantly, the boys met Philip II of Spain several times, as well as Pope Gregory XIII and his successor Sixtus V. This is the first book-length study in English of the mission and provides important new insights into the work of the Jesuits in Japan and the nature of the legation’s impact on late-sixteenth-century European perceptions of Japan.