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An in-depth look at the dynamic cultural world of tea in Japan during its formative period Around Chigusa investigates the cultural and artistic milieu in which a humble jar of Chinese origin dating to the thirteenth or fourteenth century became Chigusa, a revered, named object in the practice of formalized tea presentation (chanoyu) in sixteenth-century Japan. This tea-leaf storage jar lies at the nexus of interlocking personal networks, cultural values, and aesthetic idioms in the practice and appreciation of tea, poetry, painting, calligraphy, and Noh theater during this formative period of tea culture. The book’s essays set tea in dialogue with other cultural practices, revealing larger cultural paradigms that informed the production, circulation, and reception of the artifacts used and displayed in tea. Key themes include the centrality of tea to the social life of and interaction among warriors, merchants, and the courtly elite; the multifaceted relationship between things wa (Japanese) and kan (Chinese) and between tea and poetry; the rise of new formats for display of the visual and calligraphic arts; and collecting and display as an expression of political power.
"Crafts were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and how and from what materials they were made were matters of serious concern among all classes of society. In Craft Culture in Early Modern Japan, Christine M. E. Guth examines the network of forces--both material and immaterial--that supported Japan's rich, diverse, and aesthetically sophisticated artifactual culture between the late sixteenth and mid-nineteenth centuries. Exploring the institutions, modes of thought, and reciprocal relationships among people, materials, and tools, she draws particular attention to the role of women in crafts, embodied knowledge, and the special place of lacquer as a medium. By examining the ways and values of making that transcend specific media and practices, Guth illuminates the 'craft culture' of early modern Japan"--
This book traces the history of noh and kyōgen, the first major Japanese theatrical arts. Going beyond P. G. O'Neill's Early Nō Drama of 1958, it covers the full period of noh's medieval development and includes a chapter dedicated to the comic art of kyōgen, which has often been left in noh's shadow. It is based on contemporary research in Japan, Asia, Europe and America, and embraces current ideas of theatre history, providing a richly contextualized account which looks closely at theatrical forms and genres as they arose. The masked drama of noh, with its ghosts, chanting and music, and its use in Japanese films, has been the object of modern international interest. However, audiences are often confused as to what noh actually is. This book attempts to answer where noh came from, what it was like in its day, and what it was for. To that end, it contains sections which discuss a number of prominent noh plays in their period and challenges established approaches. It also contains the first detailed study in English of the kyōgen repertoire of the sixteenth-century.
A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses Art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft. Global Objects points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history.
With its vivid descriptions of courtly society, gardens, and architecture in early eleventh-century Japan, The Tale of Genji—recognized as the world’s first novel—has captivated audiences around the globe and inspired artistic traditions for one thousand years. Its female author, Murasaki Shikibu, was a diarist, a renowned poet, and, as a tutor to the young empress, the ultimate palace insider; her monumental work of fiction offers entry into an elaborate, mysterious world of court romance, political intrigue, elite customs, and religious life. This handsomely designed and illustrated book explores the outstanding art associated with Genji through in-depth essays and discussions of more than one hundred works. The Tale of Genji has influenced all forms of Japanese artistic expression, from intimately scaled albums to boldly designed hanging scrolls and screen paintings, lacquer boxes, incense burners, games, palanquins for transporting young brides to their new homes, and even contemporary manga. The authors, both art historians and Genji scholars, discuss the tale’s transmission and reception over the centuries; illuminate its place within the history of Japanese literature and calligraphy; highlight its key episodes and characters; and explore its wide-ranging influence on Japanese culture, design, and aesthetics into the modern era. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
“...a sticky, rotten spider’s web of tangled desires...” In the summer of 1947 a group of bohemians gather at their wealthy friend’s villa in the mountains to escape the city heat. Sparks fly, daggers are drawn, and the bodies soon pile up. One self-effacing amateur detective is tasked with identifying the killer from a large cast of eccentric characters including blackmailers, poets, and sexual deviants. But are the murders connected, or purely coincidental? Sakaguchi Ango’s outrageous whodunnit (original title: Furenzoku Satsujin Jiken, 不連続殺人事件) won the Mystery Writers of Japan Award in 1949, the year after Seishi Yokomizo took the prize for ‘Honjin Satsujin Jiken’ (The Honjin Murders). Alexis J Brown is a translator living in London.
Guests, invited and uninvited, converge on the mountain villa of their wealthy friend, Utagawa Kazuma, to spend the summer of 1947. Soon after the arrival of these writers, actors, and artists and their tangled relationships of love, fame, and money, the first murder victim is discovered then another and another.... The host, his guests, and an assortment of unusual police detectives struggle to find the murderer during this long, hot summer.
This innovative book narrates the history of a single object--a tea-leaf storage jar created in southern China during the thirteenth or fourteenth centuries--and describes how its role changed after it was imported to Japan and passed from owner to owner there. In Japan, where the jar was in constant use for more than seven hundred years, it was transformed from a humble vessel into a celebrated object used in chanoyu (often translated in English as tea ceremony), renowned for its aesthetic and functional qualities, and awarded the name Chigusa. Few extant tea utensils possess the quantity and quality of the accessories associated with Chigusa, material that enables modern scholars and tea aficionados to trace the jar's evolving history of ownership and appreciation. Tea diaries indicate that the lavish accessories--the silk net bag, cover, and cords--that still accompany the jar were prepared in the early sixteenth century by its first recorded owner.
Having triumphed in the War Game, Lilly, Welf, and Mikoto have forged new bonds with each other and with Bell, and the new-and-improved Hestia Familia is feeling distinctly more familial. But when Bell has to venture into the pleasure quarter of Orario to come to Mikoto's aid, he's soon tangled up in more intrigue than he bargained for. Ishtar Familia owns the night here, and none of Bell's experience can prepare him for their courtesan wiles!
Seeing the future always comes at a cost!Someone has been murdered. The prime suspect in the latest crime to rock Rivira is the elf Gale Wind, now a blacklisted fugitive with a bounty on her head. After hearing this shocking accusation, Bell and his friends prepare to pursue her in order to clear her name. On the eve of their journey, Cassandra recalls a terrible dream that portended seventeen prophecies-and if they come true, the people she cares for most will die. Her solitary battle against ruin begins as Bell chases a Lyu consumed by a thirst for revenge!!