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A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.
The daily lives of ordinary people are replete with objects, common things used in commonplace settings. These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty. In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.
When modern primary schools were first founded in Japan and Egypt in the 1870s, they did not teach art. Yet by the middle of the twentieth century, art education was a permanent part of Japanese and Egyptian primary schooling. Both countries taught music and drawing, and wartime Japan also taught calligraphy. Why did art education become a core feature of schooling in societies as distant as Japan and Egypt, and how is aesthetics entangled with nationalism, colonialism, and empire? Beauty in the Age of Empire is a global history of aesthetic education focused on how Western practices were adopted, transformed, and repurposed in Egypt and Japan. Raja Adal uncovers the emergence of aesthetic education in modern schools and its role in making a broad spectrum of ideologies from fascism to humanism attractive. With aesthetics, educators sought to enchant children with sounds and sights, using their ears and eyes to make ideologies into objects of desire. Spanning multiple languages and continents, and engaging with the histories of nationalism, art, education, and transnational exchanges, Beauty in the Age of Empire offers a strikingly original account of the rise of aesthetics in modern schools and the modern world. It shows that, while aesthetics is important to all societies, it was all the more important for those countries on the receiving end of Western expansion, which could not claim to be wealthier or more powerful than Western empires, only more beautiful.
This encyclopedia covers culture from the end of the Imperialist period in 1945 right up to date to reflect the vibrant nature of contemporary Japanese society and culture.
Traditional Japanese design imbues objects with a sense of history and artistry that easily reaches across cultural boundaries. In Things Japanese: Everyday Objects of Extraordinary Beauty and Significance, author Nicholas Bornoff and photographer Michael Freeman examine over 60 traditional objects that are uniquely Japanese, deftly illustrating their beauty and significance. Beautifully crafted samurai swords Elegant wooden tansu chests Elaborate tea ceremony implements Exquisitely carved netsuke toggles Fabulous silk-and-gold embroidered kimonos Each item is described in loving detail alongside lovely full-color photographs that highlight the great artistry and craftsmanship in everyday items used by real people in traditional Japan. Things Japanese is the perfect book for Japanese antique collectors or anyone interested in Japanese art and the culture and history of Japan.
While a slender body is a prerequisite for beauty today, plump women were considered ideal in Tang Dynasty China and Heian-period Japan. Starting around the Southern Song period in China, bound feet symbolized the attractiveness of women. But in Japan, shaved eyebrows and blackened teeth long were markers of loveliness. For centuries, Japanese culture was profoundly shaped by China, but in complex ways that are only now becoming apparent. In this first full comparative history of the subject, Cho Kyo explores changing standards of feminine beauty in China and Japan over the past two millennia. Drawing on a rich array of literary and artistic sources gathered over a decade of research, he considers which Chinese representations were rejected or accepted and transformed in Japan. He then traces the introduction of Western aesthetics into Japan starting in the Meiji era, leading to slowly developing but radical changes in representations of beauty. Through fiction, poetry, art, advertisements, and photographs, the author vividly demonstrates how criteria of beauty differ greatly by era and culture and how aesthetic sense changed in the course of extended cultural transformations that were influenced by both China and the West.
An introduction to Japan's burgeoning beauty culture, which investigates a range of phenomenon - aesthetic salons, dieting products, male beauty activities, and beauty language - to find out why Japanese women and men are paying so much attention to their bodies. It aims to challenge various assumptions about the naturalness of beauty standards.
This study of modern Japan engages the fields of art history, literature, and cultural studies, seeking to understand how the "beautiful woman" (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868-1912). With origins in the formative period of modern Japanese art and aesthetics, the figure of the bijin appeared across a broad range of visual and textual media: photographs, illustrations, prints, and literary works, as well as fictional, critical, and journalistic writing. It eventually constituted a genre of painting called bijinga (paintings of beauties). Aesthetic Life examines the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art. As Japan worked to establish its place in the world, it actively presented itself as an artistic nation based on these ideals of feminine beauty. The book explores this exemplary figure for modern Japanese aesthetics and analyzes how the deceptively ordinary image of the beautiful Japanese woman--an iconic image that persists to this day--was cultivated as a "national treasure," synonymous with Japanese culture.
*Gold Medal winner in the 2014 IBPA Benjamin Franklin Award for Home & Garden* "Just flipping through the pages of Quiet Beauty: The Japanese Gardens of North America will instantly lower your blood pressure."--The New York Times Book Review Quiet Beauty: Japanese Gardens of North America is an extraordinary look at the most beautiful and serene gardens of the United States and Canada. Most Japanese garden books look to the gardens of Japan. Quiet Beauty explores the treasure trove of Japanese gardens located in North America. Featuring an intimate look at twenty-six gardens, with numerous stunning color photographs of each, that detail their style, history, and special functions, this book explores the ingenuity and range of Japanese landscaping. Japanese gardens have been part of North American culture for almost 150 years. Quiet Beauty is a thought provoking look at the history of their introduction to the world of North American gardening and how this aspect of Japanese culture has taken root and flourished. Japanese gardens include: Japanese Tea Garden in Golden Gate Park, San Francisco, California Nitobe Memorial Garden, University of British Columbia, Vancouver, British Columbia Japanese Garden, Fort Worth Botanic Garden, Texas Garden of the Pine Winds, Denver Botanic Gardena, Colorado Japanese Garden, Montreal Botanical Garden, Quebec Tenshin'en (The Garden of the Heart of Heaven), Museum of Fine Arts, Boston, Massachusetts Roji'en (Garden of Drops of Dew), The George D. and Harriet W. Cornell Japanese Gardens, The Morikami Museum and Japanese Gardens, Delray Beach, Florida Japanese Friendship Garden of Phoenix, Margaret T. Hance Park, Arizona Garden of the Pine Wind, Garvan Woodland Garden, Hot Springs, Arkansas
First published in 2005. Art and an aesthetic sense of beauty are central to all aspects of Japanese life. This book examines beauty as an important aspect of Japanese tradition and Japanese international success. Topics include natural beauty, gardens and flowers, architecture, applied art, manners and customs and many more areas of Japanese culture.