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The shin hanga ("new print") movement flourished in Japan for almost fifty years after being set in motion and nurtured by publisher Watanabe Shozaburo (1885–1962). Employing the traditional "ukiyo-e quartet"—a production system consisting of artists, carvers, printers, and publishers—shin hanga attracted Western as well as native artists. The studio teams created woodblock prints that updated traditional ukiyo-e ("pictures of the floating world") prints by including Kabuki actor portraits, "beauties," and landscapes and other nature themes, often birds and flowers. With lavish illustrations and expert commentary, Shin Hanga: The New Print Movement of Japan details the shin hanga movement and presents splendid reproductions of works by its principal artists.
Chronicles the 20th-century shin-hanga ("new prints") movement of Japanese woodblock printing, based on an exhibition at the Los Angeles County Museum of Art between January and June 1996. Includes many high-quality color and bandw illustrations, and essays on specific images, the cultural and historical context of the images, and the history of critical evaluation of shin-hanga, plus an exhibition checklist. Annotation copyrighted by Book News, Inc., Portland, OR
"[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.
Zanzibar has had the most turbulent postcolonial history of any part of the United Republic of Tanzania, yet few sources explain the reasons why. The current political impasse in the islands is a contest over the question of whether to revere and sustain the Zanzibari Revolution of 1964, in which thousands of islanders, mostly Arab, lost their lives. It is also about whether Zanzibar's union with the Tanzanian mainland--cemented only a few months after the revolution--should be strengthened, reformed, or dissolved. Defenders of the revolution claim it was necessary to right a century of wrongs. They speak the language of African nationalism and aspire to unify the majority of Zanzibaris through the politics of race. Their opponents instead deplore the violence of the revolution, espouse the language of human rights, and claim the revolution reversed a century of social and economic development. They reject the politics of race, regarding Islam as a more worthy basis for cultural and political unity. From a series of personal interviews conducted over several years, Thomas Burgess has produced two highly readable first-person narratives in which two nationalists in Africa describe their conflicts, achievements, failures, and tragedies. Their life stories represent two opposing arguments, for and against the revolution. Ali Sultan Issa traveled widely in the 1950s and helped introduce socialism into the islands. As a minister in the first revolutionary government he became one of Zanzibar's most controversial figures, responsible for some of the government's most radical policies. After years of imprisonment, he reemerged in the 1990s as one of Zanzibar's most successful hotel entrepreneurs. Seif Sharif Hamad came of age during the revolution and became disenchanted with its broken promises and excesses. In the 1980s he emerged as a reformist minister, seeking to roll back socialism and authoritarian rule. After his imprisonment he has ever since served as a leading figure in what has become Tanzania's largest opposition party As Burgess demonstrates in his introduction, both memoirs trace Zanzibar's postindependence trajectory and reveal how Zanzibaris continue to dispute their revolutionary heritage and remain divided over issues of memory, identity, and whether to remain a part of Tanzania. The memoirs explain how conflicts in the islands have become issues of national importance in Tanzania, testing that state's commitment to democratic pluralism. They engage our most basic assumptions about social justice and human rights and shed light on a host of themes key to understanding Zanzibari history that are also of universal relevance, including the legacies of slavery and colonialism and the origins of racial violence, poverty, and underdevelopment. They also show how a cosmopolitan island society negotiates cultural influences from Africa, the Middle East, Asia, and Europe.
This exhibition investigates the theme of Western inspiration in the arts of Japan and also raises the notion of individuality in a culture known for its conformity. The examples shown here encompass five decades (1900-1950) representing a panorama in Japanese creative prints (sosaku hanga).
Color woodcut printmaking was not new to Britain, America, or Japan in the late eighteenth century. Yet after Japan was opened to the West in 1854 and deeper cultural exchange began, Japanese prints captured the European and American imagination. The fresh colors, simplicity of materials, and departure from traditional compositions entranced western artists and the public alike. Likewise, Japanese audiences and artists were intrigued by the styles and techniques of western art, which was broadly available in Japan by the end of the nineteenth century. Artists there created images of the strange foreigners and imagined what American cities looked like. By the beginning of the twentieth century, artists were not content to merely imagine what the other side of the world looked like. As prints traveled around the globe for study so did artists, and with them spread the tricks and techniques of color woodblock printmaking as well as appreciation for the prints. Woodblock printmakers in the West started to investigate Japanese processes, and Japanese publishers began to seriously seek out the print market outside of Japan. Important themes began to emerge; scenes of nature and old-fashioned architecture outnumbered modern city views, and images of animals were nearly as popular as those of human figures. Imagery was often idyllic and beautiful, attractive to an international audience. Twentieth-century art, however, moves at a furious pace, and the ferment of the international woodcut style quickly ran its course. Artists appropriated what they needed from the color woodcut, then developed techniques, subjects, and styles in their own ways. An ever-expanding range of prints became indebted to the artists of the previous generation who had reinvigorated woodblock printmaking styles and practices around the world. This full-color catalogue includes many prints from this colorful exhibition and shows how the progression of styles became more similar as international artists learned from and competed with each other, then stylistically diverged as artists of each country took what they learned in new directions. The three essays each focus on the influences and contributions made to the international style by three countries: Japan, Britain, and America.
'The definitive work on Pacific crossings' Cruising The Pacific Crossing Guide is a complete reference for anyone contemplating sailing the Pacific. From ideal timing, suitable boats, routes, methods of communication, health and provisioning to seasonal weather, departure and arrival ports, facilities, likely costs and dangers, this comprehensive new edition will both inspire dreamers and instil confidence in those about to depart. Completely updated, expanded and refreshed for the new generation of Pacific cruisers, this is the definitive reference, relied upon by many thousands of cruisers. Part 1 covers thorough preparation for both East-to-West and West-to-East crossings and Part 2 covers Pacific weather patterns, major routes and landfall ports, with useful website links throughout. There are sections on rallies, coral atolls and atoll navigation, the cyclone season and laying up, use of electronic charts, satellite phones versus HF radio, ongoing maintenance, and Pacific festivals. Updated with new charts and photographs, the new 4th edition focuses on ports of entry rather than secondary anchorages, and expands the North Pacific coverage, making it a valuable resource for sailors doing a North Pacific circuit, particularly US and Canadian sailors from the Pacific North.