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A lush portrait introducing one of the most important Japanese artists of the Edo period Best known for his paintings Irises and Red and White Plum Blossoms, Ogata Kōrin (1658-1716) was a highly successful artist who worked in many genres and media--including hanging scrolls, screen paintings, fan paintings, lacquer, textiles, and ceramics. Combining archival research, social history, and visual analysis, Frank Feltens situates Kōrin within the broader art culture of early modern Japan. He shows how financial pressures, client preferences, and the impulse toward personal branding in a competitive field shaped Kōrin's approach to art-making throughout his career. Feltens also offers a keen visual reading of the artist's work, highlighting the ways Kōrin's artistic innovations succeeded across media, such as his introduction of painterly techniques into lacquer design and his creation of ceramics that mimicked the appearance of ink paintings. This book, the first major study of Kōrin in English, provides an intimate and thought-provoking portrait of one of Japan's most significant artists.
Exhibition of paintings, lacquerwork, ceramics, textiles, calligraphy, and other media all in the Rinpa style from 1600 to the present day.
What is the kimono? Everyday garment? Art object? Symbol of Japan? As this book shows, the kimono has served all of these roles, its meaning changing across time and with the perspective of the wearer or viewer. Kimono: A Modern History begins by exposing the seventeenth- and eighteenth-century foundations of the modern kimono fashion industry. It explores the crossover between ‘art’ and ‘fashion’ in this period at the hands of famous Japanese painters who worked with clothing pattern books and painted directly onto garments. With Japan’s exposure to Western fashion in the nineteenth century, and Westerners’ exposure to Japanese modes of dress and design, the kimono took on new associations and came to symbolize an exotic culture and an alluring female form. In the aftermath of the Second World War, the kimono industry was sustained through government support. The line between fashion and art became blurred as kimonos produced by famous designers were collected for their beauty and displayed in museums, rather than being worn as clothing. Today, the kimono has once again taken on new dimensions, as the Internet and social media proliferate images of the kimono as a versatile garment to be integrated into a range of individual styles. Kimono: A Modern History, the inspiration for a major exhibition at the Metropolitan Museum of Art in New York,not only tells the story of a distinctive garment’s ever-changing functions and image, but provides a novel perspective on Japan’s modernization and encounter with the West.
In a visual and artifact-filled world, cataloging one-of-a-kind cultural objects without published guidelines and standards has been a challenge. Now for the first time, under the leadership of the Visual Resources Association, a cross-section of five visual and cultural heritage experts, along with scores of reviewers from varied institutions, have created a new data content standard focused on cultural materials. This cutting-edge reference offers practical resources for cataloging and flexibility to meet the needs of a wide range of institutions—from libraries to museums to archives. Consistently following these guidelines for selecting, ordering, and formatting data used to populate metadata elements in cultural materials' catalog records: Promotes good descriptive cataloging and reduces redundancy Builds a foundation of shared documentation Creates data sharing opportunities Enhances end-user access across institutional boundaries Complements existing standards (AACR) This is a must-have reference for museum professionals, visual resources curators, archivists, librarians and anyone who documents cultural objects (including architecture, paintings, sculpture, prints, manuscripts, photographs, visual media, performance art, archaeological sites, and artifacts) and their images.
A fascinating book on the elegant paintings of birds and flowers in Edo-Rinpa painting The Rinpa school is one of the historical schools in Japanese painting established in 17th century Kyoto. Later in 19th century Edo (old Tokyo), Hoitsu Sakai, who worshiped and was influenced by Korin Ogata, revived this genre with his elegant, poetic and refined taste. This book showcases not only the most popular works of the Edo-Rinpa style but also features unique and innovative works from Kiitsu Suzuki, Hoitsu Sakai's own disciple, and shows how Rinpa style has been passed on to the modern painters such as Shunso Hishida and Sekka Kamisaka. Written by Momo Miyazaki, a specialist in Edo period painting and the curator of The Museum Yamato Bunkakan, this book will be an informative must have treasury book for Japanese art lovers, creators, and artists.--Momo Miyazaki
"In Peacock, Christine E. Jackson provides a comprehensive survey of the influence of the peacock in the visual arts of many cultures, and of its role in religion and mythology. She also explores its natural history, and reveals how this sedentary bird, native to India and Sri Lanka and reluctant to fly great distances, has come to live in semi-domesticated conditions in so many Western countries."--BOOK JACKET.
Ukiyo-e (‘pictures of the floating world’) is a branch of Japanese art which originated during the period of prosperity in Edo (1615-1868). Characteristic of this period, the prints are the collective work of an artist, an engraver, and a printer. Created on account of their low cost thanks to the progression of the technique, they represent daily life, women, actors of kabuki theatre, or even sumo wrestlers. Landscape would also later establish itself as a favourite subject. Moronobu, the founder, Shunsho, Utamaro, Hokusai, and even Hiroshige are the most widely-celebrated artists of the movement. In 1868, Japan opened up to the West. The masterful technique, the delicacy of the works, and their graphic precision immediately seduced the West and influenced greats such as the Impressionists, Van Gogh, and Klimt. This is known as the period of ‘Japonisme’. Through a thematic analysis, Woldemar von Seidlitz and Dora Amsden implicitly underline the immense influence which this movement had on the entire artistic scene of the West. These magnificent prints represent the evolution of the feminine ideal, the place of the Gods, and the importance accorded to landscape, and are also an invaluable witness to a society now long gone.