History Of Japanese Art

Japanese art, like so many expressions of Japanese culture, is fascinatingly rich in its contrasts and paradoxes. Since the country opened its doors to the outside world in the mid-nineteenth century. Japanese art and culture have enjoyed an immense popularity in the West. When in 1993 renowned scholar Penelope Mason wrote the the first edition of History of Japanese Art, it was the first such volume in thirty yearsto chart a detailed overview of the subject. It remains the only comprehensive survey of its kind in English. This second edition ties together more closely the development of all the media within a well-articulated historical and social context. New to the Second Edition Extended coverage of Japanese art beyond 1945 New discoveries both in archeology and scholarship New material on calligraphy, ceramics, lacquerware, metalware, and textiles An extended glossary A comprehensively updated bibliography 94 new illustrations

In this book the leading authority on Japanese art history sheds light on how Japan has nurtured distinctive aesthetics, prominent artists, and movements that have achieved global influence and popularity. The History of Art in Japan discusses works ranging from earthenware figurines in 13,000 BCE to manga, anime, and modern subcultures.

Presents 17 classic Japanese stories as told through 30 illustrated handscrolls ranging from the 13th to 19th centuries.

During America's Gilded Age (dates), the country was swept by a mania for all things Japanese. It spread from coast to coast, enticed everyone from robber barons to street vendors with its allure, and touched every aspect of life from patent medicines to wallpaper. Americans of the time found in Japanese art every design language: modernism or tradition, abstraction or realism, technical virtuosity or unfettered naturalism, craft or art, romance or functionalism. The art of Japan had a huge influence on American art and design. Title compares juxtapositions of American glass, silver and metal arts, ceramics, textiles, furniture, jewelry, advertising, and packaging with a spectrum of Japanese material ranging from expensive one-of-a-kind art crafts to mass-produced ephemera. Beginning in the Aesthetic movement, this book continues through the Arts & Crafts era and ends in Frank Lloyd Wright's vision, showing the reader how that model became transformed from Japanese to American in design and concept. Hannah Sigur is an art historian, writer, and editor with eight years' residence and study in East and Southeast Asia. She has a master's degree from the Institute of Fine Arts, New York University, and is completing a PhD in the arts of Japan. Her writings include co-authoring A Master Guide to the Art of Floral Design (Timber Press, 2002), which is listed in "The Best Books of 2002" by The Christian Science Monitor and is now in its second edition; and "The Golden Ideal: Chinese Landscape Themes in Japanese Art," in Lotus Leaves, A Master Guide to the Art of Floral Design (2001). She lives in Berkeley.

Traces the history of Japanese painting, calligraphy, architecture, sculpture, and other arts from the prehistoric period to modern times.

"Japanese art, like so many expressions of Japanese culture, is fascinatingly rich in its contrasts and paradoxes. Since the country opened its doors to the outside world in the mid-nineteenth century, Japanese art and culture have enjoyed an immense popularity in the West. When in 1993 renowned scholar Penelope Mason wrote the first edition of History of Japanese Art, it was the first such volume in thirty years to chart a detailed overview of the subject. It remains the only comprehensive survey of its kind in English. This second edition ties together more closely the development of all the media within a well-articulated historical and social context."--Page 4 of cover.

This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.

Recently the West has been inundated by a steady flow of images from manga, anime, and the video games that are a key part of todays Japanese visual culture. At the same time, Japanese contemporary artists are gaining a higher profile overseas: many Westerners are already familiar with Takashi Murakamis brightly colored, cartoonlike characters, or with Junko Mizunos grotes-cute Lolita-style girls. Perhaps less familiar are the absurd fighting machines of Kenji Yanobe, the many disguises of Tomoko Sawada, or the grotesque fairytale landscapes of Tomoko Konoike. Warriors of Art features the work of forty of the latest and most relevant contemporary Japanese artists, from painters and sculptors, to photographers and performance artists, with lavish full-color spreads of their key works. Author Yumi Yamaguchi offers an insightful introduction to the main themes of each artist, and builds up a fascinating portrait of the society that has given birth to them: a Japan that still bears the scars of atomic destruction, a Japan with a penchant for the cute and the childish, a Japan whose manga and anime industries have come to dominate the world. Warriors of Art takes its title from a phrase used to describe Taro Okamoto (1911-1996), perhaps the first truly influential contemporary artist to emerge in postwar Japan, who fought to bring modern art to a wider audience. Following in Okamotos footsteps, the forty artists featured in this book are a new generation of warriors, attacking our senses with a shocking mix of the cute, the grotesque, the sexy, and the violent, forcing us to sit up and take notice of their vision of Japan.