Japanese Kite Prints

Color woodblock prints vibrantly convey the popular urban culture of eighteenth- and nineteenth-century Edo, now called Tokyo. In a book that brings together two of Edo's most colorful traditions, prints and kites, John Stevenson celebrates the charm and significance of the mass-produced but often elegant broadsheets known as ukiyo-e. The term means "pictures of the floating world," a pun on a Buddhist concept of the fleeting world of desires that is, coincidentally but poetically, appropriate for a study of kites borne on the wind. Edo artists experimented with woodblock-printing techniques during the eighteenth century as kite-flying became increasingly popular. Each influenced the other: kite-makers copied woodblock-print designs to decorate their creations of bamboo, cloth, and paper, and printers used images of kites in their designs. The prints from the Skinner Collection illustrated in this book are products of Tokugawa Edo (1603-1867) and Meiji Tokyo (1868-1912). They record highlights of the Kabuki theater, brothels, and Sumo wrestling, enthusiastically presenting star actors and celebrity courtesans and vignettes of everyday life. These images capture for us the character of life as it was lived and imagined by the printmakers and kite-fliers of Old Japan. It seems that everyone thrills to the sight of a kite straining upward into the sky, and woodblock prints are perhaps the most accessible form of traditional Japanese visual culture; kite aficionados and lovers of Japanese art alike will be delighted by this study.

"This book is about kites I have seen, kite makers I have spoken with, and kite festivals I have attended."--Prologue.

The first book ever to present a clear guide to making 15 traditional Japanese kites unique in color and shape. Also introduces the history and the artistry of Japanses kites.

Briefly looks at the history of Japanese kites, describes the development of local designs, and shows a variety of Japanese kite styles

“A terrific book.” —Washington Post, on previous edition “An unusually effective art book for children.” —Publishers Weekly, on previous edition Previous edition sold more than 50,000 copies This revised and updated edition of a longstanding classic details the life, times, and work of America’s most celebrated architect. Through kid-friendly prose and anecdotes, Thorne-Thomsen describes the influences of Wright’s Wisconsin childhood--nature, music, and close family ties; his struggles to find work as a young architect; the unique style that led him to the top of his profession; and masterpieces like the Robie House, Hollyhock House, Fallingwater, the Guggenheim, and many others. Also discussed are Wright’s sometimes controversial private and public life and the people and times that influenced him and vice-versa, with new sidebars on topics such as the Chicago and Bauhaus schools of architecture, Friedrich Froebel and his influential toy blocks, and the 1893 Chicago World’s Fair. Budding architects will delve into architectural and design concepts while having fun through 21 hands-on projects, such as creating an edible model of Fallingwater, making a miniature Japanese kite, reading an architectural plan, and much more. A time line, glossary, bibliography, and list of houses to visit are also included. Kathleen Thorne-Thomsen specializes in writing and designing books and websites for museums, historical sites, and educational organizations. She is the author of Greene and Greene for Kids, The Huntington for Kids, The Sustainability Book for Kids, and many others. She lives in Santa Fe, New Mexico.

In the West, Japanese woodblock printing tends to be associated with the ukiyo-e tradition and the familiar portrayals of kabuki actors or courtesan beauties. These well-known images were produced by a publisher and artist using the extraordinary skills of carvers and printers, whose identities are rarely known. The same craftsmen also produced woodblock-printed objects for use in everyday life such as decorative paper (chiyogami), votive slips (senjafuda), playing cards (karuta), and board games (sugoroku). As the market changed in the late nineteenth century, the craftsmen increasingly turned to the production of these low-value, essentially ephemeral objects. Although the prices were kept low, many were imbued with the same glorious visual sophistication that had attracted Westerners to ukiyo-e. Approaching the subject as an artist rather than a print scholar, Rebecca Salter focuses on the craftsmen and the complex visual culture within which they worked. Through information gained from interviews with some of the remaining practitioners and analysis of the objects themselves, she builds up a picture of the quiet role woodblock played in the lives of the Japanese as they moved from the isolation of the Edo period to embrace modernization in the early twentieth century. This book is a fascinating exploration of this area of cultural history and the numerous color illustrations encourage a playful investigation of the many threads of Japan’s visual culture. Rebecca Salter is a well-known British printmaker. She lived in Japan for six years and is an acknowledged authority on Japanese woodblock printing. She is the author of Japanese Woodblock Printing.

The Japanese landscape print has had a tremendous influence on Western art of the nineteenth and twentieth centuries. In Japan and in the West it is often seen as the dominant form in Ukiyo-e, pictures from the floating world. And yet for all its importance, it is a genre whose history has never been written. Beyond The Great Wave is a survey or overview for all those interested in discovering the inner dynamics of one of art history's most remarkable achievements. However, it is also a quest narrative, in which landscapes and notions of Japan as a homeland are intertwined and interconnected. Although there has never been a book-length study of the Japanese landscape print in either Japanese or English, a great deal has been written about the two giants of the genre, Hokusai and Hiroshige. From what traditions did these two nineteenth-century artists emerge? Who were their predecessors? What influence, if any, did they have on other Ukiyo-e artists? Can their influence be seen in the shin-hanga and sôsaku-hanga artists of the twentieth century? This book addresses these issues, but it also looks at a number of other factors, such as the growth of tourism in nineteenth-century Japan, necessary for understanding this genre.