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Kawase Hasui's Masterpieces
Author:
Following on the success of the catalogue raisonné – Kawase Hasui: The Complete Woodblock Prints – published by Hotei Publishing in 2003, Visions of Japan: Kawase Hasui’s Masterpieces brings together in a single volume one hundred of the artist’s most celebrated prints. Fully illustrated, this publication includes annotated descriptions for each work, as well as two essays on Hasui’s life and work by Dr. Kendall H. Brown.
Kawase Hasui (1883-1957) is considered the foremost Japanese landscape print artist of the 20th century, and he is most closely associated with the pioneering Shin-hanga ('New Prints') publisher Watanabe Shōzaburō (1885-1962). Hasui’s work became hugely popular, not only in his native Japan but also in the West, especially in the United States. His valuable contribution to the woodblock print medium was acknowledged in 1956, a year before his death, when he was honoured with the distinction of ‘Living National Treasure’.
Kawase Hasui (1883-1957) is considered the foremost Japanese landscape print artist of the 20th century, and he is most closely associated with the pioneering Shin-hanga ('New Prints') publisher Watanabe Shōzaburō (1885-1962). Hasui’s work became hugely popular, not only in his native Japan but also in the West, especially in the United States. His valuable contribution to the woodblock print medium was acknowledged in 1956, a year before his death, when he was honoured with the distinction of ‘Living National Treasure’.
Kawase Hasui's Masterpieces
Author:
Following on the success of the catalogue raisonné – Kawase Hasui: The Complete Woodblock Prints – published by Hotei Publishing in 2003, Visions of Japan: Kawase Hasui’s Masterpieces brings together in a single volume one hundred of the artist’s most celebrated prints. Fully illustrated, this publication includes annotated descriptions for each work, as well as two essays on Hasui’s life and work by Dr. Kendall H. Brown.
Kawase Hasui (1883-1957) is considered the foremost Japanese landscape print artist of the 20th century, and he is most closely associated with the pioneering Shin-hanga ('New Prints') publisher Watanabe Shōzaburō (1885-1962). Hasui’s work became hugely popular, not only in his native Japan but also in the West, especially in the United States. His valuable contribution to the woodblock print medium was acknowledged in 1956, a year before his death, when he was honoured with the distinction of ‘Living National Treasure’.
Kawase Hasui (1883-1957) is considered the foremost Japanese landscape print artist of the 20th century, and he is most closely associated with the pioneering Shin-hanga ('New Prints') publisher Watanabe Shōzaburō (1885-1962). Hasui’s work became hugely popular, not only in his native Japan but also in the West, especially in the United States. His valuable contribution to the woodblock print medium was acknowledged in 1956, a year before his death, when he was honoured with the distinction of ‘Living National Treasure’.
Author:
Utagawa Hiroshige (1797-1858) designed a series of 70 landscapes depicting the provinces of Japan between 1854 and 1856. It was the first of a number of sets from the highly productive years of his later life. The designs comprising Famous places in the 60-odd provinces (Rokuju yoshu meisho zue) are taken from all corners of Japan. Designs published before this series had already depicted the famous routes between Edo and Kyoto, the Tokaido and the Kisokaido, and various well known locations such as the famous waterfalls, Lake Omi and the Jewel Rivers, but a series on such a grand scale devoted to the provincies was a novelty. It evidently met with critical acclaim as the publishers Koshimuraya Heisuke issued several editions.
In this study, the author Marije Jansen briefly discusses Hiroshige's life and the formal aspects of this series. Jansen takes as her point of departure the set in possession of the German collector Gerhard Pulverer, which is generally acknowledged to be a superb example of a first edition, and compares this series to a number of other sets in public and private collections. The detectable printing variations in each design are carefully analysed, making this an indispensable tool for collectors.
In this study, the author Marije Jansen briefly discusses Hiroshige's life and the formal aspects of this series. Jansen takes as her point of departure the set in possession of the German collector Gerhard Pulverer, which is generally acknowledged to be a superb example of a first edition, and compares this series to a number of other sets in public and private collections. The detectable printing variations in each design are carefully analysed, making this an indispensable tool for collectors.
Author:
Utagawa Hiroshige (1797-1858) designed a series of 70 landscapes depicting the provinces of Japan between 1854 and 1856. It was the first of a number of sets from the highly productive years of his later life. The designs comprising Famous places in the 60-odd provinces (Rokuju yoshu meisho zue) are taken from all corners of Japan. Designs published before this series had already depicted the famous routes between Edo and Kyoto, the Tokaido and the Kisokaido, and various well known locations such as the famous waterfalls, Lake Omi and the Jewel Rivers, but a series on such a grand scale devoted to the provincies was a novelty. It evidently met with critical acclaim as the publishers Koshimuraya Heisuke issued several editions.
In this study, the author Marije Jansen briefly discusses Hiroshige's life and the formal aspects of this series. Jansen takes as her point of departure the set in possession of the German collector Gerhard Pulverer, which is generally acknowledged to be a superb example of a first edition, and compares this series to a number of other sets in public and private collections. The detectable printing variations in each design are carefully analysed, making this an indispensable tool for collectors.
In this study, the author Marije Jansen briefly discusses Hiroshige's life and the formal aspects of this series. Jansen takes as her point of departure the set in possession of the German collector Gerhard Pulverer, which is generally acknowledged to be a superb example of a first edition, and compares this series to a number of other sets in public and private collections. The detectable printing variations in each design are carefully analysed, making this an indispensable tool for collectors.
The Influence of Japanese Sexual Imagery on Western Art
Author:
At its height in the late nineteenth and early twentieth centuries, Japonisme had a tremendous impact on Western art. In this publication, author Ricard Bru approaches the cultural phenomenon of Japonisme from an innovative standpoint. He presents an in-depth discussion of the influence of Japanese printed erotic imagery by ukiyo-e masters such as Kitagawa Utamaro, Katsushika Hokusai, and Utagawa Hiroshige on European artists, including Edgar Degas, Auguste Rodin, Henri de Toulouse-Lautrec, Gustav Klimt and Pablo Picasso, as well as writers, critics, and collectors, such as Edmond de Goncourt, Joris-Karl Huysmans, and Émile Zola. With over 160 color illustrations sourced from public and private collections, Erotic Japonisme demonstrates the rich artistic dialogue that existed between Europe and Japan.
The Influence of Japanese Sexual Imagery on Western Art
Author:
At its height in the late nineteenth and early twentieth centuries, Japonisme had a tremendous impact on Western art. In this publication, author Ricard Bru approaches the cultural phenomenon of Japonisme from an innovative standpoint. He presents an in-depth discussion of the influence of Japanese printed erotic imagery by ukiyo-e masters such as Kitagawa Utamaro, Katsushika Hokusai, and Utagawa Hiroshige on European artists, including Edgar Degas, Auguste Rodin, Henri de Toulouse-Lautrec, Gustav Klimt and Pablo Picasso, as well as writers, critics, and collectors, such as Edmond de Goncourt, Joris-Karl Huysmans, and Émile Zola. With over 160 color illustrations sourced from public and private collections, Erotic Japonisme demonstrates the rich artistic dialogue that existed between Europe and Japan.
Riddles in Japanese Woodblock Prints
Author:
The Tōkaidō highway, connecting Edo with Kyoto, was the most vital thoroughfare in Japan. Its cultural presence in pre- to early modern Japanese society led to the publication of woodblock print series, such as the widely known landscape prints by Hiroshige, that took this famous road as their theme.
The prints of Utagawa Kunisada, the most sought-after woodblock print designer of his day, represent a different treatment of the Tōkaidō, in which popular kabuki actors in specific roles are paired with Tōkaidō post stations. This study discusses the phenomenon of serialization in Japanese prints outlining its marketing mechanisms and concepts. It then proceeds to unravel Kunisada’s pairings of post-stations and kabuki roles,
which served as puzzles for his audience to decipher. Finally, this study analyses Kunisada’s methods when he invented and developed these patterns.
Kunisada’s Tōkaidō is a valuable visual source for the print collector, illustrating over 700 prints and it has been selected for an Honorable Mention at the 2014 IFPDA (International Fine Print Dealers Association) Book Award.
The prints of Utagawa Kunisada, the most sought-after woodblock print designer of his day, represent a different treatment of the Tōkaidō, in which popular kabuki actors in specific roles are paired with Tōkaidō post stations. This study discusses the phenomenon of serialization in Japanese prints outlining its marketing mechanisms and concepts. It then proceeds to unravel Kunisada’s pairings of post-stations and kabuki roles,
which served as puzzles for his audience to decipher. Finally, this study analyses Kunisada’s methods when he invented and developed these patterns.
Kunisada’s Tōkaidō is a valuable visual source for the print collector, illustrating over 700 prints and it has been selected for an Honorable Mention at the 2014 IFPDA (International Fine Print Dealers Association) Book Award.
Riddles in Japanese Woodblock Prints
Author:
The Tōkaidō highway, connecting Edo with Kyoto, was the most vital thoroughfare in Japan. Its cultural presence in pre- to early modern Japanese society led to the publication of woodblock print series, such as the widely known landscape prints by Hiroshige, that took this famous road as their theme.
The prints of Utagawa Kunisada, the most sought-after woodblock print designer of his day, represent a different treatment of the Tōkaidō, in which popular kabuki actors in specific roles are paired with Tōkaidō post stations. This study discusses the phenomenon of serialization in Japanese prints outlining its marketing mechanisms and concepts. It then proceeds to unravel Kunisada’s pairings of post-stations and kabuki roles,
which served as puzzles for his audience to decipher. Finally, this study analyses Kunisada’s methods when he invented and developed these patterns.
Kunisada’s Tōkaidō is a valuable visual source for the print collector, illustrating over 700 prints and it has been selected for an Honorable Mention at the 2014 IFPDA (International Fine Print Dealers Association) Book Award.
The prints of Utagawa Kunisada, the most sought-after woodblock print designer of his day, represent a different treatment of the Tōkaidō, in which popular kabuki actors in specific roles are paired with Tōkaidō post stations. This study discusses the phenomenon of serialization in Japanese prints outlining its marketing mechanisms and concepts. It then proceeds to unravel Kunisada’s pairings of post-stations and kabuki roles,
which served as puzzles for his audience to decipher. Finally, this study analyses Kunisada’s methods when he invented and developed these patterns.
Kunisada’s Tōkaidō is a valuable visual source for the print collector, illustrating over 700 prints and it has been selected for an Honorable Mention at the 2014 IFPDA (International Fine Print Dealers Association) Book Award.
Sex and Pleasure in Japanese Art
In early modern Japan, 1600–1900, thousands of sexually explicit paintings, prints, and illustrated books with texts were produced, known as ‘spring pictures’ (shunga). Frequently tender, funny and beautiful, shunga were mostly produced within the popular school known as ‘pictures of the floating world’ (ukiyo-e), by celebrated artists such as Utamaro and Hokusai. Early modern Japan was certainly not a sex-paradise; however, the values promoted in shunga are generally positive towards sexual pleasure for all. Official life in this period was governed by strict Confucian laws, but private life was less controlled in practice.
Shunga is in some ways a unique phenomenon in pre-modern world culture, in terms of the quantity, the quality and the nature of the art that was produced. This catalogue of a major exhibition at the British Museum marks the culmination of a substantial international research project and aims to answer some key questions about what shunga was and why it was produced. In particular the social and cultural contexts for sex art in Japan are explored.
Erotic Japanese art was heavily suppressed in Japan from the 1870s onwards as part of a process of cultural ‘modernisation’ that imported many contemporary western moral values. Only in the last twenty years or so has it been possible to publish unexpurgated examples in Japan and this ground-breaking publication presents this fascinating art in its historical and cultural context for the first time.
Drawing on the latest scholarship from the leading experts in the field and featuring over 400 images of works from major public and private collections, this landmark book looks at painted and printed erotic images produced in Japan during the Edo period (1600–1868) and early Meiji era (1868–1912). These are related to the wider contexts of literature, theatre, the culture of the pleasure quarters, and urban consumerism; and interpreted in terms of their sensuality, reverence, humour and parody.
This title is only available through Hotei Publishing in the United States of America, Canada and the Philippines.
Shunga is in some ways a unique phenomenon in pre-modern world culture, in terms of the quantity, the quality and the nature of the art that was produced. This catalogue of a major exhibition at the British Museum marks the culmination of a substantial international research project and aims to answer some key questions about what shunga was and why it was produced. In particular the social and cultural contexts for sex art in Japan are explored.
Erotic Japanese art was heavily suppressed in Japan from the 1870s onwards as part of a process of cultural ‘modernisation’ that imported many contemporary western moral values. Only in the last twenty years or so has it been possible to publish unexpurgated examples in Japan and this ground-breaking publication presents this fascinating art in its historical and cultural context for the first time.
Drawing on the latest scholarship from the leading experts in the field and featuring over 400 images of works from major public and private collections, this landmark book looks at painted and printed erotic images produced in Japan during the Edo period (1600–1868) and early Meiji era (1868–1912). These are related to the wider contexts of literature, theatre, the culture of the pleasure quarters, and urban consumerism; and interpreted in terms of their sensuality, reverence, humour and parody.
This title is only available through Hotei Publishing in the United States of America, Canada and the Philippines.
Sex and Pleasure in Japanese Art
In early modern Japan, 1600–1900, thousands of sexually explicit paintings, prints, and illustrated books with texts were produced, known as ‘spring pictures’ (shunga). Frequently tender, funny and beautiful, shunga were mostly produced within the popular school known as ‘pictures of the floating world’ (ukiyo-e), by celebrated artists such as Utamaro and Hokusai. Early modern Japan was certainly not a sex-paradise; however, the values promoted in shunga are generally positive towards sexual pleasure for all. Official life in this period was governed by strict Confucian laws, but private life was less controlled in practice.
Shunga is in some ways a unique phenomenon in pre-modern world culture, in terms of the quantity, the quality and the nature of the art that was produced. This catalogue of a major exhibition at the British Museum marks the culmination of a substantial international research project and aims to answer some key questions about what shunga was and why it was produced. In particular the social and cultural contexts for sex art in Japan are explored.
Erotic Japanese art was heavily suppressed in Japan from the 1870s onwards as part of a process of cultural ‘modernisation’ that imported many contemporary western moral values. Only in the last twenty years or so has it been possible to publish unexpurgated examples in Japan and this ground-breaking publication presents this fascinating art in its historical and cultural context for the first time.
Drawing on the latest scholarship from the leading experts in the field and featuring over 400 images of works from major public and private collections, this landmark book looks at painted and printed erotic images produced in Japan during the Edo period (1600–1868) and early Meiji era (1868–1912). These are related to the wider contexts of literature, theatre, the culture of the pleasure quarters, and urban consumerism; and interpreted in terms of their sensuality, reverence, humour and parody.
This title is only available through Hotei Publishing in the United States of America, Canada and the Philippines.
Shunga is in some ways a unique phenomenon in pre-modern world culture, in terms of the quantity, the quality and the nature of the art that was produced. This catalogue of a major exhibition at the British Museum marks the culmination of a substantial international research project and aims to answer some key questions about what shunga was and why it was produced. In particular the social and cultural contexts for sex art in Japan are explored.
Erotic Japanese art was heavily suppressed in Japan from the 1870s onwards as part of a process of cultural ‘modernisation’ that imported many contemporary western moral values. Only in the last twenty years or so has it been possible to publish unexpurgated examples in Japan and this ground-breaking publication presents this fascinating art in its historical and cultural context for the first time.
Drawing on the latest scholarship from the leading experts in the field and featuring over 400 images of works from major public and private collections, this landmark book looks at painted and printed erotic images produced in Japan during the Edo period (1600–1868) and early Meiji era (1868–1912). These are related to the wider contexts of literature, theatre, the culture of the pleasure quarters, and urban consumerism; and interpreted in terms of their sensuality, reverence, humour and parody.
This title is only available through Hotei Publishing in the United States of America, Canada and the Philippines.
Author:
Surimono (literally ‘printed things’) constitute one of the most delicate genres in Japanese printmaking. This genre fascinates because it combines poetry and image and because it presents a pictorial puzzle, which provides the viewer with a particular insight into the intellectual and literary world of late 18th- and early 19th-century Edo (today’s Tokyo). Major artists such as Katsushika Hokusai, Utagawa Kunisada, Totoya Hokkei and Yashima Gakutei, to name but a few, provided imagery to accompany the poetic exploits of poetry club members. The prints were circulated among networks of poets and friends and, in contrast to other prints of the period, were not produced for commercial gain. Intricate still lifes, historical and mythical heroes, actors on the stage and tranquil landscapes form a
visual partnership with the witty poems (kyōka). The beauty of these prints is enhanced by the astonishing printing quality, including the use of metallic pigments and blindprinting.
The Rijksmuseum Amsterdam is home to one of the most important collections of surimono in the world. Two recent major donations have enriched the collection to such a degree that a publication documenting the complete surimono holdings of the museum is justified. The true beauty of the collection can now be appreciated in full, with all the prints illustrated in colour for the first time.
Matthi Forrer’s deep understanding of poetry circles and of the major artists of the time has resulted in numerous revisions of the existing descriptions and of previously established chronologies within the genre.
Surimono in the Rijksmuseum Amsterdam is thus an essential work of reference and at the same time a source of endless aesthetic enjoyment.
visual partnership with the witty poems (kyōka). The beauty of these prints is enhanced by the astonishing printing quality, including the use of metallic pigments and blindprinting.
The Rijksmuseum Amsterdam is home to one of the most important collections of surimono in the world. Two recent major donations have enriched the collection to such a degree that a publication documenting the complete surimono holdings of the museum is justified. The true beauty of the collection can now be appreciated in full, with all the prints illustrated in colour for the first time.
Matthi Forrer’s deep understanding of poetry circles and of the major artists of the time has resulted in numerous revisions of the existing descriptions and of previously established chronologies within the genre.
Surimono in the Rijksmuseum Amsterdam is thus an essential work of reference and at the same time a source of endless aesthetic enjoyment.
Author:
Surimono (literally ‘printed things’) constitute one of the most delicate genres in Japanese printmaking. This genre fascinates because it combines poetry and image and because it presents a pictorial puzzle, which provides the viewer with a particular insight into the intellectual and literary world of late 18th- and early 19th-century Edo (today’s Tokyo). Major artists such as Katsushika Hokusai, Utagawa Kunisada, Totoya Hokkei and Yashima Gakutei, to name but a few, provided imagery to accompany the poetic exploits of poetry club members. The prints were circulated among networks of poets and friends and, in contrast to other prints of the period, were not produced for commercial gain. Intricate still lifes, historical and mythical heroes, actors on the stage and tranquil landscapes form a
visual partnership with the witty poems (kyōka). The beauty of these prints is enhanced by the astonishing printing quality, including the use of metallic pigments and blindprinting.
The Rijksmuseum Amsterdam is home to one of the most important collections of surimono in the world. Two recent major donations have enriched the collection to such a degree that a publication documenting the complete surimono holdings of the museum is justified. The true beauty of the collection can now be appreciated in full, with all the prints illustrated in colour for the first time.
Matthi Forrer’s deep understanding of poetry circles and of the major artists of the time has resulted in numerous revisions of the existing descriptions and of previously established chronologies within the genre.
Surimono in the Rijksmuseum Amsterdam is thus an essential work of reference and at the same time a source of endless aesthetic enjoyment.
visual partnership with the witty poems (kyōka). The beauty of these prints is enhanced by the astonishing printing quality, including the use of metallic pigments and blindprinting.
The Rijksmuseum Amsterdam is home to one of the most important collections of surimono in the world. Two recent major donations have enriched the collection to such a degree that a publication documenting the complete surimono holdings of the museum is justified. The true beauty of the collection can now be appreciated in full, with all the prints illustrated in colour for the first time.
Matthi Forrer’s deep understanding of poetry circles and of the major artists of the time has resulted in numerous revisions of the existing descriptions and of previously established chronologies within the genre.
Surimono in the Rijksmuseum Amsterdam is thus an essential work of reference and at the same time a source of endless aesthetic enjoyment.
Japanese Nō and Nature Prints by Tsukioka Kōgyo (1869-1927)
The Beauty of Silence. Japanese Nō and Nature Prints by Tsukioka Kōgyo (1867-1927) is the first monograph in English on Tsukioka Kōgyo, one of the lesser-known exponents of Japanese woodblock prints of the Meiji period (1868-1912). This publication exposes Kōgyo’s life and work, presenting a detailed and abundantly-illustrated overview of his rich oeuvre of prints and paintings, and places them in the context of his times. For the first time, Kōgyo’s life and work are accessible to readers throughout the world.
Kōgyo is particularly well-known for his many depictions of the Nō, Japan’s elegant and poetic theatrical form, dating back to medieval times. Performances of Nō continue to have wide audiences even today, with admirers not only in Japan, but throughout Asia, Europe and the United States.
Kōgyo often created unusual images of the theatrical productions he attended, and his prints provide fascinating visual clues and insights into how these classic plays were actually performed during his lifetime. In these theatrical prints, Kōgyo created images of an evocative beauty that are comparable with the work of some of the great artists in the European tradition who also recorded the theatrical practices of their times.
The Beauty of Silence illustrates a range of Kōgyo’s works on a variety of subjects, including landscapes, as well as samples of his art created in other media. The publication includes his biography, historical information on the Nō, a detailed analysis of the prints, and useful information on each of the Nō plays pictured. The appendices section includes listings of more than a hundred artist-seals used by Kōgyo, an index of Nō plays and illustrations of all 120 prints belonging to Kōgyo’s famous print series Nōgaku hyakuban (One Hundred Nō Plays).
This book, with almost 400 full color illustrations, will be of wide interest both to lovers of woodblock prints and to those interested in the power and beauty of Japan’s theatrical traditions.
Japanese Nō and Nature Prints by Tsukioka Kōgyo (1869-1927)
The Beauty of Silence. Japanese Nō and Nature Prints by Tsukioka Kōgyo (1867-1927) is the first monograph in English on Tsukioka Kōgyo, one of the lesser-known exponents of Japanese woodblock prints of the Meiji period (1868-1912). This publication exposes Kōgyo’s life and work, presenting a detailed and abundantly-illustrated overview of his rich oeuvre of prints and paintings, and places them in the context of his times. For the first time, Kōgyo’s life and work are accessible to readers throughout the world.
Kōgyo is particularly well-known for his many depictions of the Nō, Japan’s elegant and poetic theatrical form, dating back to medieval times. Performances of Nō continue to have wide audiences even today, with admirers not only in Japan, but throughout Asia, Europe and the United States.
Kōgyo often created unusual images of the theatrical productions he attended, and his prints provide fascinating visual clues and insights into how these classic plays were actually performed during his lifetime. In these theatrical prints, Kōgyo created images of an evocative beauty that are comparable with the work of some of the great artists in the European tradition who also recorded the theatrical practices of their times.
The Beauty of Silence illustrates a range of Kōgyo’s works on a variety of subjects, including landscapes, as well as samples of his art created in other media. The publication includes his biography, historical information on the Nō, a detailed analysis of the prints, and useful information on each of the Nō plays pictured. The appendices section includes listings of more than a hundred artist-seals used by Kōgyo, an index of Nō plays and illustrations of all 120 prints belonging to Kōgyo’s famous print series Nōgaku hyakuban (One Hundred Nō Plays).
This book, with almost 400 full color illustrations, will be of wide interest both to lovers of woodblock prints and to those interested in the power and beauty of Japan’s theatrical traditions.
The Natural World of Ohara Koson 1877-1945
The work of print artist Ohara Koson (1877-1945) mainly consists of prints of birds and flowers, characterised by their peaceful charm. This book about Koson is the first Western publication of his oeuvre of prints and paintings. It provides all known information on the artist's life and work, his teachers and publishers, facsimiles of his signatures and seals and illustrations of an estimated seventy-five percent of his total print output, now kept in the splendid collection of Japanese prints in the Rijksmuseum, Amsterdam. First published in 2001, this new edition features an additional chapter on Koson’s oeuvre and designs which have been discovered since the original publication of Crows, Cranes and Camellias. This title is the definitive reference book for Koson collectors. The 1st edition with ISBN 9789074822381 is now out of stock.
The Natural World of Ohara Koson 1877-1945
The work of print artist Ohara Koson (1877-1945) mainly consists of prints of birds and flowers, characterised by their peaceful charm. This book about Koson is the first Western publication of his oeuvre of prints and paintings. It provides all known information on the artist's life and work, his teachers and publishers, facsimiles of his signatures and seals and illustrations of an estimated seventy-five percent of his total print output, now kept in the splendid collection of Japanese prints in the Rijksmuseum, Amsterdam. First published in 2001, this new edition features an additional chapter on Koson’s oeuvre and designs which have been discovered since the original publication of Crows, Cranes and Camellias. This title is the definitive reference book for Koson collectors. The 1st edition with ISBN 9789074822381 is now out of stock.
The Interplay of Text and Image in Japanese Prints
Author:
This full-colour catalogue illustrates and describes over 300 surimono (privately published deluxe Japanese prints) belonging to the Graphics Collection of the Museum of Design Zurich, which were recently placed on long-term loan to the Museum Rietberg Zurich. Originally bequeathed to the Museum of Design by the Swiss collector Marino Lusy (1880-1954), the collection includes many rare and previously unpublished examples. Edited by John T. Carpenter, with contributions from a distinguished roster of Edo art and literary specialists, this groundbreaking scholarly publication investigates surimono as a hybrid genre combining literature and art. Introductory essays treat issues such as text-image interaction and iconography, poetry and intertextuality, as well as the operation of Kabuki fan clubs and poetry circles in late 18th and early 19th century Japan. Other essays document Lusy’s accomplishments as a talented lithographer inspired by East Asian art, and as an astute collector who acquired prints from Parisian auction houses and dealers in the early 20th century. Translations of kyoka (31-witty verse) that accompany images are given for all prints. The volume also includes a comprehensive index of poets with Japanese characters. This publication is not only indispensable to specialists in ukiyo-e, but has much to offer any reader interested in traditional Japanese art and literature.
The Interplay of Text and Image in Japanese Prints
Author:
This full-colour catalogue illustrates and describes over 300 surimono (privately published deluxe Japanese prints) belonging to the Graphics Collection of the Museum of Design Zurich, which were recently placed on long-term loan to the Museum Rietberg Zurich. Originally bequeathed to the Museum of Design by the Swiss collector Marino Lusy (1880-1954), the collection includes many rare and previously unpublished examples. Edited by John T. Carpenter, with contributions from a distinguished roster of Edo art and literary specialists, this groundbreaking scholarly publication investigates surimono as a hybrid genre combining literature and art. Introductory essays treat issues such as text-image interaction and iconography, poetry and intertextuality, as well as the operation of Kabuki fan clubs and poetry circles in late 18th and early 19th century Japan. Other essays document Lusy’s accomplishments as a talented lithographer inspired by East Asian art, and as an astute collector who acquired prints from Parisian auction houses and dealers in the early 20th century. Translations of kyoka (31-witty verse) that accompany images are given for all prints. The volume also includes a comprehensive index of poets with Japanese characters. This publication is not only indispensable to specialists in ukiyo-e, but has much to offer any reader interested in traditional Japanese art and literature.
Shunga by Harunobu and Koryūsai
Author:
This title presents a ravishing selection of shunga by the first full-colour woodblock-print masters: Harunobu and Koryūsai. The prints used for this book are of a remarkable quality, their radiant colours perfectly preserved by the albums in which they were kept. The first volume in a series on erotic prints by famous Japanese woodblock-print artists, this book contains a detailed general introduction to the genre of shunga. In addition to a description of the historical and cultural settings of the prints, it focuses in particular on the locations and interiors where the erotic action takes place.
Shunga by Harunobu and Koryūsai
Author:
This title presents a ravishing selection of shunga by the first full-colour woodblock-print masters: Harunobu and Koryūsai. The prints used for this book are of a remarkable quality, their radiant colours perfectly preserved by the albums in which they were kept. The first volume in a series on erotic prints by famous Japanese woodblock-print artists, this book contains a detailed general introduction to the genre of shunga. In addition to a description of the historical and cultural settings of the prints, it focuses in particular on the locations and interiors where the erotic action takes place.