Author: Amy Newland
Printed and Painted: The Meiji Art of Ogata Gekkō (1859–1920) is the first English-language publication to offer an in-depth look at the life and career of the Japanese painter and woodblock-print designer Ogata Gekkō. This publication brings together 140 prints and paintings by Gekkō, his students and his contemporaries such as Kawanabe Kyōsai, Tsukioka Yoshitoshi and Yōshū Chikanobu across five subject areas: history and legend; pictures of beautiful women; the natural world, rural and city views; literature and theatre; and modern wars and modern soldiers. The extensive introduction brings to life the character and art of Gekkō, including a translation of a personal account by his accomplished student, the shin-hanga (New Print) artist Yamamura Kōka. An artist often overlooked in discussions of the art of the Meiji period (1868–1912), the publication seeks to highlight the vibrant printed and painted world of the era.
300 Years of Japanese Design
Editor: Vivian Li
The Kimono in Print: 300 Years of Japanese Design is the first publication dedicated to the examination of the kimono as a major source of inspiration and experimentation in Japanese print culture from the widely circulated woodblock prints and illustrated books of the Edo period (1603–1868) to the modern design books of the Meiji period (1868–1912). Print and book designers from these eras, such as Hishikawa Moronobu and Kamisaka Sekka, profoundly shaped the ever-evolving trends in material culture and fashion, including the popularization of certain styles of dress and even the creation of kimono designs. Five essays by the leading art and social historians Nagasaki Iwao, Ellis Tinios, Matsuba Ryōko, Fujita Kayoko, and Stephanie Su and a catalogue of about seventy works off er insight into the intersection of the worlds of the Japanese print and kimono as well as their social, cultural, and global import.
Editors: Jinah Kim and Todd Lewis
Dharma and Puṇya: Buddhist Ritual Art of Nepal explores the centrality of ritual practices and the agency of people – patrons, ritual specialists, devotees – in creating and amplifying the efficacy of Buddhist art. Jinah Kim and Todd Lewis highlight the unparalleled contributions of Nepal’s artisans, patrons, and ritualists in engendering artistic heritage that is an endearing continuation of Indic Buddhist traditions. The publication presents paintings, illuminated texts, statues, and ritual implements from the Newar tradition in the Kathmandu Valley. Richly illustrated with photographs of contemporary rituals, religious observances, and historical examples, the essays provide cultural, historical and ritual contexts in which objects collected in art museums were used, and animate them. By recentering the historical imagination on communities, their rituals, and popular narrative traditions, Dharma and Puṇya challenges prevailing misconceptions about Buddhism in the West and expand our understanding of Buddhism as a lived world religion. Contributors include: Naresh Bajracharya, Louis Coppleston, Sonali Dhingra, James Giambrone, Jinah Kim, Todd Lewis, Bruce McCoy Owens, Alexander von Rospatt and Sumon Tuladhar.
Tanaka Ryōhei. Etchings of Rural Japan is the first monograph in English dedicated to the life and oeuvre of Tanaka Ryōhei (1933). Mostly self-taught, Tanaka excelled in the medium of etching. He used this technique to depict the scenery of rural Japan and its gradually disappearing thatched-roof farmhouses. Tanaka made no less than 770 etchings and printed the vast majority of the editions himself – a total of well over 100,000 prints, which found their way to many collections, both public and private, all over the world. Over 130 representative works have been selected for this publication. Japan has a long and rich tradition of printmaking. Whereas 18th- to early 20th-century woodblock prints have been the subject of extensive research, postwar printmaking and etching in Japan have received considerably less attention. While focusing on a single artist, this publication aims to shed light on these lesser-known aspects of Japanese print history. Tanaka Ryōhei, Etchings of Rural Japan includes an elaborate introduction to the technique of etching, enabling the reader to understand and admire Tanaka’s skills as an artist-craftsman.
Yoshijiro Urushibara: A Japanese printmaker in London is a catalogue raisonné of the work of Yoshijiro Urushibara (1889–1953), a Japanese artist and craftsman who lived and worked in London from 1910 to 1940. During his thirty years in Europe, Urushibara produced a considerable number of prints and played a major role in encouraging the production and appreciation of the colour woodcut in the Japanese manner, especially in Britain. Throughout his career Urushibara contributed to cross-cultural interactivity, collaborating with several European artists. His most famous and successful collaboration was with the British artist Frank Brangwyn (1867-1956).
The authors had unique access to the artist’s family archive in Tokyo and recorded and evaluated the extent of Urushibara’s print production. With fully researched catalogue entries, full-colour illustrations, and illuminating biographical and contextual essays, this publication – the first of its kind in the English language - provides a comprehensive account of Urushibara’s life and oeuvre.
Author: Marije Jansen
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.
Kuniyoshi The Faithful Samurai is a pioneering publication which deals with the most famous series – the Seichū gishi den (1847-48) and its sequel the Seichū gishin den (1848) – of the forty-seven masterless samurai ( rōnin) by artist Utagawa Kuniyoshi (1797-1861). The true 18th-century tale of revenge by forty-seven rōnin for the death of their lord was enormously popular in Japan: it was dramatised for the Kabuki theatre and its heroes were often depicted in ukiyo-e prints. Kuniyoshi was a master in the genre of warrior prints, and his series expressively portrays these warrior ‘folk heroes’. Dr. Weinberg’s book also includes translations of the texts which appear on the prints and which recount each hero’s exploits. In addition, there are photographs of the relics of the masterless samurai and the ruins of their castle in Akō.
Author: Robert Schaap
Utagawa Kunisada (1786–1865) was one of the most successful Japanese woodblock print designers of his age. With an estimated output of some twenty-five thousand prints during a career spanning almost sixty years Kunisada was a towering figure in the sphere of ukiyo-e. His versatility and inventiveness extended across genres, from the stars of the kabuki stage to the women from the pleasure districts, the world of entertainment and the everyday, as well as landscapes, warriors and literary themes.

Kunisada was greatly respected during his lifetime as a print designer of the Utagawa school and as the head of a successful studio with students, such as Toyohara Kunichika (1835–1900), who would carry the tradition of woodblock prints into the Meiji period (1868–1912). Yet scholars, collectors and connoisseurs in the late nineteenth and early twentieth centuries dismissed him and many of his contemporaries as ‘decadent’. And in recent decades his achievements have often been overshadowed by his contemporary Utagawa Kuniyoshi (1797−1861). Kunisada: imaging drama and beauty offers a fresh perspective on this ukiyo-e master, demonstrating the high calibre of his art with prints, paintings and books sourced from international public and private collections. Although the over one hundred and fifty works in the publication represent only a small part of Kunisada’s vast oeuvre, they serve to convey his skill in capturing and imagining Japanese popular culture of the first half of the nineteenth century.

Kuniyoshi's Heroes of the Suikoden
Of brigands and bravery: Kuniyoshi’s heroes of the Suikoden is the first monograph in English on the stunning series of 74 prints illustrating figures from the Suikoden by Utagawa Kuniyoshi (1797-1861), one of the outstanding Japanese woodblock-print masters of the 19th century.

The Suikoden (commonly known in English as The water margin) is the Japanese adaptation of the 14th-century Chinese vernacular novel, the Shui hu zhuan, which recounts the exploits of a group of rebels on Mount Liang (J. Ryösanpaku) under the lead of the brave and righteous Song Jiang. The Suikoden was enormously popular in Japan during the 19th century. It was Kuniyoshi’s initial designs for the single-sheet print series The one hundred and eight heroes of the popular Suikoden (Tsüzoku Suikoden göketsu hyakuhachinin no hitori) - in which the full-length portraits of the heroes are charged with a new sense of dynamism - that spurred a Suikoden craze in Edo (present-day Tokyo).

Of brigands and bravery reproduces the 74 known designs of the series in full colour; each is accompanied by an explanatory text. The publication also offers supplementary information on topics relating specifically to the series such as tattooing: a number of the Suikoden figures are adorned with tattoos and it is thought that Kuniyoshi himself had a passion for this art. In addition, Kuniyoshi’s illustration of a variety of armour and dress types, his at times graphic portrayal of the heroes in battle and his integration of western stylistic devices are testimony to the creative genius behind the Suikoden series.
Gender relations were complex in Edo-period Japan (1603–1868). Wakashu, male youths, were desired by men and women, constituting a “third gender” with their androgynous appearance and variable sexuality. For the first time outside Japan, A Third Gender examines the fascination with wakashu in Edo-period culture and their visual representation in art, demonstrating how they destabilize the conventionally held model of gender binarism.

The volume will reproduce, in colour, over a hundred works, mostly woodblock prints and illustrated books from the eighteenth and nineteenth centuries produced by a number of designers ranging from such well-known artists as Okumura Masanobu, Suzuki Harunobu, Kitagawa Utamaro and Utagawa Kunisada, to lesser known artists such as Shigemasa, Eishi and Eiri. A Third Gender is based on the collection of the Royal Ontario Museum, which houses the largest collection of Japanese art in Canada, including more than 2,500 woodblock prints.
Selections from the Nihon no Hanga collection, Amsterdam
Waves of renewal traces the history of Japanese printmaking following an era of decline beginning in the late nineteenth century. The early twentieth century witnessed the emergence of two principal printmaking movements. The first— shin hanga (new print)—reinvented and revitalised the conventional genres of landscape, beauties and actors. Shin hanga adhered to a traditional production method that was based on the cooperation between artist, block-cutter, printer and publisher. At the same time, it strove to forge a new visual language in both style and technique. The second— sōsaku hanga (creative print)—was inspired by the dialogue between Western and Japanese art and aesthetics. In the main, sōsaku hanga adherents advocated the participation of the artist in the entire creative process from design to production.

Waves of renewal is the most comprehensive publication to date to focus on the holdings of the Nihon no hanga collection in Amsterdam. The 277 prints included showcase the sophistication of shin hanga and the boldness of sōsaku hanga. An introductory essay sets the stage, followed by ten shorter essays by noted scholars in the field that centre on aspects integral to our understanding of early to mid-twentieth century Japanese printmaking. Each print is documented and annotated in the extensive catalogue section.

Contributors:
Chris Uhlenbeck; Amy Reigle Newland; Shōichirō Watanabe; Setsuko Abe; Kendall H. Brown; Mikiko Hirayama; Junko Nishiyama; Chiaki Ajioka; Noriko Kuwahara; Kiyoko Sawatari; Maureen de Vries
Authors: Nozomi Naoi and Sabine Schenk
Takehisa Yumeji (1884–1934) remains today one of the most celebrated Japanese artists. His unique style — characterised by a romantic, melancholic image of women—has remained popular with contemporary Japanese audiences. The six museums dedicated to his work as painter, printmaker and illustrator are testimony to his enduring appeal. Takehisa Yumeiji is the first publication outside Japan devoted to Yumeji's life and art. It chronicles the individuality of his art practice as well as the diverse sources of his creative inspiration, ranging from traditional Japanese ukiyo-e print designers such as Kitagawa Utamaro (1753–1806) to Western graphic design and modern art movements such as Jugendstil and Cubism. This fully illustrated volume features over one hundred and eighty works drawn from the Nihon no Hanga museum in Amsterdam, which boasts the largest collection of Yumeji prints outside Japan.
The Japanese Warlord Oda Nobunaga Reconsidered
Oda Nobunaga (1534-82) is one of the best-known figures in Japanese history. However, no standard biography existed on this warlord who was the prime mover behind Japan's military and political unification in the late 16th century. Japonius Tyrannus fills the gap in our knowledge about Nobunaga, and the chronological narrative providesa thorough analysis of his political and military career.
Kawase Hasui and Japanese Landscape Prints
Known as Japan’s premier “poet of place,” Kawase Hasui is one of the most popular landscape artists of the twentieth century. This richly illustrated catalogue spans Kawase Hasui’s most imaginative period—the years from 1918 to the Great Earthquake of 1923. An important contributor to the early shin-hanga (new print) movement, Hasui crafted distinctive landscapes that also recall artistic traditions ranging from ukiyo-e and French Japonisme to Post-Impressionist painting.

Water and Shadow is based on the unparalleled collection donated to the Virginia Museum of Fine Arts by René and Carolyn Balcer. These selections exemplify the creativity of Hasui’s early work and reveal the dynamic interplay between his prints, graphic design, and rare but spectacular paintings. Five essays by leading scholars in North America and Japan explore Hasui’s methods, art historical relationships, and themes as well as some socioeconomic aspects of the print business.
The Influence of Japanese Sexual Imagery on Western Art
Author: Ricard Bru
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.
A Catalogue of Woodcuts by Suzuki Harunobu and his followers in the Museum of Fine Arts, Boston
The Museum of Fine Arts in Boston is home to the world’s largest and richest collection of works by Suzuki Harunobu (1725?–70), the first great artist of the full-colour Japanese woodcut ( nishiki-e). This complete and very detailed catalogue, compiled and revised intermittently over forty years, describes and illustrates in colour 721 single-sheet prints, including 589 by Harunobu himself. Most of these designs were produced in the 1760s, the majority during the six years from 1765 to 1770. Harunobu is famous for his sylph-like young women (and young men); but, as the catalogue shows, his range was astonishingly wide. His work is notable for its witty allusions, sometimes concealed, to classical Japanese and Chinese poetry, Nō drama, Japanese and Chinese folklore and history, and events and personalities of the day. These allusions are explained in the catalogue, often for the first time.
A lengthy Introduction places Harunobu’s life and work in context, explains the principles applied in dating the prints, and summarises previous studies. In the Catalogue itself, all quoted poems are transliterated and translated into English, usually according to the original metre; and in addition to background historical information the commentaries include, as far as possible, references to other known specimens and states. Descriptions of prints issued as sets appear under the first entry for each, often accompanied by a summary table, and with what on occasion amounts to a free-standing essay. A series of Appendixes contains indexes of Chinese, Korean and Japanese characters, a glossary of names and terms, and lists of institutional and private collections. The extensive Bibliographies list books illustrated by Harunobu himself, pre-modern Japanese publications, and modern publications in Japanese and other languages. The book concludes with a comprehensive Index.

Kawase Hasui's Masterpieces
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’.
Riddles in Japanese Woodblock Prints
Author: Andreas Marks
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.
Japanese master of imagined worlds
Enjoying a career spanning almost fifty years, from the 1810s to his death in 1861, Utagawa Kuniyoshi (1797–1861) was instrumental in establishing warrior prints as one of the major genres in the history of Japanese woodblock prints (ukiyo-e). His most spectacular triptychs of warriors resonate even in contemporary culture, their influence reflected in modern graphic media such as manga. This publication demonstrates that Kuniyoshi’s artistic genius also extended to the creation of striking prints in other genres: images of beautiful women and kabuki actors, ghosts, demons and monsters, anthropomorphic renditions of animals illustrating everyday life, as well as compositions replete with humour and often involving witty wordplay. Examples of Kuniyoshi’s work also reveal the artist’s dialogue with aspects of European pictorial traditions in his experimentation with shading and perspective. The selection of prints in Kuniyoshi: Japanese master of imagined worlds includes representative pieces of the highest quality, a number of which are illustrated for the first time outside Japan. Descriptive texts accompany the 136 prints in the publication and these are introduced by an in-depth discussion of Kuniyoshi’s life and his art.


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.