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Series Editors:
John T. Carpenter (managing editor), Julie Nelson Davis, Hans Bjarne Thomsen, and Gennifer Weisenfeld
Japanese Visual Culture is an academic series devoted to the visual culture of the Japanese archipelago of every era. It includes studies on the history of painting, prints, calligraphy, sculpture, architecture and applied arts, but also extends to the performing arts, cinema, manga and anime. Despite the recent trend away from monographs on individual artists or object-based studies, the Japanese Visual Culture series recognizes the still-crucial need for research on Japanese artists or previously neglected categories of art to help build the foundation for the further development of the field. It also actively seeks interdisciplinary or theoretical approaches to archaeology, religion, literature, and the social sciences. Though all volumes are published in English, the series encourages submission by scholars based in Europe.
The series is attractively designed and allows for copious illustrative material, using the latest technology for high-quality colour reproduction. The books rely on Brill’s well-established distribution networks to research libraries in Europe, North America, and East Asia, especially Japan. While the primary readership will be specialists and students of Japanese art history and related fields, we expect the attractively designed format will attract wider audiences.
The series is attractively designed and allows for copious illustrative material, using the latest technology for high-quality colour reproduction. The books rely on Brill’s well-established distribution networks to research libraries in Europe, North America, and East Asia, especially Japan. While the primary readership will be specialists and students of Japanese art history and related fields, we expect the attractively designed format will attract wider audiences.
(De)Colonialism, Orientalism, and Imagining Asia
In The Curious Case of the Camel in Modern Japan Ayelet Zohar critically analyzes camel images as a metonymy for Asia, and Japanese attitudes towards the continent. The book reads into encounters with the exotic animals, from nanban art, realist Dutch-influenced illustrations, through misemono roadshows of the first camel-pair imported in 1821. Modernity and Japan’s wars of Pan-Asiatic fantasies associated camels with Asia’s poverty, bringing camels into zoos, tourist venues, and military zones, as lowly beasts of burden, while postwar images project the imago of exotica and foreignness on camels as Buddhist ‘peace’ messengers. Zohar convincingly argues that in the Japanese imagination, camels serve as signifiers of Asia as Otherness, the opposite of Japan’s desire for self-association with Western cultures.
(De)Colonialism, Orientalism, and Imagining Asia
In The Curious Case of the Camel in Modern Japan Ayelet Zohar critically analyzes camel images as a metonymy for Asia, and Japanese attitudes towards the continent. The book reads into encounters with the exotic animals, from nanban art, realist Dutch-influenced illustrations, through misemono roadshows of the first camel-pair imported in 1821. Modernity and Japan’s wars of Pan-Asiatic fantasies associated camels with Asia’s poverty, bringing camels into zoos, tourist venues, and military zones, as lowly beasts of burden, while postwar images project the imago of exotica and foreignness on camels as Buddhist ‘peace’ messengers. Zohar convincingly argues that in the Japanese imagination, camels serve as signifiers of Asia as Otherness, the opposite of Japan’s desire for self-association with Western cultures.
Contexts and Receptions
An “Ise monogatari” Reader is the first collection of essays in English on The Ise Stories, a canonical literary text ranked beside The Tale of Genji. Eleven scholars from Japan, North America, and Europe explore the historical and political context in which this literary court romance was created, or relate it to earlier works such as the Man’yōshū and later works such as the Genji and noh theater. Its medieval commentary tradition is also examined, as well as early modern illustrated editions and parodies. The collection brings cutting-edge scholarship of the very highest level to English readers, scholars, and students.
Contributors are: Aoki Shizuko, Fujihara Mika, Fujishima Aya, Gotō Shōko, Imanishi Yūichirō, Susan Blakeley Klein, Laura Moretti, Joshua S. Mostow, Ōtani Setsuko, Takahashi Tōru, and Yamamoto Tokurō
Contributors are: Aoki Shizuko, Fujihara Mika, Fujishima Aya, Gotō Shōko, Imanishi Yūichirō, Susan Blakeley Klein, Laura Moretti, Joshua S. Mostow, Ōtani Setsuko, Takahashi Tōru, and Yamamoto Tokurō
Contexts and Receptions
An “Ise monogatari” Reader is the first collection of essays in English on The Ise Stories, a canonical literary text ranked beside The Tale of Genji. Eleven scholars from Japan, North America, and Europe explore the historical and political context in which this literary court romance was created, or relate it to earlier works such as the Man’yōshū and later works such as the Genji and noh theater. Its medieval commentary tradition is also examined, as well as early modern illustrated editions and parodies. The collection brings cutting-edge scholarship of the very highest level to English readers, scholars, and students.
Contributors are: Aoki Shizuko, Fujihara Mika, Fujishima Aya, Gotō Shōko, Imanishi Yūichirō, Susan Blakeley Klein, Laura Moretti, Joshua S. Mostow, Ōtani Setsuko, Takahashi Tōru, and Yamamoto Tokurō
Contributors are: Aoki Shizuko, Fujihara Mika, Fujishima Aya, Gotō Shōko, Imanishi Yūichirō, Susan Blakeley Klein, Laura Moretti, Joshua S. Mostow, Ōtani Setsuko, Takahashi Tōru, and Yamamoto Tokurō
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.
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.
A Topography of Public Bronze Statuary in Modern Japan
In his pioneering study, Men in Metal, Sven Saaler examines Japanese public statuary as a central site of historical memory from its beginnings in the Meiji period through the twenty-first century. Saaler shows how the elites of the modern Japanese nation-state went about constructing an iconography of national heroes to serve their agenda of instilling national (and nationalist) thinking into the masses. Based on a wide range of hitherto untapped primary sources, Saaler combines data-driven quantitative analysis and in-depth case studies to identify the categories and historical figures that dominated public space. Men in Metal also explores the agents behind this visualized form of the politics of memory and introduces historiographical controversies surrounding statue-building in modern Japan.
A Topography of Public Bronze Statuary in Modern Japan
In his pioneering study, Men in Metal, Sven Saaler examines Japanese public statuary as a central site of historical memory from its beginnings in the Meiji period through the twenty-first century. Saaler shows how the elites of the modern Japanese nation-state went about constructing an iconography of national heroes to serve their agenda of instilling national (and nationalist) thinking into the masses. Based on a wide range of hitherto untapped primary sources, Saaler combines data-driven quantitative analysis and in-depth case studies to identify the categories and historical figures that dominated public space. Men in Metal also explores the agents behind this visualized form of the politics of memory and introduces historiographical controversies surrounding statue-building in modern Japan.
The Bokujinkai—or ‘People of the Ink’—was a group formed in Kyoto in 1952 by five calligraphers: Morita Shiryū, Inoue Yūichi, Eguchi Sōgen, Nakamura Bokushi, and Sekiya Yoshimichi. The avant-garde movement they launched aspired to raise calligraphy to the same level of international prominence as abstract painting. To this end, the Bokujinkai collaborated with artists from European Art Informel and American Abstract Expressionism, sharing exhibition spaces with them in New York, Paris, Tokyo, and beyond. The first English-language book to focus on the postwar history of Japanese calligraphy, Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde explains how the Bokujinkai rerouted the trajectory of global abstract art and attuned foreign audiences to calligraphic visualities and narratives.
The Bokujinkai—or ‘People of the Ink’—was a group formed in Kyoto in 1952 by five calligraphers: Morita Shiryū, Inoue Yūichi, Eguchi Sōgen, Nakamura Bokushi, and Sekiya Yoshimichi. The avant-garde movement they launched aspired to raise calligraphy to the same level of international prominence as abstract painting. To this end, the Bokujinkai collaborated with artists from European Art Informel and American Abstract Expressionism, sharing exhibition spaces with them in New York, Paris, Tokyo, and beyond. The first English-language book to focus on the postwar history of Japanese calligraphy, Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde explains how the Bokujinkai rerouted the trajectory of global abstract art and attuned foreign audiences to calligraphic visualities and narratives.
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.
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.
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.
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.
Art Magazines, Artistic Collectives, and the Early Avant-garde
Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century, Shirakaba (White Birch, 1910–1923). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan’s Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from Shirakaba, as well as a complete translation of Yanagi Sōetsu’s seminal essay, “The Revolutionary Artist” (Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan’s early avant-garde was lively, contested, and self-reflexive.
Art Magazines, Artistic Collectives, and the Early Avant-garde
Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century, Shirakaba (White Birch, 1910–1923). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan’s Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from Shirakaba, as well as a complete translation of Yanagi Sōetsu’s seminal essay, “The Revolutionary Artist” (Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan’s early avant-garde was lively, contested, and self-reflexive.
Wang Yiting’s Art of Exchange with Japan
Culture in Common explores the transnational history of traditionalist art in modern East Asia through a contextualist account of a Chinese artist’s engagement with Japan. Crossing national and disciplinary divides, Walter Davis illuminates how Wang Yiting (1867-1938) mediated Sino-Japanese cooperation in fields to which he contributed importantly—art, business, philanthropy, and religion—adapting traditional forms of expression to projects and concerns of a modern, international milieu.
Grounded in the Japanese archive, Culture in Common expands our understanding of Wang Yiting’s oeuvre and artistic practices, reveals origins, accomplishments, promises, and limitations of the cross-cultural exchanges he espoused in an era of increasing international tensions, and draws attention to the historical importance and shifting historiographical fortunes of twentieth-century Sino-Japanese visual culture.
Grounded in the Japanese archive, Culture in Common expands our understanding of Wang Yiting’s oeuvre and artistic practices, reveals origins, accomplishments, promises, and limitations of the cross-cultural exchanges he espoused in an era of increasing international tensions, and draws attention to the historical importance and shifting historiographical fortunes of twentieth-century Sino-Japanese visual culture.
Wang Yiting’s Art of Exchange with Japan
Culture in Common explores the transnational history of traditionalist art in modern East Asia through a contextualist account of a Chinese artist’s engagement with Japan. Crossing national and disciplinary divides, Walter Davis illuminates how Wang Yiting (1867-1938) mediated Sino-Japanese cooperation in fields to which he contributed importantly—art, business, philanthropy, and religion—adapting traditional forms of expression to projects and concerns of a modern, international milieu.
Grounded in the Japanese archive, Culture in Common expands our understanding of Wang Yiting’s oeuvre and artistic practices, reveals origins, accomplishments, promises, and limitations of the cross-cultural exchanges he espoused in an era of increasing international tensions, and draws attention to the historical importance and shifting historiographical fortunes of twentieth-century Sino-Japanese visual culture.
Grounded in the Japanese archive, Culture in Common expands our understanding of Wang Yiting’s oeuvre and artistic practices, reveals origins, accomplishments, promises, and limitations of the cross-cultural exchanges he espoused in an era of increasing international tensions, and draws attention to the historical importance and shifting historiographical fortunes of twentieth-century Sino-Japanese visual culture.