The Politics of Reclusion
The Politics of Reclusion

Author: Kendall H. Brown

Publisher: University of Hawaii Press

Published: 1997-01-01

Total Pages: 260

ISBN-13: 9780824819132

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The Chinese themes of the Four Graybeards of Mt. Shang and the Seven Sages of the Bamboo Grove figure prominently in the art of Momoyama-period Japan (ca. 1575-1625). Kendall Brown proposes that the dense and multivalent implications of aesthetic reclusion central to these paintings made them appropriate for patrons of all classes - the military, who were presently in power, the aristocracy, who had lost power, and the Buddhist priesthood, who forsook power. These paintings, and their attendant messages, thus serve as dynamic cultural agents that elucidate the fundamental paradigms of early modern Japanese society. Unlike traditional art history studies, which emphasize the style and history of art objects, The Politics of Reclusion sets out to reconstruct the possible historical context for the interpretive reception and use of Chinese hermit themes within a specific period of Japanese art. In emphasizing the political dimension of aesthetic reclusion, it introduces into the field of Japanese art history a discussion of the politics of aesthetics that characterizes recent work in the field of Japanese literature. By embedding the paintings within the contexts of politics, philosophy, religion, and even gender, this study restores the reflexive relations between the paintings and their culture and, as such, is one of the first extensive intellectual and social histories of Japanese art in a Western language. It is one that will appeal not only to students of art but to those interested in Japanese literature, history, and philosophy.

Capitalscapes
Capitalscapes

Author: Matthew Philip McKelway

Publisher: University of Hawaii Press

Published: 2006-02-28

Total Pages: 354

ISBN-13: 9780824829001

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Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge. These enormous and intricately detailed depictions of the ancient imperial capital were unprecedented in the history of Japanese painting and remain unmatched as representations of urban life in any artistic tradition. Capitalscapes, the first book-length study of the Kyoto screens, examines their inception in the sixteenth to early seventeenth centuries, focusing on the political motivations that sparked their creation. Close readings of the Kyoto screens reveal that they were initially commissioned by or for members of the Ashikaga shogunate and that urban panoramas reflecting the interests of both prevailing and moribund political elites were created to underscore the legitimacy of the newly ascendant Tokugawa regime. Matthew McKelway’s analysis of the screens exposes their creators’ masterful exploitation of ostensibly accurate depictions to convey politically biased images of Japan’s capital. His overarching methodology combines a historical approach, which considers the paintings in light of contemporary reports (diaries, chronicles, ritual accounts), with a thematic one, isolating individual motifs, deciphering their visual language, and comparing them with depictions in other works. McKelway’s combined approach allows him to argue that the Kyoto screens were conceived and perpetuated as a painting genre that conveyed specific political meanings to viewers even as it provided textured details of city life. Students and scholars of Japanese art will find this lavishly illustrated work especially valuable for its insights into the cityscape painting genre, while those interested in urban and political history will appreciate its bold exploration of Kyoto’s past and the city’s late-medieval martial elite.

Japan's Golden Age
Japan's Golden Age

Author: Dallas Museum of Art

Publisher: Yale University Press

Published: 1996-01-01

Total Pages: 332

ISBN-13: 0300094078

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A time of dramatic social and political change, and of brilliant artistic innovation and achievement, the Momoyama period (1568 - 1615) was one of the most dynamic eras in Japan’s history. This book displays spectacular Momoyama masterpieces in many media - paintings, sculpture, calligraphy, tea ceremony utensils, lacquerware, ceramics, metalwork, arms and armor, textiles, and Noh masks - and places each work of art into its historical and cultural context.

Kyoto
Kyoto

Author: John H. Martin

Publisher: Tuttle Publishing

Published: 2014-06-17

Total Pages: 876

ISBN-13: 1462906354

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Kyoto, Japan's ancient capital and modern-day center of tourism and traditional culture, is one of the world's most beautiful and historic cities. Founded nearly 1,300 years ago and undamaged by the war, Kyoto today is the home of over 1,600 Buddhist temples, 400 Shinto shrines, countless national treasures and 17 World Heritage sites, including the famed Golden Pavilion, Nijo Castle and Kiyomizu Temple. This book presents 29 easy-to-follow walking tours through Kyoto's history, its many unique districts and scenic areas full of charm and character. You'll discover not only the most renowned sites, such as the Silver Pavilion, the rock garden at Ryoan-ji Temple and the garden of the Heian Shrine, but also little-known areas off the beaten track. Much more than a guidebook, this volume tells the historical and cultural story of Kyoto's great monuments. The colorful tales, fascinating facts, larger-than-life characters and grand events that shaped the city and Japan at large will enthrall every reader. This updated and greatly expanded guide features over 100 color photos, full-color maps that trace each route and detailed diagrams of many individual sites.

Critical Perspectives on Classicism in Japanese Painting
Critical Perspectives on Classicism in Japanese Painting

Author: Elizabeth Lillehoj

Publisher: University of Hawaii Press

Published: 2004-01-01

Total Pages: 320

ISBN-13: 9780824826994

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In the West, classical art - inextricably linked to concerns of a ruling or dominant class - commonly refers to art with traditional themes and styles that resurrect a past golden era. Although art of the early Edo period (1600-1868) encompasses a spectrum of themes and styles, references to the past are so common that many Japanese art historians have variously described this period as a classical revival, era of classicism, or a renaissance. How did seventeenth-century artists and patrons imagine the past? Why did they so often select styles and themes from the court culture of the Heian period (794-1185)? Were references to the past something new, or were artists and patrons in previous periods equally interested in manners that came to be seen as classical? How did classical manners relate to other styles and themes found in Edo art? In considering such questions, the contributors to this volume hold that classicism has been an amorphous, changing concept in Japan - just as in the West. Troublesome in its ambiguity and implications, it cannot be separated from the political and ideological interests of those who have employed it over the years. The modern writers who firs

TOHAKU (A drama piece)
TOHAKU (A drama piece)

Author: JUNJI MORIMOTO

Publisher: JUNJI MORIMOTO

Published:

Total Pages: 155

ISBN-13:

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A drama piece. Set at Kyoto in Japan,Azuchi–Momoyama period. A depiction of the conflict between Tohaku Hasegawa and Eitoku Kano, the most famous feud in the history of art in Japan. The two are different in their origins, and all their living conditions, so what will their fates be like? The career and tragedies of artists in the unstable times of Nobunaga Oda, Hideyoshi Toyotomi, and Rikyu. Patronization, the apex for an artist’s career, but it’s also a devil to drive people insane.

The Practices of Painting in Japan, 1475-1500
The Practices of Painting in Japan, 1475-1500

Author: Quitman E. Phillips

Publisher: Stanford University Press

Published: 2000

Total Pages: 312

ISBN-13: 9780804734462

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This book attempts to expand the grounds and methodology of studying Japanese art history by focusing on the conditions, procedures, events, and social interplay that characterized the production of paintings in late-fifteenth-century Japan. Though the book’s ultimate concerns are art historical, its analysis also draws heavily from the insights of sociology and social history. At its core is a fresh examination of the major primary documents of the period in an attempt to liberate the study from assumptions long embedded in the historiography of late medieval Japanese painting history. Early chapters describe documents, methods, basic sites, and conditions of painting before turning to the main contribution of the book, painting considered as a body of social practices. The production of painting in the late fifteenth century was profoundly social, dynamically related to the circumstances of its agents. Painters, advisors, assistants, clients, and others did not exert themselves simply to bring paintings into existence. They sought advantages (such as wealth and prestige), met obligations, and satisfied the demands of custom. Surviving documents from the period present rich evidence of the involvement of such persons in the imperial court, the Ashikaya-Gozan community, the great temples of Nara, and the halls of local lords. The author takes into account the patterns of expectation that existed at the various sites but does not construe them as static and mechanically determined. Rather, he shows that expectations evolved in response to changed conditions. Although this study specifically addresses the last quarter of the fifteenth century, it can aid future research in Japanese painting practice in other eras by serving as a model of how new interpretations can emerge from close documentary investigation.