This lavishly illustrated book brings to light the diverse work and the growing influence of this... more This lavishly illustrated book brings to light the diverse work and the growing influence of this early 20th century Japanese artist and designer. Kamisaka Sekka (18661942), little known until recent years, is being reappreciated and influencing a new generation of artists and designers in Japan and beyond. Through over 200 illustrations discover the work of Kamisaka Sekka as well as early Rinpa masters and contemporary artist such as Yamaguchi Ai, Yamamoto Taro, Sydney based fashion designer Akira Isogawa and Kyoto-based textile artists Kenzo and Hiromu Takao. Sekka was awakened to an ancient and truly Japanese aesthetic through his travels in Europe where he saw the art nouveau style as well as the influence of Japonisme on European art. The aesthetic he revived is the art of Rinpa which was practised in Japan in late 16th and early 17th centuries when Kyoto was the country's capital and cultural centre. Sekka sought to revive the courtly beauty of old Kyoto through his transm...
Japan’s traditional aesthetics, humbleness? Behind the mask, Japanese culture has been using paro... more Japan’s traditional aesthetics, humbleness? Behind the mask, Japanese culture has been using parody to indirectly send criticism of sociopolitical events. Japanese artists criticize contemporary Japan through the Western lookalike, but their work is not a simple mimicry of the West but something organic. It is a success, not a failure. Anan asks, quoting Yagawa Sumiko, “Can this utopia space not be another home we inhabit as a stage where we . . . ‘embrace’ our collective ‘no’ to the uncomfortable reality?” (p. 54). Her book encourages Japanese women to say “no” to everyday life using girls’ aesthetics. They are tools to expose Japanese girls’ oppressive status in public. Reading girls’ manga and going to theatres might represent Japanese women’s quiet activism. Anan’s point is that consumerism has drawn out women’s voice and given them a chance to challenge their reality. Perhaps those who may change the status of Japanese women would be girl audiences, who must be responsible to tie the feminist voice of the imaginary world to their real life. Many girls in Anan’s book reject motherhood and stay incorporeal. Yet if they stay infertile, would it be the same as Murakami’s argument—the impotent in power of fantasy? Perhaps Japanese theatre and performance may need Big Girls to face Big Brothers to obtain their physicality.
Dating from the 15th to early 20th century, 160 works from the rich material culture of Japanese ... more Dating from the 15th to early 20th century, 160 works from the rich material culture of Japanese no and kyogen theatre (nogaku) including masks and costumes as well as paintings, musical instruments and libretti have been selected from the collections of the National Noh Theatre, Tokyo and the Agency of Cultural Affairs, Japan. A programme of no theatre generally consists of one or two no plays with a kyogen interlude. Both theatre forms deal with the multitude of human emotions, but while no is a more dream - like pursuit of an ideal beauty to portray the essence of human nature, kyogen strives for realistic expression through humour. The beauty and elegance that pervades the world of no and the spirited, playful mood that characterise kyogen plays are echoed in the masks and costumes, which distinguish nogaku from other forms of traditional Japanese performing arts. The objects in this book represent Japan's unique aesthetic sensibility and the excellence of its traditional arts and crafts. The splendour of the masks, robes and paintings invites viewers to appreciate and better understand these complex and sumptuous worlds.
Cet article est consacre a l'oeuvre de l'artiste japonais Tani Bunchō (1763-1840). Celebr... more Cet article est consacre a l'oeuvre de l'artiste japonais Tani Bunchō (1763-1840). Celebre pour son importante production artistique, le peintre est egalement connu pour sa grande variete de techniques et de motifs picturaux. Il doit cette diversite stylistique et sa renommee de copiste le plus doue de la peinture japonaise premoderne a son etude assidue des oeuvres des maitres de toutes les epoques. L'A montre, a travers l'analyse de la peinture sur rouleau, Viewing the Waterfall, After Dai Jing'an, un aspect inhabituel de la copie des vieux maitres qui differe de l'exercice donne aux apprentis peintres dans le cadre de leur formation.
This lavishly illustrated book brings to light the diverse work and the growing influence of this... more This lavishly illustrated book brings to light the diverse work and the growing influence of this early 20th century Japanese artist and designer. Kamisaka Sekka (18661942), little known until recent years, is being reappreciated and influencing a new generation of artists and designers in Japan and beyond. Through over 200 illustrations discover the work of Kamisaka Sekka as well as early Rinpa masters and contemporary artist such as Yamaguchi Ai, Yamamoto Taro, Sydney based fashion designer Akira Isogawa and Kyoto-based textile artists Kenzo and Hiromu Takao. Sekka was awakened to an ancient and truly Japanese aesthetic through his travels in Europe where he saw the art nouveau style as well as the influence of Japonisme on European art. The aesthetic he revived is the art of Rinpa which was practised in Japan in late 16th and early 17th centuries when Kyoto was the country's capital and cultural centre. Sekka sought to revive the courtly beauty of old Kyoto through his transm...
Japan’s traditional aesthetics, humbleness? Behind the mask, Japanese culture has been using paro... more Japan’s traditional aesthetics, humbleness? Behind the mask, Japanese culture has been using parody to indirectly send criticism of sociopolitical events. Japanese artists criticize contemporary Japan through the Western lookalike, but their work is not a simple mimicry of the West but something organic. It is a success, not a failure. Anan asks, quoting Yagawa Sumiko, “Can this utopia space not be another home we inhabit as a stage where we . . . ‘embrace’ our collective ‘no’ to the uncomfortable reality?” (p. 54). Her book encourages Japanese women to say “no” to everyday life using girls’ aesthetics. They are tools to expose Japanese girls’ oppressive status in public. Reading girls’ manga and going to theatres might represent Japanese women’s quiet activism. Anan’s point is that consumerism has drawn out women’s voice and given them a chance to challenge their reality. Perhaps those who may change the status of Japanese women would be girl audiences, who must be responsible to tie the feminist voice of the imaginary world to their real life. Many girls in Anan’s book reject motherhood and stay incorporeal. Yet if they stay infertile, would it be the same as Murakami’s argument—the impotent in power of fantasy? Perhaps Japanese theatre and performance may need Big Girls to face Big Brothers to obtain their physicality.
Dating from the 15th to early 20th century, 160 works from the rich material culture of Japanese ... more Dating from the 15th to early 20th century, 160 works from the rich material culture of Japanese no and kyogen theatre (nogaku) including masks and costumes as well as paintings, musical instruments and libretti have been selected from the collections of the National Noh Theatre, Tokyo and the Agency of Cultural Affairs, Japan. A programme of no theatre generally consists of one or two no plays with a kyogen interlude. Both theatre forms deal with the multitude of human emotions, but while no is a more dream - like pursuit of an ideal beauty to portray the essence of human nature, kyogen strives for realistic expression through humour. The beauty and elegance that pervades the world of no and the spirited, playful mood that characterise kyogen plays are echoed in the masks and costumes, which distinguish nogaku from other forms of traditional Japanese performing arts. The objects in this book represent Japan's unique aesthetic sensibility and the excellence of its traditional arts and crafts. The splendour of the masks, robes and paintings invites viewers to appreciate and better understand these complex and sumptuous worlds.
Cet article est consacre a l'oeuvre de l'artiste japonais Tani Bunchō (1763-1840). Celebr... more Cet article est consacre a l'oeuvre de l'artiste japonais Tani Bunchō (1763-1840). Celebre pour son importante production artistique, le peintre est egalement connu pour sa grande variete de techniques et de motifs picturaux. Il doit cette diversite stylistique et sa renommee de copiste le plus doue de la peinture japonaise premoderne a son etude assidue des oeuvres des maitres de toutes les epoques. L'A montre, a travers l'analyse de la peinture sur rouleau, Viewing the Waterfall, After Dai Jing'an, un aspect inhabituel de la copie des vieux maitres qui differe de l'exercice donne aux apprentis peintres dans le cadre de leur formation.
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