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The document summarizes four unexpected treasures in the National Library of Australia's collection that were not fully recognized until many years after their acquisition.
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4) A small 19th century Persian Qur'an manuscript in floral lacquer covers, highlighting the Library's collection of Islamic sacred texts.FÃ¥r det lov att vara en kaka?
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The document discusses Nara, the ancient capital of Japan, and its role as the cradle of Japanese art. It describes Nara's natural beauty and historical significance, noting that its proximity to Korea allowed art from India and China to pass through and influence early Japanese art. Nara was also the birthplace of Bushido, Japan's code of chivalry, and inspired patriotism through Yamato Damashii, the spirit of Japan fed by mysticism, love of country, and devotion to the emperor. Overall, the passage establishes Nara as the wellspring for Japanese art, religion, and national identity.A history of Japanese colour-prints [1910]![A history of Japanese colour-prints [1910]](https://cdn.slidesharecdn.com/ss_thumbnails/10797840-120104092254-phpapp02-thumbnail.jpg?width=560&fit=bounds)
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This document provides a 3-page preface to a book on the history of Japanese colour prints. The author explains that their goal is to provide a comprehensive yet coherent survey of the subject by gathering existing scattered research into a single volume. They intend to take a Japanese perspective in their analysis and emphasize the 18th century masters over the 19th century artists who were more influenced by Western styles. The preface acknowledges those who provided assistance and materials to support the book's creation.Japonisme
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This document discusses the art movement known as Japonisme, where European artists in the late 19th century were influenced by Japanese art. It began when Japanese art objects became more widely available in Europe after Japan opened to trade in 1854. Major exhibitions fuelled interest, and artists were drawn to qualities of Japanese art like asymmetric compositions, flat colors, and calligraphic brushwork. Japonisme influenced painting, graphics, and decorative arts, seen in works of Manet, Degas, van Gogh, and designers like William Morris. The influence continued into the Art Nouveau period through emphasis on nature motifs and pure colors.Autumn Millet
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The document summarizes and analyzes a pair of eight-panel screens attributed to the Japanese artist Kano Sanraku from the 1550s-1630s. The screens depict autumn millet fields with birds and plants. Though smaller than typical palace screens, they capture a moment of rural countryside in intimate detail through their subtle colors and compositions focused on natural elements rather than people. The screens are unusual in their intimate scale and provide insight into Sanraku's artistic versatility beyond large decorative works.Painting of the Edo period
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This document discusses three woodcut prints from Hiroshige's series "One Hundred Famous Views of Edo" that depict miniature versions of Mount Fuji located near Edo. These mini-Fujis were connected to a popular religious cult centered around ritual ascents of Mount Fuji during the Edo period. The woodcuts show the mini-Fujis had paths mimicking Fuji's zigzag trails and included landmarks like "Flat Rock" associated with the cult's mythology. However, Hiroshige portrayed the mini-Fujis' visitors in a recreational mode rather than as religious pilgrims, with men, women and children relaxing under cherry trees instead of wearing pilgrim garb. The document explores whatVan Gogh : collector of Japan
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The Zimmerli Art Museum at Rutgers University has inaugurated the first permanent display devoted to Japonisme, the international aesthetic movement documenting the cultural exchange between Japan and the West from the mid-19th to early 20th century. Though the works are not masterpieces, the gallery effectively presents the admiration, disdain, and misunderstandings Western artists had in adapting Japanese culture in their works. It also shows the positive and negative depictions Japanese artists had when incorporating Western culture into their works. The display provides rich evidence of the shaping of 19th-century European modernism and East Asian art through this cultural exchange.Shaking Up Japan 
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1) In 1855, a powerful earthquake struck Edo (now Tokyo), killing 7,000-10,000 people and destroying over 14,000 structures. In the aftermath, over 400 varieties of prints were produced depicting giant catfish, which were believed to cause earthquakes.
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This document discusses three woodcut prints from Hiroshige's series "One Hundred Famous Views of Edo" that depict miniature versions of Mount Fuji located near Edo. These mini-Fujis were connected to a popular religious cult centered around ritual ascents of Mount Fuji during the Edo period. The woodcuts show the mini-Fujis had paths mimicking Fuji's zigzag trails and included landmarks like "Flat Rock" associated with the cult's mythology. However, Hiroshige portrayed the mini-Fujis' visitors in a recreational mode rather than as religious pilgrims, with men, women and children relaxing under cherry trees instead of wearing pilgrim garb. The document explores whatVan Gogh : collector of Japan
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3) The prints must be understood in the context of increasing social anxieties in the late Tokugawa period, as the shogunate struggled with disasters, rebellions, and the arrival ofChushingura Theatre
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1) The story of the 47 Ronin, known as Chushingura, originated from an actual historical incident in 1701 and early kabuki plays dramatizing this story.
2) Over time, the Chushingura story developed a double identity as both a stage tradition and commemoration of a real historical event. Prints in the 19th century referenced both the theater performances and the original incident.
3) This duality is also seen in the theater through the concept of the "sekai" or world, which drew on older stories to provide context while also allowing discussion of forbidden topics through this fictional framework.Notes on Hokusai's prints [MetMuseum]
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The document provides an overview of Hokusai's prolific career as a Japanese woodblock print artist from 1760 to 1849. It summarizes that Hokusai created over 10,000 woodcut prints and 30,000-40,000 drawings over his long career, mastering various styles and genres. The document also highlights some of Hokusai's most famous works, including his Manga series of instructional drawing books published between 1814-1849, which featured loosely composed sketches on a wide variety of subjects.Recently uploaded (20)
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