美学
- 日本語の「美学」は、中江兆民がVeronの著作を訳して『維氏美学』と邦題を付けたことによる。日本の高等教育機関における美学教育の嚆矢は東京美術学校および東京大学におけるフェノロサのヘーゲル美学を中心とした講義、森林太郎（森鴎外）による東京大学におけるE. V. ハルトマン美学ら当時の同時代ドイツ美学についての講演、およびラファエル・フォン・ケーベル（ケーベル先生の呼称で知られる）による東京大学での美学講義である。また京都においては京都工芸学校においてデザイン教育を中心とする西洋美学および美術史の教育がなされた。なお東京大学は独立の一講座として大塚保治を教授に任命、美学講座を開いた世界で最初（1899年）の大学である。日本における主要な美学関連学会としては美学会があり、雑誌『美学』(年四回）および欧文誌 Aesthetics （隔年）を発行している。毎年十月に行われる全国大会のほか、年五回関東および関西で研究発表会が開催される。なお2001年の国際美学会議（4年おき開催）は日本で行われた。
The Man'yōshū『万葉集』（まんようしゅう、萬葉集）は、7世紀後半から8世紀後半にかけて編まれた日本に現存する最古の和歌集である。天皇、貴族から下級官人、防人などさまざまな身分の人間が詠んだ歌を4500首以上も集めたもので、成立は759年（天平宝字3年）以後とみられる。日本文学における第一級の史料であることは勿論だが、方言による歌もいくつか収録されており、さらにそのなかには詠み人の出身地も記録されていることから、方言学の資料としても非常に重要な史料である。
- Although the name Man'yōshū literally means "Collection of Ten Thousand Leaves" or "Collection of Myriad Leaves", it has been interpreted variously by scholars. Sengaku, Kamo no Mabuchi and Kada no Azumamaro considered the character yō (葉) to represent words (koto no ha), and so give the meaning of the title as "collection of countless words". Keichū and Kamochi Masazumi (鹿持雅澄) took the middle character to refer to an "era", thus giving "a collection to last ten thousand ages". The kanbun scholar Okada Masayuki (岡田正之) considered yō to be a metaphor comparing the massive collection of poems to the leaves on a tree. Another theory is that the name refers to the large number of pages used in the collection. Of these, "collection to last ten thousand ages" is considered to be the interpretation with the most weight.The collection is customarily divided into four periods. The earliest dates to prehistoric or legendary pasts, from the time of Emperor Yūryaku (r. 456?–479?) to those of the little documented Emperor Yōmei (r. 585–587), Saimei (r. 594–661), and finally Tenji (r. 668–671) during the Taika Reforms and the time of Fujiwara no Kamatari (614–669). The second period covers the end of the seventh century, coinciding with the popularity of Kakinomoto no Hitomaro, one of Japan's greatest poets. The third period spans 700–c. 730 and covers the works of such poets as Yamabe no Akahito, Ōtomo no Tabito and Yamanoue no Okura. The fourth period spans 730–760 and includes the work of the last great poet of this collection, the compiler Ōtomo no Yakamochi himself, who not only wrote many original poems but also edited, updated and refashioned an unknown number of ancient poems.
- More than 150 species of grasses and trees are included in 1500 entries of Man'yōshū. More than 30 of the species are found at the Manyo Botanical Garden Manyō shokubutsu-en(万葉植物園) in Japan, collectively placing them with the name and associated tanka for visitors to read and observe, reminding them of the ancient time in which the references were made. The first Manyo shokubutsu-en opened in Kasuga Shrine in 1932.
『今昔物語集』（こんじゃくものがたりしゅう）とは平安時代末期に成立したと見られる説話集である。全31巻。ただし8巻・18巻・21巻は欠けている。11世紀後半に起こった大規模な戦乱である前九年の役、後三年の役に関する説話を収録しようとした形跡が見られる（ただし後者については説話名のみ残されており、本文は伝わっていない）事から、1120年代以降の成立であることが推測されている。一方、『今昔物語集』が他の資料で見られるようになるのは1449年のことである[要出典]。 成立時期はこの1120年代～1449年の間ということになるが、保元の乱、平治の乱、治承・寿永の乱など、12世紀半ば以降の年代に生きた人ならば驚天動地の重大事だったはずの歴史的事件を背景とする説話がいっさい収録されていないことから、上限の1120年代からあまり遠くない白河法皇・鳥羽法皇による院政期に成立したものと見られている[要出典]。天竺（インド）、震旦（中国）、本朝（日本）の三部で構成される。各部では先ず因果応報譚などの仏教説話が紹介され、そのあとに諸々の物話が続く体裁をとっている。
『千載和歌集』（せんざいわかしゅう）は、平安時代末期に編纂された勅撰和歌集。全二十巻。『詞花和歌集』の後、『新古今和歌集』の前に撰集され、勅撰和歌集の第七番目に当たる。略称は『千載集』（せんざいしゅう）。撰者は藤原俊成の一人、ただしその息子の藤原定家も編纂の助手を務めたという。『拾芥抄』によれば寿永2年（1183年）2月、 後白河院より俊成に撰集の院宣が伝達された。そののち文治4年（1188年）4月22日、『千載和歌集』は完成し後白河院の奏覧に供された。構成は以下の通り。冒頭に俊成執筆の「仮名序」を付す。歌数は1288首（『新日本古典文学大系』所収本に拠る）、巻第十九に長歌が「短歌」と称して3首入るほかは全て短歌形式の歌体である。
『大和本草』（やまとほんぞう）は貝原益軒が編纂した本草書である。1709年（宝永7年）に刊行された。明治時代に生物学や農学の教本が西洋から輸入されるまでは日本史上最高峰の生物学書であり農学書である。現在、江戸時代までの生物学書や農学書の資料は大和本草以外は残っておらず、当時の日本独自の生物学や農学を知る上において第一級の資料である。
- only japanese wiki version
Ryūnosuke Akutagawa (芥川 龍之介, Akutagawa Ryūnosuke, 1 March 1892 – 24 July 1927), art name Chōkōdō Shujin (澄江堂主人),[2] was a Japanese writer active in the Taishō periodin Japan. He is regarded as the "Father of the Japanese short story" and Japan's premier literary award, the Akutagawa Prize, is named after him.[3] He died by suicide at the age of 35 through an overdose of barbital.
- In early 1916 he published Hana ("The Nose", 1916), which attracted a letter of praise from Sōseki and secured Akutagawa his first taste of fame.It was also at this time that he started writing haiku under the haigo (or pen-name) Gaki. Akutagawa followed with a series of short stories set in Heian period, Edo period or early Meiji period Japan. These stories reinterpreted classical works and historical incidents. Examples of these stories include: Gesaku zanmai ("A Life Devoted to Gesaku", 1917) and Kareno-shō ("Gleanings from a Withered Field", 1918), Jigoku hen ("Hell Screen", 1918); Hōkyōnin no shi ("The Death of a Christian", 1918), and Butōkai ("The Ball", 1920). Akutagawa was a strong opponent of naturalism. He published Mikan ("Mandarin Oranges", 1919) and Aki ("Autumn", 1920) which have more modern settings.In 1921, Akutagawa interrupted his writing career to spend four months in China, as a reporter for the Osaka Mainichi Shinbun. The trip was stressful and he suffered from various illnesses, from which his health would never recover. Shortly after his return he published Yabu no naka ("In a Grove", 1922). During the trip, Akutagawa visited numerous cities of southeastern China including Nanjing, Shanghai, Hangzhou and Suzhou. Before his travel, he wrote a short story "The Christ of Nanjing"; concerning the Chinese Christian community; according to his own imagination of Nanjing influenced by Classical Chinese literature.pottery
- kiyomizu-yaki in gojo-zaka (the front approach to kiyomizu-dera temple)
- awataguchi-yaki
- yasaka-yaki
- mizorogaike-yaki
ceramic
- bizen ware
- Imari ware (Japanese: 伊万里焼 Hepburn: Imari-yaki) is a type of Arita ware (有田焼 Arita-yaki) traditionally made in the town of Arita, in the former Hizen Province, northwestern Kyūshū. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The name therefore derives from the port of export. Imari ware has been continuously produced up through the present day.
- 中山大學歷史學系副教授熊寰表示 ，16世紀末，日本在與朝鮮的戰爭中掠 獲了大量朝鮮陶工。在歸順的朝鮮陶工 幫助及地方政府的干預下，日本製瓷業 進步很快，至1650年後步入成熟階段， 規模上達到了量產。 「伊萬里並不出產 瓷器，由於日本出口到歐洲的精品瓷器 均從伊萬里港出運，所以被歐洲通稱為 『伊萬里瓷』 。」 熊寰說，1647年日本 有田瓷器開始少量外銷，1659年因中國 景德鎮的瓷業還未從朝代更迭的動盪中 恢復，荷蘭商館向日本訂購了56700件 瓷器，令原本主要供給內需的伊萬里瓷 迎來大規模外銷的時代。 根據記載，1673年到1678年，伊萬 里瓷外銷達到鼎盛時期，至1757年完成 最後一筆交易，銷往歐洲的日本瓷器總 數達到120多萬件。到 「中 國伊萬里」 瓷最開始是模仿日本伊萬里 瓷，主要特徵是借鑒日本瓷釉下青花結 合釉上五彩並描金的裝飾手法，紋飾則 大多以中國傳統紋樣為主，其中又以花 卉紋最為常見。當海外市場重新向中國 打開後，中國外銷瓷也會融入一些中國 風格和元素。由於清政府對瓷器燒造的 直接支持，以及充足的原材料、高度成 熟的製瓷技術、龐大的生產規模，使得 「中國伊萬里」 瓷物美價廉，具有強大 的競爭優勢，又成為西方的主要瓷器來 源地。根據荷蘭東印度公司記錄，僅 1729年從廣東運走的 「中國伊萬里」 瓷 達19.1萬件。http://paper.takungpao.com/resfile/PDF/20200909/PDF/b8_screen.pdf
- kyoware/kiyomizu ware
- mino ware
- kasama ware
- Kutani ware (九谷焼 Kutani-yaki) is a style of Japanese porcelain traditionally supposed to be from Kutani, now a part of Kaga, Ishikawa, in the former Kaga Province.[1] It is divided into two phases: Ko-Kutani (old Kutani), from the 17th and early 18th centuries, and Saikō-Kutani from the revived production in the 19th century. The more prestigious Ko-Kutani wares are recognised by scholars to be a complex and much mis-represented group, very often not from Kutani at all.Kutani ware, especially in the Ko-Kutani period, is marked by vivid dark colors that epitomize lavish aesthetics. It is theorized that the long, harsh and grey winters of the Hokuriku region led to a desire among people living there for ceramic ware to show strong and bold colours. The classical five colours style is known as gosai-de (五彩手) which includes green, blue, yellow, purple, and red. The designs are bold and normally depict landscapes, the beauty of nature, and people, and cover most of the surface of each piece. In recognition of the modern understanding that much, if not most, of the Ko-Kutani production was around Arita, the wares are now sometimes grouped with Imari ware (perhaps as "Ko-Kutani type"), or the wider groupings of Arita ware or Hizen ware. The term kutani means "Nine Valleys". The first mention was in 1655 during the Meireki era. According to tradition, clays suitable for porcelain making were found in the Kutani mines of the Daishōji clan, a cadet branch of the Maida clan who ruled Daishōji Domain. Gotō Saijirō, a member of the Maeda clan, was sent by orders of Maeda Toshiharu, daimyō of Kaga Domain to Arita in Hizen Province to learn how to make porcelain.[6] He set up a kiln in the village of Kutani.[3] The daimyō of Kaga Domain became great patrons of Kutani. Porcelains from this early period are specifically called old Kutani (古九谷 ko-Kutani) and are very rare. Ko-Kutani enjoyed popularity for the next few decades after 1655. The styles of the old Kutani were Aote (青手), which used colours of deep green, yellow, dark blue and purple, and Iroe (色絵), which used colours of red, green, purple, dark blue, and yellow.[7][8][9] Arita however also produced a number of vessels in the ko-Kutani style, as well as Kakiemon porcelain. Production suddenly closed down in 1730.[12] The reasons for this closure are debated. Theories put forward include that supplies of the pigments necessary for the glazing were difficult to find, or that there were financial difficulties.[4] A memorial stone stele to Gotō was later erected near an old Kutani ware kiln in Kaga.
metal casting
- originating in heian era, tenmyo casting has more than 1000 years of tradition and is the oldest surviving casting workshop in japan. It is produced in sano city, tochigi prefecture. Tenmyo casting began to flourish in the muromachi period (about 600 years ago). With the rise of tea ceremony, the simplicity of the tenmyo kettle was deeply loved by tea connoisseurs.
painting
- fresco
- 日本奈良縣明日香村高松塚古墳內的一批彩色壁畫真迹，有日本國寶之稱。歷經長達十三年的復修工程，於今年三月終完成。該批壁畫於一九七二年出土，其中最有名是在墓室西壁發現、名為「飛鳥美人」的宮女四人像。https://orientaldaily.on.cc/cnt/china_world/20200721/00180_042.html
- Kara-e, (Japanese: “Chinese-style painting”), in Japanese art, decorative painting deriving from art of the Chinese T’ang dynasty (ad, 618–907). It was chiefly composed of imaginative landscapes in the Chinese manner and illustrations of Chinese legendsand tales.The style was employed in the Nara (645–794) and Heian (794–1185) periods. In spite of the increasing popularity of Yamato-e, an evolving native style of painting, Kara-e was practiced throughout the 10th, 11th, and 12th centuries, though its use was confined to official and religious materials.
- The Kanō school (狩野派 Kanō-ha) is one of the most famous schools of Japanese painting. The Kanō school of painting was the dominant style of painting from the late 15th century until the Meiji period which began in 1868,[1] by which time the school had divided into many different branches. The Kanō family itself produced a string of major artists over several generations, to which large numbers of unrelated artists trained in workshops of the school can be added. Some artists married into the family and changed their names, and others were adopted. According to the historian of Japanese art Robert Treat Paine, "another family which in direct blood line produced so many men of genius ... would be hard to find". The school began by reflecting a renewed influence from Chinese painting, but developed a brightly coloured and firmly outlined style for large panels decorating the castles of the nobility which reflected distinctively Japanese traditions, while continuing to produce monochrome brush paintings in Chinese styles. It was supported by the shogunate, effectively representing an official style of art, which "in the 18th century almost monopolized the teaching of painting".[3] It drew on the Chinese tradition of literati painting by scholar-bureaucrats, but the Kanō painters were firmly professional artists, very generously paid if successful, who received a formal workshop training in the family workshop, in a similar way to European painters of the Renaissance or Baroque.[4]They worked mainly for the nobility, shōguns and emperors, covering a wide range of styles, subjects and formats. Initially innovative, and largely responsible for the new types of painting of the Momoyama period (1573–1614), from the 17th century the artists of the school became increasingly conservative and academic in their approach.
- Kaihō Yūshō (海北 友松, 1533–1615); real name: Kaiho Shōeki, "brush name": Yusho (alternative names: Josetsusai, Yūkeisai, Yūtoku), was a Japanese painter of the Azuchi–Momoyama period. He was born in Ōmi province, the fifth son of Kaihō Tsunachika, who was a vassal of Azai Nagamasa.At first, he patterned his work after Sung painter Liang Kai, doing only monochrome ink paintings, using a "reduced brush stroke" (gempitsu), relying more on ink washes than sharp hard strokes. Later, he worked in fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tōhaku and Kanō Eitoku, he gave his name Kaihō to the style of painting he and his followers practiced.
- hokusai - known for the grest wave painting
dyeing
- La teinture à la réserve shibori d’Arimatsu, qui a plus de quatre siècles d’histoire, est une technique traditionnelle qui s’est transmise dans la région d’Arimatsu à proximité de la ville de Nagoya, dans la préfecture d’Aichi. Tie-dyeing in Japan dates back to the Nara period (8th century), when kanoko techniques to create dappled patterns, like those found on young deer, reached Japan across the Silk Road from central Asia. Arimatsu tie-dyeing started about 400 years ago. The tradition began when Takeda Shōkurō tie-dyed long Japanese hand towels made from Mikawa Momen cotton. He started his new business and attracted customers who were traveling the Tōkaidō feudal highway, which passed through Arimatsu. As business flourished, so too grew the town of Arimatsu. In the mid-19th century, with the coming of the modern age, the highway trade fell off. Adopting some mechanical techniques to increase production, the local crafters increased the range of design possibilities by developing a number of innovations, including Arashi Shibori, which involved binding cloth wrapped around poles. https://tsugumono.jp/global/en/project/arimatsu/about.htmltextile
- 絣（かすり）は、織物の技法の一つで、絣糸（かすりいと）、すなわち前もって染め分けた糸を経糸（たていと）、緯糸（よこいと、ぬきいと）、またはその両方に使用して織り上げ、文様を表すものである。「絣」は日本および琉球の織物を指す用語であるが、これに類した織技は東南アジアをはじめ世界各地にみられ、マレー語で「縛る、括る」を意味する「イカット」(ikat)という語で呼ばれている[1]。絣（織絣）の技術はインドで生まれたとされ、タイやカンボジアの絹絣[4]、インドネシア、ベトナムなど東南アジアを経て日本には琉球経由で伝わった。日本では、法隆寺裂の中に「太子間道」「広東錦」と呼ばれる絹の経絣があるが、これは時代的にも孤立した存在で、江戸時代の絣と直接の関係はなく、大陸（中国）からの渡来裂とみられる。「かすり」の語の使用は江戸時代も後期になってからで、それ以前にこの種の織物を日本語で何と呼んでいたかはわかっていない[5]。1800年頃、各藩で財政対策として専売制が採用されるなか久留米藩の井上伝が掠れ模様の織り方を発見する（加寿利）。のち久留米絣として殖産奨励される。また伊予では鍵谷カナが伊予絣を独自に開発した[注釈 4]。江戸時代後期には各地で様々な絣が織られ量産された。明治から1960年代頃まで、絣は普段着の和服用の反物として親しまれ、絣の産地には多くの織元が立ち並び毎年数百万反が生産された。第二次世界大戦中には女性の着物着用が禁止されたためもんぺとして仕立て直し着用された。しかしその後は洋装化が急速に進み、特に普段着としては和服が着られることがほとんどなくなったことから需要が激減、絣の生産量もわずかになった。Kasuri (絣) is a Japanese word for fabric that has been woven with fibers dyed specifically to create patterns and images in the fabric. It is an ikat (resist-dyeing) technique. Ikat techniques were practiced in the Ryukyu Kingdom (modern-day Okinawa) in the 12th or 13th century,[3] and kasuri textiles were produced for export in the 14th century. After the invasion of the Ryukyu Kingdom in 1609, kasuri techniques entered southern Japan and had moved northwards to the Nara area of Honshu Island by 1750. A general increase in cotton production allowed farmers to weave and dye cotton textiles for their own use and for sale. As kasuri production continued to spread throughout the country,[4] some rural villages became "manufacturing centers". Individual families tied the skeins and wove the cloth, but the dyeing was usually done in community maintained dyeworks.[3] By 1850, kasuri was being produced in several areas, including the Kurume area of Kyushu Island, the Iyo area of Shikoku Island and Bingo and San-in on Honshu Island. Some sources claim that kasuri was invented by a young girl, Den Inoue (1788–1869).[5] Increases in production continued until the 1930s, when the national government diverted resources due to military expansion. By the last quarter of the 20th century, few people could afford the time necessary to dye and hand weave their own cloth. However, contemporary artisans continue to produce highly prized textiles using traditional methods.
- 絣（かすり）は、織物の技法の一つで、絣糸（かすりいと）、すなわち前もって染め分けた糸を経糸（たていと）、緯糸（よこいと、ぬきいと）、またはその両方に使用して織り上げ、文様を表すものである。「絣」は日本および琉球の織物を指す用語であるが、これに類した織技は東南アジアをはじめ世界各地にみられ、マレー語で「縛る、括る」を意味する「イカット」(ikat)という語で呼ばれている[1]。絣（織絣）の技術はインドで生まれたとされ、タイやカンボジアの絹絣[4]、インドネシア、ベトナムなど東南アジアを経て日本には琉球経由で伝わった。日本では、法隆寺裂の中に「太子間道」「広東錦」と呼ばれる絹の経絣があるが、これは時代的にも孤立した存在で、江戸時代の絣と直接の関係はなく、大陸（中国）からの渡来裂とみられる。「かすり」の語の使用は江戸時代も後期になってからで、それ以前にこの種の織物を日本語で何と呼んでいたかはわかっていない[5]。1800年頃、各藩で財政対策として専売制が採用されるなか久留米藩の井上伝が掠れ模様の織り方を発見する（加寿利）。のち久留米絣として殖産奨励される。また伊予では鍵谷カナが伊予絣を独自に開発した[注釈 4]。江戸時代後期には各地で様々な絣が織られ量産された。明治から1960年代頃まで、絣は普段着の和服用の反物として親しまれ、絣の産地には多くの織元が立ち並び毎年数百万反が生産された。第二次世界大戦中には女性の着物着用が禁止されたためもんぺとして仕立て直し着用された。しかしその後は洋装化が急速に進み、特に普段着としては和服が着られることがほとんどなくなったことから需要が激減、絣の生産量もわずかになった。Kasuri (絣) is a Japanese word for fabric that has been woven with fibers dyed specifically to create patterns and images in the fabric. It is an ikat (resist-dyeing) technique. Ikat techniques were practiced in the Ryukyu Kingdom (modern-day Okinawa) in the 12th or 13th century,[3] and kasuri textiles were produced for export in the 14th century. After the invasion of the Ryukyu Kingdom in 1609, kasuri techniques entered southern Japan and had moved northwards to the Nara area of Honshu Island by 1750. A general increase in cotton production allowed farmers to weave and dye cotton textiles for their own use and for sale. As kasuri production continued to spread throughout the country,[4] some rural villages became "manufacturing centers". Individual families tied the skeins and wove the cloth, but the dyeing was usually done in community maintained dyeworks.[3] By 1850, kasuri was being produced in several areas, including the Kurume area of Kyushu Island, the Iyo area of Shikoku Island and Bingo and San-in on Honshu Island. Some sources claim that kasuri was invented by a young girl, Den Inoue (1788–1869).[5] Increases in production continued until the 1930s, when the national government diverted resources due to military expansion. By the last quarter of the 20th century, few people could afford the time necessary to dye and hand weave their own cloth. However, contemporary artisans continue to produce highly prized textiles using traditional methods.
- sukumo leather
- natural dye from fermented leaves of indigo - 蒅, produced in awa district of tokushima prefecture
その起源には、3つのルーツがあるといわれている。
- 江戸時代、1633年（寛永10年）に、金毘羅大権現の別当、金光院の住職が考案したものと伝わる。渋うちわに「金」の文字印を入れて、金刀比羅宮参りの土産として全国に広がった。マダケを素材とした「男竹丸柄」で、柿渋を塗って作り上げた丈夫なものであった。
- 京極丸亀藩時代の天明年間（1781年～1788年）に、丸亀藩士の内職として奨励され、製作の中心が「男竹丸柄」から「女竹丸柄」のうちわへと次第に移っていった。
- 明治に作り始めたという「男竹平柄」のうちわで、現在「丸亀うちわ」といえば、この「男竹平柄」が一般的である。
Nanban art (南蛮美術) refers to Japanese art of the sixteenth and seventeenth centuries influenced by contact with the Nanban (南蛮) or 'Southern barbarians', traders and missionariesfrom Europe and specifically from Portugal. It is a Sino-Japanese word, Chinese Nánmán, originally referring to the peoples of South Asia and Southeast Asia. During the Nanban trade period, the word took on a new meaning when it came to designate the Portuguese, who first arrived in 1543, and later other Europeans. The term also refers to paintings Europeans brought to Japan.
- Nanban art developed after the first Portuguese ships arrived in Kyushu in 1543. While Christian iconsand other objects were produced, Nanban byōbu (南蛮屏風) or folding screens are particularly notable, with between 60 and 80 pairs surviving to this day[1]. Another popular area within Nanban art was the depiction of foreign warriors. Artists of the Kanō school were joined by those of the Tosa school in combining foreign subject matter with Japanese styles of painting. Canons of western art of the period such as linear perspective and alternative materials and techniques appear to have had little lasting influence. The persecution and prohibition of Christianity from the end of the sixteenth century and the Tokugawa policy of sakoku that largely closed Japan to foreign contact from the 1630s saw the decline of Nanban art.
- While Japonism did not develop in the west until after the reopening of Japan in the 1850s and the 1860s, there is evidence of earlier Japanese influence in the art of Colonial Mexico, as Japanese crafts were traded through the Manila Galleons from Manila(Philippines) to Acapulco (Mexico) from 1565 to 1815.
- http://www.jorgewelsh.com/publications/publication/category/specialized_books/nambanart_in_viceregal_mexico
- works to be noted
- 二十八都市万国絵図屏風 宮内庁三の丸尚蔵館蔵
- 泰西王侯騎馬図屏風（重要文化財）サントリー美術館、神戸市立博物館（分蔵）
- 四都図世界図屏風（重要文化財）神戸市立博物館
- 十二都市図世界図屏風（重要文化財）南蛮文化館
- 西欧王侯図押絵貼屏風 ボストン美術館蔵
- https://web-japan.org/niponica/pdf/niponica26/no26_en.pdf The earliest known gardens in Japan date back to the Asuka period (593–710) and the Nara period (710–794). In the Yamato area (former Nara Prefecture), imperial family and powerful clans created ocean scenes that featured large ponds dotted with islands and suhama (sandy beaches) on the shore.
- Gardens of the Shinden-zukuri Style - The capital of Japan was moved from Nara to Kyoto in 794, and the Heian period (794–1185) began. As a noble family, the Fujiwara clan, consolidated its grip on power, art and culture based on unique Japanese ideas developed. These aristocrats lived in luxurious mansions built in the style called shinden-zukuri. The gardens of that era were also magnificent.
- Jodo Gardens - From the 10th through 11th centuries, Japan’s aristocracy became increasingly devout in its practice of Buddhism. As the belief spread that the true teaching of Buddhism might disappear in due course, the gardens came to be modeled on images of jodo (pure land) as described in scripture and religious tracts. In this type of garden, the focal point is the pond, with an arched bridge reaching to a central island. Motsuji Temple Garden in Iwate Prefecture and Shiramizu Amidado in Fukushima Prefecture still demonstrate the atmosphere of Jodo gardens.
- Gardens of the Zen Sect - The Kamakura period (1185–1333) that followed the Heian period saw the rise of a warrior class and the influence of a Buddhist sect called Zen, bringing about changes in the styles of residential buildings and garden creation.
- Tea Gardens - The tea garden, imbued with tranquil spirituality, was developed in conjunction with the tea culture that was perfected by Sen no Rikyu (1522–1591), a master of tea ceremony.
- Kaiyu Style Gardens - The various forms taken by gardens over the centuries culminated in kaiyu style gardens in the Edo period (1603–1867). Historic stones and tasteful trees were used to create miniature reproductions of famous scenes.
Folklore
- Tetsudo shoka
- Kunio Yanagita (柳田 國男, Yanagita Kunio, July 31, 1875 – August 8, 1962) was a Japanese scholar and considered the father of Japanese native folkloristics, or minzokugaku.早期的作品《遠野物語》詳述天狗、河童、座敷童子、山男，使這些妖怪聲名大噪，蔚為主流。Momotarō no Tanjō (桃太郎の誕生) – He depicted some facets of Japanese society by analyzing the famous folk tale Momotaro. His methodology was followed by many ethnologists and anthropologists.Kaijō no Michi (海上の道) – He sought the origin of the Japanese culture in Okinawa, though many of his speculations were denied by later researchers. He was inspired by picking up a palm nut borne by the Kuroshio Current when he was wandering on a beach in Iragomisaki, Aichi Prefecture.Yanagita Kunio Guide to the Japanese Folk Tale – A selection of Japanese folktales and data from Yanagita Kunio's Nihon mukashi-banashi meii (日本昔話名彙), translated by Fanny Hagin Meyer.
poetry
- 和歌（わか）とは、短歌型式の古典詩。古典短歌。広義には『万葉集』に所収される歌体の総称。「和歌」の訓は「やまとうた」である。「和」の代わりに「倭」の字が、「歌」の代わりに「謌」、「哥」の字が宛てられたこともある。なお、歌謡と混同されるおそれがない文脈においては「歌」「うた」と表記され、呼ばれることもある。長連歌、俳諧、狂歌、川柳風狂句は定型の古典詩であるが、和歌には含まれない。また、明治の和歌革新家とその後継者の短歌作品、すなわち近現代短歌は「短歌」と称され、「和歌」とは称されない。近現代短歌はこの項では取り上げない。「和歌」の語は漢詩に対比される日本語詩を意味する言葉として造られた。『万葉集』の題詞に同義の「倭歌」「倭詩」や日本語の挽歌を意味する「日本挽歌」の字句が見られる。なお、『万葉集』題詞に見られる「和歌」は応答歌、唱和歌を意味し、この項の「和歌」とは別義である。
- The Tales of Ise (伊勢物語 Ise monogatari?) is a Japanese uta monogatari, or collection of waka poems and associated narratives, dating from the Heian period. The current version collects 125 sections, with each combining poems and prose, giving a total of 209 poems in most versions. The exact date of composition and authorship can only be speculated; the identity of the nameless, idealised central character is likewise ambiguous, but suggested to be Ariwara no Narihira (825–880).[1] Thirty of the poems from The Tales of Ise appear in the Kokin Wakashū (905), with similar headnotes, all attributed to Narihira. The combination of these poems, and the similarity of some events in the tales to Narihira's life, have led to the additional suggestion that Narihira actually composed the work; however, the inclusion of material and events dating after 880 suggests otherwise.
costume
- Netsuke (根付) [netsɯke] are miniature sculptures that were invented in 17th-century Japan to serve a practical function. Traditional Japanese garments—robes called kosode and kimono—had no pockets; however, men who wore them needed a place to store their personal belongings, such as pipes, tobacco, money, seals, or medicines. Their solution was to place such objects in containers (called sagemono) hung by cords from the robes' sashes (obi). The containers may have been pouches or small woven baskets, but the most popular were beautifully crafted boxes (inrō), which were held shut by ojime, which were sliding beads on cords. Whatever the form of the container, the fastener that secured the cord at the top of the sash was a carved, button-like toggle called a netsuke. Netsuke, like the inrō and ojime, evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship. Such objects have a long history reflecting the important aspects of Japanese folklore and life. Netsuke production was most popular during the Edo period in Japan, around 1615–1868. Today, the art lives on, and some modern works can command high prices in the UK, Europe, the USA, Japan and elsewhere. Inexpensive yet faithful reproductions are available in museums and souvenir shops. Okimono, small and purely decorative sculptures, were often made by the same artists who produced netsuke.
Music
- The Kokin Wakashū (古今和歌集?, "Collection of Japanese Poems of Ancient and Modern Times"), commonly abbreviated as Kokinshū (古今集?), is an early anthology of the waka form of Japanese poetry, dating from the Heian period. It is an Imperial anthology, conceived of by Emperor Uda (r. 887–897) and published by order of his son Emperor Daigo (r. 897–930), in about 905. Its finished form dates to c. 920, though according to several historical accounts the last poem was added to the collection in 914. The compilers of the anthology were four court poets, led by Ki no Tsurayuki and also including Ki no Tomonori (who died before its completion), Ōshikōchi no Mitsune, and Mibu no Tadamine.『古今和歌集』（こきんわかしゅう）とは、平安時代前期の勅撰和歌集。全二十巻。勅撰和歌集として最初に編纂されたもの[1]。略称を『古今集』（こきんしゅう）という。
- http://www3.nhk.or.jp/nhkworld/en/news/editors/6/20160916/ peanut sisters
- 森繁久彌morishige hisaya
Crafts
- 霧霰 (type of embossing) on containers
- Temari are colorful balls made of thread, embroidered with flower and animal motifs. In old Japan, temari were popular as toys for young women and girls. Today they are prized as home decorations. Each region has its own distinctive tradition, and the style known as Sanuki Kagari Temari has been practiced for over 1,000 years in Kanagawa’s Takamatsu City. Its distinctive feature is the exclusive use of natural plant dyes to color the yarn. Traditionally about 140 vibrant hues are employed, and we see how temari artist Eiko Araki is making use of subtle color gradation to create beautiful temari. 古くは子供や女性の玩具として親しまれてきた。現在では装飾品として各地で作られ、産地の一つ、香川県・高松市では伝統の「讃岐かがり手まり」を1000年間にわたり守っている。その特徴は、手まりを縫う木綿糸を自然の植物の染料でそめる「草木染め」。染め上がる糸はおよそ140種類。 https://www.youtube.com/watch?v=6NHCg7PmNOg&feature=youtu.be
Bonsai
- evolved from chinese art of tray landscapes, introduced to japan during the heian period
kendo
- 銃剣道（じゅうけんどう）は、明治時代にフランスから伝来した西洋式銃剣術に日本の槍術の心技・剣道の理論等を日本人に合うように研究・改良されて成立した銃剣術が1956年に近代スポーツとして競技武道化したもの。剣道のような防具を身に付けて竹刀の代わりに木銃（もくじゅう）を用いて相手と突き合う競技である。
geisha
- 京都王牌藝妓 - 如何把季節 元素引入服務。原來除了和服，藝 妓頭上的花簪，也會以四時花朵和 植物為範本設計造型，每月更換花 簪款式http://pdf.wenweipo.com/2017/10/24/a18-1024.pdf
fishing
- https://web-japan.org/trends/11_fashion/fas201901.html There is a piece of fishing tackle known as a "kebari” (fishing fly) that is used as artificial bait in fishing, but in Japan it is also viewed as a craft and something that is pleasing to the eye. The river fish ayu (sweet fish) is typical of the type of fish that kebari is used to catch.
origami
- https://web-japan.org/kidsweb/cool/18/201910_origami_en.html
contemporary arts
- On Kawara (河原 温 Kawara On, December 24, 1932 – July 10, 2014) was a Japaneseconceptual artist who lived in New York City from 1965. He took part in many solo and group exhibitions, including the Venice Biennale in 1976.Kawara was born in Kariya, Japan on December 24, 1932. After graduating from Kariya High School in 1951, Kawara moved to Tokyo. Kawara went to Mexico in 1959, where his father was the director of an engineering company. He stayed three years, painting, attending art school and exploring the country.[2] From 1962 to 1964 he moved back and forth between New York and Paris.[3] He travelled through Europe before settling in 1965 in New York City, where he was an intermittent resident until his death.Kawara belonged to a broadly international generation of Conceptual artists that began to emerge in the mid-1960s, stripping art of personal emotion, reducing it to nearly pure information or idea and greatly playing down the art object. Along with Lawrence Weiner, Joseph Kosuth, Hanne Darboven and others, Kawara gave special prominence to language.From January 4, 1966,[3] Kawara made a long series of "Date paintings" (the Today series), which consist entirely of the date on which the painting was executed in simple white lettering set against a solid background. The date is always documented in the language and grammatical conventions of the country in which the painting is executed (i.e., “26. ÁG. 1995,” from Reykjavik, Iceland, or “13 JUIN 2006,” from Monte Carlo); Esperanto is used when the first language of a given country does not use the Roman alphabet.
manga
- Tetsudo shoka
- Kunio Yanagita (柳田 國男, Yanagita Kunio, July 31, 1875 – August 8, 1962) was a Japanese scholar and considered the father of Japanese native folkloristics, or minzokugaku.早期的作品《遠野物語》詳述天狗、河童、座敷童子、山男，使這些妖怪聲名大噪，蔚為主流。Momotarō no Tanjō (桃太郎の誕生) – He depicted some facets of Japanese society by analyzing the famous folk tale Momotaro. His methodology was followed by many ethnologists and anthropologists.Kaijō no Michi (海上の道) – He sought the origin of the Japanese culture in Okinawa, though many of his speculations were denied by later researchers. He was inspired by picking up a palm nut borne by the Kuroshio Current when he was wandering on a beach in Iragomisaki, Aichi Prefecture.Yanagita Kunio Guide to the Japanese Folk Tale – A selection of Japanese folktales and data from Yanagita Kunio's Nihon mukashi-banashi meii (日本昔話名彙), translated by Fanny Hagin Meyer.
poetry
- 和歌（わか）とは、短歌型式の古典詩。古典短歌。広義には『万葉集』に所収される歌体の総称。「和歌」の訓は「やまとうた」である。「和」の代わりに「倭」の字が、「歌」の代わりに「謌」、「哥」の字が宛てられたこともある。なお、歌謡と混同されるおそれがない文脈においては「歌」「うた」と表記され、呼ばれることもある。長連歌、俳諧、狂歌、川柳風狂句は定型の古典詩であるが、和歌には含まれない。また、明治の和歌革新家とその後継者の短歌作品、すなわち近現代短歌は「短歌」と称され、「和歌」とは称されない。近現代短歌はこの項では取り上げない。「和歌」の語は漢詩に対比される日本語詩を意味する言葉として造られた。『万葉集』の題詞に同義の「倭歌」「倭詩」や日本語の挽歌を意味する「日本挽歌」の字句が見られる。なお、『万葉集』題詞に見られる「和歌」は応答歌、唱和歌を意味し、この項の「和歌」とは別義である。
- The Tales of Ise (伊勢物語 Ise monogatari?) is a Japanese uta monogatari, or collection of waka poems and associated narratives, dating from the Heian period. The current version collects 125 sections, with each combining poems and prose, giving a total of 209 poems in most versions. The exact date of composition and authorship can only be speculated; the identity of the nameless, idealised central character is likewise ambiguous, but suggested to be Ariwara no Narihira (825–880).[1] Thirty of the poems from The Tales of Ise appear in the Kokin Wakashū (905), with similar headnotes, all attributed to Narihira. The combination of these poems, and the similarity of some events in the tales to Narihira's life, have led to the additional suggestion that Narihira actually composed the work; however, the inclusion of material and events dating after 880 suggests otherwise.
costume
- Netsuke (根付) [netsɯke] are miniature sculptures that were invented in 17th-century Japan to serve a practical function. Traditional Japanese garments—robes called kosode and kimono—had no pockets; however, men who wore them needed a place to store their personal belongings, such as pipes, tobacco, money, seals, or medicines. Their solution was to place such objects in containers (called sagemono) hung by cords from the robes' sashes (obi). The containers may have been pouches or small woven baskets, but the most popular were beautifully crafted boxes (inrō), which were held shut by ojime, which were sliding beads on cords. Whatever the form of the container, the fastener that secured the cord at the top of the sash was a carved, button-like toggle called a netsuke. Netsuke, like the inrō and ojime, evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship. Such objects have a long history reflecting the important aspects of Japanese folklore and life. Netsuke production was most popular during the Edo period in Japan, around 1615–1868. Today, the art lives on, and some modern works can command high prices in the UK, Europe, the USA, Japan and elsewhere. Inexpensive yet faithful reproductions are available in museums and souvenir shops. Okimono, small and purely decorative sculptures, were often made by the same artists who produced netsuke.
Music
- The Kokin Wakashū (古今和歌集?, "Collection of Japanese Poems of Ancient and Modern Times"), commonly abbreviated as Kokinshū (古今集?), is an early anthology of the waka form of Japanese poetry, dating from the Heian period. It is an Imperial anthology, conceived of by Emperor Uda (r. 887–897) and published by order of his son Emperor Daigo (r. 897–930), in about 905. Its finished form dates to c. 920, though according to several historical accounts the last poem was added to the collection in 914. The compilers of the anthology were four court poets, led by Ki no Tsurayuki and also including Ki no Tomonori (who died before its completion), Ōshikōchi no Mitsune, and Mibu no Tadamine.『古今和歌集』（こきんわかしゅう）とは、平安時代前期の勅撰和歌集。全二十巻。勅撰和歌集として最初に編纂されたもの[1]。略称を『古今集』（こきんしゅう）という。
- http://www3.nhk.or.jp/nhkworld/en/news/editors/6/20160916/ peanut sisters
- 森繁久彌morishige hisaya
- sendou kouta - mention of tonegawa 利根川
- tsuki no sabaku 月の砂漠
- Shiretoko Ryojō, a song about the Shiretoko Peninsula
Crafts
- 霧霰 (type of embossing) on containers
- Temari are colorful balls made of thread, embroidered with flower and animal motifs. In old Japan, temari were popular as toys for young women and girls. Today they are prized as home decorations. Each region has its own distinctive tradition, and the style known as Sanuki Kagari Temari has been practiced for over 1,000 years in Kanagawa’s Takamatsu City. Its distinctive feature is the exclusive use of natural plant dyes to color the yarn. Traditionally about 140 vibrant hues are employed, and we see how temari artist Eiko Araki is making use of subtle color gradation to create beautiful temari. 古くは子供や女性の玩具として親しまれてきた。現在では装飾品として各地で作られ、産地の一つ、香川県・高松市では伝統の「讃岐かがり手まり」を1000年間にわたり守っている。その特徴は、手まりを縫う木綿糸を自然の植物の染料でそめる「草木染め」。染め上がる糸はおよそ140種類。 https://www.youtube.com/watch?v=6NHCg7PmNOg&feature=youtu.be
Bonsai
- evolved from chinese art of tray landscapes, introduced to japan during the heian period
kendo
- 銃剣道（じゅうけんどう）は、明治時代にフランスから伝来した西洋式銃剣術に日本の槍術の心技・剣道の理論等を日本人に合うように研究・改良されて成立した銃剣術が1956年に近代スポーツとして競技武道化したもの。剣道のような防具を身に付けて竹刀の代わりに木銃（もくじゅう）を用いて相手と突き合う競技である。
geisha
- 京都王牌藝妓 - 如何把季節 元素引入服務。原來除了和服，藝 妓頭上的花簪，也會以四時花朵和 植物為範本設計造型，每月更換花 簪款式http://pdf.wenweipo.com/2017/10/24/a18-1024.pdf
fishing
- https://web-japan.org/trends/11_fashion/fas201901.html There is a piece of fishing tackle known as a "kebari” (fishing fly) that is used as artificial bait in fishing, but in Japan it is also viewed as a craft and something that is pleasing to the eye. The river fish ayu (sweet fish) is typical of the type of fish that kebari is used to catch.
origami
- https://web-japan.org/kidsweb/cool/18/201910_origami_en.html
contemporary arts
- On Kawara (河原 温 Kawara On, December 24, 1932 – July 10, 2014) was a Japaneseconceptual artist who lived in New York City from 1965. He took part in many solo and group exhibitions, including the Venice Biennale in 1976.Kawara was born in Kariya, Japan on December 24, 1932. After graduating from Kariya High School in 1951, Kawara moved to Tokyo. Kawara went to Mexico in 1959, where his father was the director of an engineering company. He stayed three years, painting, attending art school and exploring the country.[2] From 1962 to 1964 he moved back and forth between New York and Paris.[3] He travelled through Europe before settling in 1965 in New York City, where he was an intermittent resident until his death.Kawara belonged to a broadly international generation of Conceptual artists that began to emerge in the mid-1960s, stripping art of personal emotion, reducing it to nearly pure information or idea and greatly playing down the art object. Along with Lawrence Weiner, Joseph Kosuth, Hanne Darboven and others, Kawara gave special prominence to language.From January 4, 1966,[3] Kawara made a long series of "Date paintings" (the Today series), which consist entirely of the date on which the painting was executed in simple white lettering set against a solid background. The date is always documented in the language and grammatical conventions of the country in which the painting is executed (i.e., “26. ÁG. 1995,” from Reykjavik, Iceland, or “13 JUIN 2006,” from Monte Carlo); Esperanto is used when the first language of a given country does not use the Roman alphabet.
manga
- Makoto Ogino (荻野 真, Ogino Makoto, born May 26, 1959 in Gifu Prefecture - April 29, 2019) was a Japanese manga artist.[1] His best-known work is the Spirit Warrior (孔雀王, Kujaku-Oh, Peacock King) manga series.Ogino's first manga was Spirit Warrior (aka Peacock King). It was serialized in Weekly Young Jump from 1986 to 1989, and was published in 17 tankōbon volumes. It follows the adventures of a Buddhist monk who is a member of a secret organization that specializes in demon hunting. The stories involve all sorts of religion and mythology folklore. It was adapted into an OVA series and live-action film in 1988. Ogino followed up with Kujaku Ō: Taimaseiden (孔雀王 退魔聖伝) which ran Young Jump magazine from 1990 to 1992, and was published by Shueisha in 11 volumes.
motifs
- cats
worldwide influence
- The word 'nabi', Hebrew for 'prophet', illustrates the self-consciously spiritual identity that the group adopted. The term ‘Les Nabis’ was coined by the poet Henri Cazalis who drew a parallel between the way the group of painters aimed to revitalize painting (as prophets of Modern art) and the way the ancient prophets had rejuvenated Israel. Considering themselves a creative brotherhood, Les Nabis combined this with other influences - including Japanese printmaking - to create unusual, varied and otherworldly compositions, infused with mystical or mysterious sub-texts. 'Japonisme', the word used to describe the impact of Japanese printmaking on Western artists, was coined just a few years after the country took a pavilion at the Paris World's Fair of 1867. The Nabis movement was characterised by its strong interest in painting en plein air combined with the stylistic tendencies for broad, quick-patterned brushstrokes of yellow and green, which in the present work, creates the vegetation and light in the foreground. https://www.sothebys.com/en/buy/auction/2020/eclectic-london/pierre-bonnard-le-toit-rouge
motifs
- cats
worldwide influence
- The word 'nabi', Hebrew for 'prophet', illustrates the self-consciously spiritual identity that the group adopted. The term ‘Les Nabis’ was coined by the poet Henri Cazalis who drew a parallel between the way the group of painters aimed to revitalize painting (as prophets of Modern art) and the way the ancient prophets had rejuvenated Israel. Considering themselves a creative brotherhood, Les Nabis combined this with other influences - including Japanese printmaking - to create unusual, varied and otherworldly compositions, infused with mystical or mysterious sub-texts. 'Japonisme', the word used to describe the impact of Japanese printmaking on Western artists, was coined just a few years after the country took a pavilion at the Paris World's Fair of 1867. The Nabis movement was characterised by its strong interest in painting en plein air combined with the stylistic tendencies for broad, quick-patterned brushstrokes of yellow and green, which in the present work, creates the vegetation and light in the foreground. https://www.sothebys.com/en/buy/auction/2020/eclectic-london/pierre-bonnard-le-toit-rouge
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