Legend in Japanese Art PDF Download
Are you looking for read ebook online? Search for your book and save it on your Kindle device, PC, phones or tablets. Download Legend in Japanese Art PDF full book. Access full book title Legend in Japanese Art by Henri L. Joly. Download full books in PDF and EPUB format.
Author: Henri L. Joly
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 732
Get Book Here
Book Description
Author: Henri L. Joly
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 732
Get Book Here
Book Description
Author: Gardner Callahan Teall
Publisher:
ISBN:
Category : Art objects
Languages : en
Pages : 382
Get Book Here
Book Description
Author: Pedro de Moura Carvalho
Publisher:
ISBN: 9789810996857
Category : Art
Languages : en
Pages : 0
Get Book Here
Book Description
"This book is published in conjunction with the exhibition, Christianity in Asia: sacred art and visual splendour, presented at the Asian Civilisations Museum, Singapore, from 27 May to 11 September 2016"--Title page verso.
Author: Emiko Ohnuki-Tierney
Publisher: Princeton University Press
ISBN: 9780691028460
Category : History
Languages : en
Pages : 292
Get Book Here
Book Description
This tripartite study of the monkey metaphor, the monkey performance, and the 'special status' people traces changes in Japanese culture from the eighth century to the present. During early periods of Japanese history the monkey's nearness to the human-animal boundary made it a revered mediator or an animal deity closest to humans. Later it became a scapegoat mocked for its vain efforts to behave in a human fashion. Modern Japanese have begun to see a new meaning in the monkey--a clown who turns itself into an object of laughter while challenging the basic assumptions of Japanese culture and society.
Author: Frederick Hadland Davis
Publisher: Library of Alexandria
ISBN: 146560796X
Category : Fiction
Languages : en
Pages : 580
Get Book Here
Book Description
Pierre Loti in Madame Chrysanthème, Gilbert and Sullivan in The Mikado, and Sir Edwin Arnold in Seas and Lands, gave us the impression that Japan was a real fairyland in the Far East. We were delighted with the prettiness and quaintness of that country, and still more with the prettiness and quaintness of the Japanese people. We laughed at their topsy-turvy ways, regarded the Japanese woman, in her rich-coloured kimono, as altogether charming and fascinating, and had a vague notion that the principal features of Nippon were the tea-houses, cherry-blossom, and geisha. Twenty years ago we did not take Japan very seriously. We still listen to the melodious music of The Mikado, but now we no longer regard Japan as a sort of glorified willow-pattern plate. The Land of the Rising Sun has become the Land of the Risen Sun, for we have learnt that her quaintness and prettiness, her fairy-like manners and customs, were but the outer signs of a great and progressive nation. To-day we recognise Japan as a power in the East, and her victory over the Russian has made her army and navy famous throughout the world. The Japanese have always been an imitative nation, quick to absorb and utilise the religion, art, and social life of China, and, having set their own national seal upon what they have borrowed from the Celestial Kingdom, to look elsewhere for material that should strengthen and advance their position. This imitative quality is one of Japan's most marked characteristics. She has ever been loath to impart information to others, but ready at all times to gain access to any form of knowledge likely to make for her advancement. In the fourteenth century Kenkō wrote in his Tsure-dzure-gusa: "Nothing opens one's eyes so much as travel, no matter where," and the twentieth-century Japanese has put this excellent advice into practice. He has travelled far and wide, and has made good use of his varied observations. Japan's power of imitation amounts to genius. East and West have contributed to her greatness, and it is a matter of surprise to many of us that a country so long isolated and for so many years bound by feudalism should, within a comparatively short space of time, master our Western system of warfare, as well as many of our ethical and social ideas, and become a great world-power. But Japan's success has not been due entirely to clever imitation, neither has her place among the foremost nations been accomplished with such meteor-like rapidity as some would have us suppose. We hear a good deal about the New Japan to-day, and are too prone to forget the significance of the Old upon which the present régime has been founded. Japan learnt from England, Germany and America all the tactics of modern warfare. She established an efficient army and navy on Western lines; but it must be remembered that Japan's great heroes of to-day, Togo and Oyama, still have in their veins something of the old samurai spirit, still reflect through their modernity something of the meaning of Bushido. The Japanese character is still Japanese and not Western. Her greatness is to be found in her patriotism, in her loyalty and whole-hearted love of her country. Shintōism has taught her to revere the mighty dead; Buddhism, besides adding to her religious ideals, has contributed to her literature and art, and Christianity has had its effect in introducing all manner of beneficent social reforms. There are many conflicting theories in regard to the racial origin of the Japanese people, and we have no definite knowledge on the subject. The first inhabitants of Japan were probably the Ainu, an Aryan people who possibly came from North-Eastern Asia at a time when the distance separating the Islands from the mainland was not so great as it is to-day. The Ainu were followed by two distinct Mongol invasions, and these invaders had no difficulty in subduing their predecessors; but in course of time the Mongols were driven northward by Malays from the Philippines. "By the year A.D. 500 the Ainu, the Mongol, and the Malay elements in the population had become one nation by much the same process as took place in England after the Norman Conquest. To the national characteristics it may be inferred that the Ainu contributed the power of resistance, the Mongol the intellectual qualities, and the Malay that handiness and adaptability which are the heritage of sailor-men." Such authorities as Baelz and Rein are of the opinion that the Japanese are Mongols, and although they have intermarried with the Ainu, "the two nations," writes Professor B. H. Chamberlain, "are as distinct as the whites and reds in North America." In spite of the fact that the Ainu is looked down upon in Japan, and regarded as a hairy aboriginal of interest to the anthropologist and the showman, a poor despised creature, who worships the bear as the emblem of strength and fierceness, he has, nevertheless, left his mark upon Japan. Fuji was possibly a corruption of Huchi, or Fuchi, the Ainu Goddess of Fire, and there is no doubt that these aborigines originated a vast number of geographical names, particularly in the north of the main island, that are recognisable to this day. We can also trace Ainu influence in regard to certain Japanese superstitions, such as the belief in the Kappa, or river monster.
Author: Victoria Louise Weston
Publisher: University of Chicago Press
ISBN: 9781892850201
Category : Art, Japanese
Languages : en
Pages : 0
Get Book Here
Book Description
Catalog of an exhibition of the same name held at the McMullen museum of Art, Boston College, Feb. 16-June 2, 2013.
Author: Miriam Kinsey
Publisher: Kodansha
ISBN:
Category : Art
Languages : en
Pages : 244
Get Book Here
Book Description
Author: Raymond Bushell
Publisher: Weatherhill, Incorporated
ISBN:
Category : Architecture
Languages : en
Pages : 272
Get Book Here
Book Description
For collectors who have discovered the delights of such miniature Japanese art forms as theinroand thenetsuke, this authoritative and enlightening book offers a wealth of valuable information. That it also affords entry to a world of fascinating design and superb craftsmanship goes without saying. In addition to illustrating in color and discussing in detail 108 distinguished inro and their accompanyingnetsuke, as well as 18 related miniature objects, it presents highly informative essays on the making ofinro, on pearl shell inlays, and, in particular on the materials and techniques of lacquer art, the last of these with 62 color photos. It also furnishes an extensive list of lacquer artists' signatures with 386 photos. It is refreshing to have an author tell his readers not only what his book is but also what it is not. In his introduction Bushell says: "This book is addressed to the collector ofinro, netsuke,and other forms of miniature Japanese art, with emphasis on works in lacquer. Its purpose is specific and limited. It is not a comprehensive study of lacquer. It is not a historical survey, a technical analysis, a comparative examination, or a compendium of terms and definitions. In point of time it is limited to the Tokugawa, Meiji, Taisho, and early Showa periods. In point of craft it is limited to the later development of precise and sophisticated techniques, with their brilliant decorative effects." Bushell points out that he is not making an unnecessary emotional appeal in praise of lacquer. His objective is far more practical. This book is the product of his efforts to understand the structure underlying the beauty of lacquer art and to provide clear and simple explanations. Because other books on the subject had not satisfied him, he undertook his own basic research, and here he presents the information he acquired through painstaking study with master lacquer craftsmen and other authorities.
Author: Japan Imperial Japanese Commission T
Publisher: Legare Street Press
ISBN: 9781019070208
Category : Business & Economics
Languages : en
Pages : 0
Get Book Here
Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Melvin H. Jahss
Publisher: Tuttle Publishing
ISBN:
Category : Art
Languages : en
Pages : 502
Get Book Here
Book Description
