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› 2 Arts and material culture 2
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2 Arts and material culture 2
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The Edo period= also known as the “tokugawa period”, is the Period in japan from 1603 till 1868. Tokugawa Ieyasu= was the founder and first shogun of the Tokugawa shogunate Nikkō Tōshōgū= is a Shinto shrine located in Nikkō, Tochigi Prefecture, Japan. It is part of the "Shrines and Temples of Nikkō", a UNESCO World Heritage Site. The shrine was dedicated to Tokugawa Ieyasu. Confucianism= also known as Ruism, is described as tradition, a philosophy, a religion, a humanistic or rationalistic religion, a way of governing, or simply a way of life.[1] Confucianism developed from what was later called the Hundred Schools of Thought from the teachings of the Chinese philosopher Confucius (551–479 BCE). In Japan in the Edo period schools of neo-confucian philosophy developed: Edo Neo-confucianism(shushi-Gaku in Japanese) Katsura Rikkyū= The Katsura Imperial Villa ,or Katsura Detached Palace, is a villa with associated gardens and outbuildings in the western suburbs of Kyoto, Japan (in Nishikyō-ku, separate from the Kyoto Imperial Palace). Nijō-jō= Nijo Castle was built in 1603 as the Kyoto residence of Tokugawa Ieyasu. His grandson Iemitsu completed the castle's palace buildings 23 years later and further expanded the castle by adding a five story castle keep. gongen zukur= is the name of a complex Shinto shrine structure in which the haiden, or worship hall, and the honden, or main sanctuary, are interconnected under the same roof in the shape of an H. Kanō= one of the most famous schools of Japanese painting and was the dominant style of painting in the Tokugawa period. 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 and drew on the Chinese tradition of literati painting Rinpa= Centred in Kyoto, starting with the work of Hon’ami Koetsu (1558–1637) and Tawaraya Sotatsu (d. ca. 1640), who then influenced Ogata Korin (1658-1716). Continued the legacy of the yamato-e painting tradition (Tosa school) but updated classical themes to contemporary urban tastes. Saturated colours, dynamic compositions, tarashikomi (dripping-in) technique. Early 19th c. revival in Edo through Sakai Hoitsu (1761-1828), who standardized the Rinpa repertoire in printed painting manuals bunjin-ga=Literati painting; term more or less interchangeable with Nanga, southern painting; refers to a Japanese school that began in the 18th century. References to Chinese tradition of casual brushwork of the Confucian scholar, but adapted to a stricter social hierarchy and commercial interests.Themes: four elegant pastimes (music, the game of Go, calligraphy and painting), the four gentlemen (plum, chrysanthemum, orchid, bamboo). In Japan, the first generation of literati artists copied printed painting manuals, while the second generation put more emphasis on individual expression Maruyama-Shijō-ha= was an offshoot school of the Maruyama school of Japanese painting founded by Maruyama Ōkyo, and his former student Matsumura Goshun in the late 18th century. This school was one of several that made up the larger Kyoto school. The school is named after the street in Kyoto where many major artists were based; Shijō translates to "fourth avenue". Zenga=- ink painting and calligraphy executed by Zen monks of the Edo period (1615-1868) as a tool for meditation and spiritual teaching. ranga=Western knowledge:an interest in scientific knowledge originating in Western books obtained from the Dutch trading station in Nagasaki starting from the middle of the 18th c. kijin=The eccentrics, An artificial label applied to individualistic artists of the Edo period that do not fit into other styles and schools oku eshi= The highest ranking of the official painters employed by the shogunate during the Edo period omote eshi= Lower-ranking groups of official painters employed by the shogunate during the Edo period. The disciples and branch families of the higher-ranking oku-eshi Kanō Tan’yū= was appointed Painter-in-service to the Tokugawa in 1617. He made(for example) ”Iemitsu’s Dream of Ieyasu”, in 1642. He was one of the foremost Japanese painters of the Kanō school. Many of the most famous and widely known Kanō works today are by Tan'yū. Enkū= was a Japanese Buddhist monk, poet and sculptor during the early Edo period. He is famous for carving some 120,000 wooden statues of the Buddha and other Buddhist icons, many of which were given in payment for lodging on his pilgrimages to temples throughout Japan. Ogata Kōrin= rinpa school painter Sakai Hōitsu=was a Japanese painter of the Rinpa school. He is known for having revived the style and popularity of Ogata Kōrin, and for having created a number of reproductions of Kōrin's work. Hoitsu made the “episode from tales of ise.” Shiba Kōkan= was a Japanese painter and printmaker of the Edo period, famous both for his Western-style yōga paintings, in imitation of Dutch oil painting styles, methods, and themes, and his ukiyo-e prints. He was engaged in Western learning (Rangaku) in the field of astronomy. He made “western artist.” Maruyama Ōkyo= was a Japanese artist active in the late 18th century. He moved to Kyoto, during which he studied artworks from Chinese, Japanese and Western sources. A personal style of Western naturalism mixed with Eastern decorative design emerged, and Ōkyo founded the Maruyama school of painting. He made the “folding screen with cranes.” Matsumura Goshun= (1752-1811) Yosa Buson’s disciple, then learns from Maruyama Okyo and after his death continues the Maruyama style from his atelier in Kyoto’s Shijo (Fourth Avenue) Nagasawa Rosetsu= Was a Japanese Eccentric painter(kijin) Itō Jakuchū= was a Japanese Eccentric painter(kijin) Sengai Gibon= was a Japanese monk of the Rinzai school (one of three main schools of Zen Buddhism in Japan). He was known for his controversial teachings and writings, as well as for his lighthearted sumi-e paintings. He made the “bullfrog in sitting meditation.” Ike no Taiga= was a Japanese painter and calligrapher born in Kyoto during the Edo period. Together with Yosa Buson, he perfected the bunjinga (or nanga) genre Yosa Buson= was a Japanese poet and painter of the Edo period. Buson is considered among the greatest poets of the Edo Period. Nonomura Ninsei=Was a Japanese potter and the father of Kyo-yaki, or Kyoto pottery Ogata Kenzan= was a Japanese potter and painter. He learned from the famous potter Nonomura Ninsei. Kenzan produced a distinctive style of freely brushed grasses, blossoms, and birds as decorative motifs for pottery. His pieces were noted for their perfect relation between design and shape. He often collaborated on the decoration of pottery with his older brother, Ogata Korin. Kenzan and Korin made the “eight bridges dish” together. Alone Kenzan made the “eight bridges foling screen.” ukiyo-e=Literally, pictures of the floating world; images of the pleasure districts of Edo and Kyoto that housed entertainment such as the theatre and brothels; woodblock prints and paintings –mainly genre scenes and portraits– that were very popular in the Tokugawa period. nishiki-e= ‘Brocade picture,’ refers to Japanese multi-coloured woodblock printing, this technique is used primarily in ukiyo-e. It was invented in the 1760s, and perfected and popularized by the printmaker Suzuki Harunobu bijin-ga=Literally, paintings of beautiful women; term originated in the Edo period for portraits of courtesans and other beauties. Uses wagoto: soft kabuki acting style yakusha-e= Famous actor pictures. Uses aragoto: rough kabuki acting style. fūkei-ga = landscape view hanpon= woodblock printed book. ehon=the Japanese term for picture books. It may be applied in the general sense, or may refer specifically to a type of illustrated volume published from at least the mid-Edo period onwards, often as chapter-books in series. surimono= are a genre of Japanese woodblock print. They were privately commissioned for special occasions such as the New Year. Surimono literally means "printed thing". hanmoto=woodblock owner kashihonya= circulating libraries kamigata-e= Pictures from the Osaka and Kyoto region. Torii Kiyomasu= was a Japanese painter and printmaker of the Torii school, in the genre of ukiyo-e. Like the other Torii artists, his primary focus was on Kabuki billboards, advertisements, actor prints, and other related material. Suzuki Harunobu= was a Japanese designer of woodblock print artist in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e). he painted “couple eloping.” Utagawa Toyokuni I= referred to as “Toyokuni I”, to distinguish him from the members of his school who took over his art-name after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints. He was the second head of the renowned Utagawa school of Japanese woodblock artists Kitagawa Utamaro= ukiyo-e painter, who made “ elegant comparison of little treasures” Tōshūsai Sharaku= was a Japanese ukiyo-e print designer, known for his portraits of kabuki actors. Neither his true name nor the dates of his birth or death are known. His active career as a woodblock artist spanned ten months; his prolific work met disapproval and his output came to an end as suddenly and mysteriously as it had begun. He drew the portrait of “ichikawa ebizo IV.” Katsushika Hokusai= was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He is best known as author of the woodblock print series “Thirty-six Views of Mount Fuji “ which includes the internationally iconic print, “The Great Wave off Kanagawa.”He also drew the “Hokusai manga.” Utagawa Hiroshige= was a Japanese ukiyo-e artist, considered the last great master of that tradition. He made the “nihon embankment at yoshiwara” Totoya Hokkei=was a Japanese artist best known for his prints in the ukiyo-e style. Hokkei was one of Hokusai's first and best-known students and worked in a variety of styles and genres and produced a large body of work in prints, book illustrations, and paintings. He made “european women with goat” Utagawa Kuniyoshi= was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting.[2] He was a member of the Utagawa school. He made the “general masakiyo” Utagawa Kunisada= was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. He made the “parody of the four social classes” Gosōtei Hirosada= was the most prolific Osaka-based designer of ukiyo-e woodblock prints during the late Edo period. Like most producers of kamigata-e -prints originating in the Osaka and Kyoto regions—he specialized in yakusha-e actor prints. Hirosada is particularly known for his diptychs and triptychs, and for his many ōkubi-e portraits of the leading actors on the Osaka kabuki stage during his day. He drew the “ichikawa ebizo V.” the Taishō period= the period from 1912-1926 the Shōwa period= period from 1926-1989 yōga= Literally, western painting: western styels of painting of the modern era –from the meiji period to the present– by either Japanese or Western artists using western perspective and chiaroscuro, and working in western mediums as well, principally oil paints; contrasted with nihonga nihonga= Literally, Japanese-style painting, particularly of the Meiji, taisho and showa eras, in contrast to yoga and yofuga Western-style painting. Based on both the Kano and Yamato-e styles and adhering to traditional Japanese media, some nihonga also utilizes concepts and techniques of western art. bijutsu= fine arts like poetry, painting, modelling and sculpture and music. shinhanga= New prints; the 20th-century inkpainting movement associated with the taisho era that joined traditional ukiyo-e themes, bijinga and landscapes with western printing concepts; e.g., limited, numbered editions made to high standards in technically proficient print workshops. sōsakuhanga= creative prints; the 20th century printmaking movement associated with the showa era, based on the artists’ personal involvement in all stages of print production; influenced by contemporaneous Western printmakers who produce their own work singlehandedly. mingei= ‘art of the people’, ‘folk art’ movement. Yokoyama Taikan= maker of “ The poet Qu Yuan”. He is notable for helping create the Japanese painting technique of Nihonga Kanō Hōgai=was a 19th-century Japanese painter of the Kanō school. One of the last of the Kanō painters, Hōgai's works reflect the deep traditions of the school, but also at times show hints of experimentation with Western methods and styles. Made the “compassionate kannon” painting Okakura Tenshin= was a Japanese scholar who contributed to the development of arts in Japan. Outside Japan, he is chiefly remembered today as the author of The Book of Tea. Hishida Shunsō= One of Okakura Tenshin's pupils along with Yokoyama Taikan and Shimomura Kanzan, he played a role in the Meiji era innovation of Nihonga. He painted the “fallen leaves”screens. Kuroda Seiki= was the pseudonym of a Japanese painter and teacher, noted for bringing Western theories about art to a wide Japanese audience. He was among the leaders of the yōga (or Western-style) movement. He is the maker of “morning toilette” Yorozu Tetsugorō=was a Japanese painter, noted for his work in introducing the Avant-garde trend, especially cubism into Japanese yōga (Western-style) painting. He made the “veiled woman” Yamamoto Kanae=was a Japanese artist, known primarily for his prints and yōga Western-style paintings. He is credited with originating the sōsaku-hanga ("creative prints") movement, which aimed at self-expressive printmaking, in contrast to the commercial studio systems of ukiyo-e and shin-hanga. He made “the fisherman” Tatsuno Kingo=architect of the “Tokyo station” and the “bank of Japan.” Katayama Tōkuma=architect of the “Kyoto imperial museum” and the “imperial nara museum.” Ogiwara Morie = he was a sculptor active in Meiji period-Japan. He is regarded as one of the pioneers of modern western-style bronze sculpture in Japan. Hamada Shōji = he was a Japanese potter. He was a significant influence on studio pottery of the twentieth century, and was a major figure of the mingei folk-art movement. He made the “bottle with sugar cane” the Heisei period= period from 1989-nu Gutai=is the first radical, post-war artistic group in Japan. It was founded in 1954 by the painter Jiro Yoshihara in Osaka, Japan, in response to the reactionary artistic context of the time. This influential group was involved in large-scale multimedia environments, performances, and theatrical events and emphasizes the relationship between body and matter in pursuit of originality Mono-ha= “school of things” is a group of 20th-century Japanese artists. The Mono-ha artists explored the encounter between natural and industrial materials, such as stone, steel plates, glass, light bulbs, cotton, sponge, paper, wood, wire, rope, leather, oil, and water, arranging them in mostly unaltered, ephemeral states. Tanaka Atsuko= made the “ Electric dress.” She is a part of the Gutai-group. Kusama Yayoi= created the “mirror performance.” Yoko Ono=maker of “YES painting.” Yoshihara Jirō= He co-founded the avant-garde Gutai group. Sekine Nobuo=made “phase – mother earth”. He is one of the key members of Mono-ha.
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