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2011
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Dear Friends, This year, Brills Asian Art folder moves beyond the much-loved images of Hotei Publishing to include a number of other titles devoted to the subject. In 2010, Brill acquired Global Oriental, extending the depth of scholarship, to include, among other titles, Korean visual arts. For the stalwart Japanese Art lovers, Hotei Publishing has a number of new titles available in 2011, and, as ever, each page is a work of art in itself. We hope that we can tempt you with a taste of the color and richness of our titles in this folder. For more information you are invited to visit brill.nl, where we have special pages for Hotei publishing brill.nl/hotei; Global Oriental brill.nl/globaloriental and the central Asian Studies page brill.nl/asianstudies. We also now tweet! Follow Hotei on twitter at twitter.com/hoteipublishing. We are always delighted to hear from you, whether about projects you would like to discuss with our Acquisitions Editor, Inge Klompmakers klompmakers@brill.nl, or enquiries about products you would like to know more about via marketing@brill.nl. With best wishes, Marketing at Brill
Portraits of Chgen
The Transformation of Buddhist Art in Early Medieval Japan
John Rosenfield, Abby Aldrich Rockefeller Professor of East Asian Art, Emeritus, and Curator of Asian Art in the Harvard University Art Museums, Emeritus.
November 2010 ISBN 978 90 04 16864 0 Cloth with dustjacket (240 pp.) List price EUR 93.- /US$ 132. Japanese Visual Culture, 1 This volume, the first in Brills Japanese Visual Culture series, vividly describes the efforts of the Japanese monk Shunjb Chgen (11211206) to
restore major buildings and works of art lost in a brutal civil conflict in 1180. Chgen is best known for his role in the recasting of the Great Buddha (Daibutsu) and the reconstructing of the South Great Gate (Nandaimon) of Tdaiji in Nara and its huge, dramatic wooden guardian figures. This study concentrates on these and other replacement statues and buildings associated with Chgen and situates the visual arts of Japan into the spiritual and socio-political context of their times. Through meticulous study of dedicatory material, Rosenfield is able to place the splendid Buddhist statues made for Chgen in vivid new light. The volume also explores how Japans rulers employed the visual arts as instruments of government policy a tactic that recurs throughout the nations history. This publication includes an annotated translation of
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Chgens memoir, completed near the end of his life, in which he recounts his many achievements. In chapters on East Asian portraiture, Rosenfield claims that surviving statues of Chgen, carved with mordant realism, rank among the worlds most eloquent portraits, and herald the great changes that were to permeate Japanese religious and secular arts in the centuries to come. While Chgen has been the subject of major art exhibitions and extensive research in Japan; this is the first book-length study to appear in the West.
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Japanese woodblock prints exemplified by such iconographic images as Hokusais Great Wave, Hiroshiges Heavy Rain on Ohashi bridge, or Utamaros enticing beauties, constitute one of the most important and influential art forms in art history. This volume champions the publisher the enabler without whom the great artworks which influenced painters like Monet, Toulouse-Lautrec, Van Gogh and others, would never have been produced. Publishers of Japanese Woodblock Prints: A Compendium focuses on the production process of Japanese woodblock prints with an emphasis on the role of the publisher. This publication presents over 1,100 publishers, with comprehensive lists of publications by a total of 572 artists and facsimiles of over 2300 publisher seals, spanning a time period from the 1650s to the 1990s. The publisher entries include details
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on the residence of a publisher, his clientele, the period of his commercial activity as well as a list of issued print series in chronological order. This listing offers insight into the status and versatility of a publisher, as well as indicating the publishers specialities, favoured artists and the particular strategies pursued. With almost 600 pages of information on the publishers of Japanese woodblock prints, this publication is an essential reference work for scholars and collectors of Japanese prints alike.
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abundantly-illustrated overview of his rich oeuvre of prints and paintings, and places them in the context of his times. For the first time, Kgyos life and work are accessible to readers throughout the world. Kgyo is particularly well-known for his many depictions of the N, Japans elegant and poetic theatrical form, dating back to medieval times. Performances of N continue to have wide audiences even today, with admirers not only in Japan, but throughout Asia, Europe and the United States. Kgyo often created unusual images of the theatrical productions he attended, and his prints provide fascinating visual clues and insights into how these classic plays were actually performed during his lifetime. In these theatrical prints, Kgyo created images of an evocative beauty that are comparable
with the work of some of the great artists in the European tradition who also recorded the theatrical practices of their times. The Beauty of Silence illustrates a range of Kgyos works on a variety of subjects, including landscapes, as well as samples of his art created in other media. The publication includes his biography, historical information on the N, a detailed analysis of the prints, and useful information on each of the N plays pictured. The appendices section includes listings of more than a hundred artist-seals used by Kgyo, an index of N plays and illustrations of all 120 prints belonging to Kgyos famous print series Ngaku hyakuban (One Hundred N Plays). This book, with almost 400 full color illustrations, will be of wide interest both to lovers of woodblock prints and to those interested in the power and beauty of Japans theatrical traditions.
The work of print artist Ohara Koson (1877-1945) mainly consists of prints of birds and flowers, characterized by their peaceful charm. This book about Koson is the first Western publication of his oeuvre of prints and paintings. It provides all known information on the artists life and work, his teachers and publishers, facsimiles of his signatures and seals and illustrations of an estimated seventy-five percent of his total print output, now kept in the splendid collection of Japanese prints in the Rijksmuseum, Amsterdam. First published in 2001, this new edition features an additional chapter on Kosons oeuvre and designs which have been discovered since the original publication of Crows, Cranes and Camellias. This title is the definitive reference book for Koson collectors.
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Reading Surimono
The Interplay of Text and Image in Japanese Prints. With a catalogue of the Marino Lusy Collection
Edited by John T. Carpenter, SOAS, University of London
December 2008 ISBN 978 90 04 16841 1 Cloth with dustjacket (432 pp., over 400 colour illus.) List price EUR 99.- /US$ 147.This full-colour catalogue illustrates and describes over 300 surimono (privately published deluxe Japanese prints) belonging to the Graphics Collection of the Museum of Design Zurich, which were recently placed on long-term loan to the Museum Rietberg Zurich. Originally bequeathed to the Museum of Design by the Swiss collector Marino Lusy (1880-1954), the collection includes many rare and previously unpublished examples. Edited by John T. Carpenter, with contributions from a distinguished roster of Edo art and literary specialists, this groundbreaking scholarly publication investigates surimono as a hybrid genre combining literature and art. Introductory essays treat issues such as text-image interaction and iconography, poetry and intertextuality, as well as the operation of Kabuki fan clubs and poetry circles in late 18th and early 19th century Japan. Other essays document Lusys accomplishments as a talented lithographer inspired by East Asian art, and as an astute collector who acquired prints from Parisian auction houses and dealers in the early 20th century. Translations of kyoka (31-witty verse) that accompany images are given for all prints. The volume also includes a comprehensive index of poets with Japanese characters. This publication is not only indispensable to specialists in ukiyo-e, but has much to offer any reader interested in traditional Japanese art and literature.
Kawase Hasui
The Complete Woodblock Prints
Kendall H. Brown, California State University, with an Essay by Watanabe Shichir. General Editor: Amy Reigle Newland. Catalogue Contributors: Inge Klompmakers, Merel Molenaar, Amy Reigle Newland, Okura Haruko, Dick N.W. Raatgever, Robert Schaap and Chris Uhlenbeck.
November 2008 ISBN 978 90 74822 46 6 Cloth with dustjacket (592 pp., 617 color & 131 b/w illus. (incl. DVD)) List price EUR 265.- /US$ 413.-
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Kawase Hasui (1883-1957) is considered the foremost Japanese landscape print artist of the 20th century. His work is characterized by a fascination with light, climatic conditions and tranquility. His oeuvre consists of over 700 designs of which the largest proportion was produced for the initiator of the Shin hanga (new print) movement, Watanabe Shzabur. This publication illustrates his oeuvre in color
including all the designs he produced for other publishers. The illustrations are predominantly taken from the two largest collections of Hasui prints in the world: the collections of Robert O. Muller, now housed in the Arthur M. Sackler Gallery of Art, and the Watanabe family. This bilingual publication includes essays by Kendall Brown and Shichir Watanabe, facsimiles of seals
and signatures and a bibliography. Originally published in 2003, this groundbreaking publication on the life and work of Kawase Hasui is now available with a DVD, which includes a 1950s film on the artist and the production of one of his designs, a process book displaying all stages in the creation of a Japanese woodblock print, and designs which have been discovered since 2003.
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covering some 250 years, with an emphasis on works by artists of the naturalistic Shij School. It illustrates the wonderful variety of animals that figure in Japanese iconography, including the 12 animals of the zodiac and many mythological creatures. The reader is thus taken on a tour through the animal kingdom, which is profusely illustrated with no less than 300 color images. A selection of essays explains in great detail the stories and legends behind the animal imagery and provides background information on the practical aspects and social context of Japanese hanging scroll paintings. A useful tool for the collector and a delight for anyone sensitive to the beauty of Japanese art. A Brush with Animals was selected from collections of members of the Society for Japanese Arts (private and museum collections), to commemorate the 70th anniversary of the Society. Many of the paintings are published here for the first time.
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As a Japanese bestiary, this collection () is representative and sensitively presented. As a record of the bond between man and beast, it is moving as well. And as a commemoration of the Japanese animal kingdom, it is splendid. Donald Richie, The Japan Times.
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The prolific Utagawa school is one of the most famous lineages of print artists in the history of Japanese woodblock prints. It was founded by Utagawa Toyoharu during the second half of the eighteenth century and remained active in Edo, present-day Tokyo, throughout the nineteenth century. During this period, Utagawa-school artists dominated virtually every genre of ukiyo-e prints, or pictures of the floating world, including pictures of beautiful women, prints of kabuki actors, warrior prints, erotica, and landscape pictures. Colorful, technically innovative, and sometimes defiant of government regulations, these prints documented for a popular audience the pleasures of urban life, leisure, and travel. The diverse works by Utagawa Kunisada, Utagawa Kuniyoshi, Utagawa Hiroshige, and others reflected the changing social, economic,
and political conditions present during the closing century of the Edo period (1615-1868) and early years of the Meiji period (1868-1912). This 232-page groundbreaking catalogue features fullcolor images of more than 200 prints from the renowned Van Vleck Collection of Japanese Prints at the Chazen Museum of Art, University of WisconsinMadison. This collection a number of which were once part of Frank Lloyd Wrights personal collection of Japanese prints is particularly noteworthy for its strong holdings of landscape prints including rare designs incorporating western perspective by the schools founder Toyoharu. The book includes explicated entries for each work, artist biographies, and five scholarly essays about Japanese print culture and the Utagawa school.
Japanese Warrior Prints 16461905 is the first publication in the English language devoted entirely to the most neglected of the major genres in the history of Ukiyo-e: musha-e or images of warriors. These works recreate in vivid detail the tales of great heroes and battles of Japanese history, especially from the tenth through sixteenth centuries. The publication is divided into two parts. The first is an Introduction to the genre of musha-e, including a discussion of the evolution of the genre and the various influences that came to play on its development. The second comprises a Catalogue of over 200 full-color illustrations dating from the mid-seventeenth to twentieth centuries which have been grouped into sixteen subject categories.
The Hundred Poets Compared is about a 100-print series made by three famous Ukiyo-e artists of the 19th century: Kuniyoshi, Hiroshige, and Kunisada. Each print compares one of the poems from the most-beloved collection of Japanese poetry, The One Hundred Poets, One Poem Each (Hyakunin Isshu), with a scene from Japanese history or theatre. Begun during the repressive Tenp Reforms, the series includes many surreptitious portraits of popular actors. Herwig and Mostow explain each episode depicted and its connection to its particular poem, providing a translation of the commentary text on each print and the identification of actors and performances. This work will be welcome to Ukiyo-e collectors and scholars, as well as those interested in Kabuki and Japanese legends.
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The Hotei Encyclopedia of Japanese Woodblock Prints will serve as a source of quick reference as well as an in-depth study of all aspects of Japanese prints from the Edo (1600-1868) to Taish (1912-26) periods. The first section of The Hotei Encyclopedia is divided into four main subject areas: historical back- ground, the art history of Ukiyo-e prints, print production (materials and techniques, the publishing trade) and the history of collecting Japanese prints, with a shorter fifth section on conservation. Each subject area contains a longer survey article which is accompanied by shorter essays that highlight specific topics pertaining to Japanese prints and their development. The second section of the book comprises an extensive alphabetical listing of well over a 2000 carefully cross-referenced entries on individual print designers and schools,
publishers, carvers, printers and collectors, major Kabuki actors, materials and techniques, conservation, subject-matter/iconography, literature and miscellaneous print-related terminology. This is followed by various appendices, including such aspects as seals of publishers and carvers, signatures, maps and chronological tables. With this ambitious project Hotei Publishing hopes to fill the gap for an extensive reference work and introduction to Japanese prints, one that will prove a valuable resource for teachers and students, art collectors, librarians and interested lay-people alike.
The bulk of the encyclopedia are essays written by fifty experts dealing with the many technical, genre, and evolutionary aspects of the woodblock prints. As I read the encyclopedia from cover to cover, the quality of the essays struck me as consistently quite high, evidence of good editing For collectors, the encyclopedia offers information on what to look for in quality, artist and publisher identification, and other critical details The Hotei encyclopedia is an excellent starting point for collectors. Todd Shimoda, The Asian Review of Books, 2006.
Chikanobu
Modernity and Nostalgia in Japanese Prints
Bruce A. Coats, with essays by Allen Hockley, Kyoko Kurita and Joshua Mostow
October 2006 ISBN 978 90 74822 88 6 Cloth with dustjacket (208 pp., 280 color illus.) List price EUR 79.- /US$ 108.-
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January 2008 ISBN 978 90 74822 37 4 Paperback (160 pp.) List price EUR 39.- /US$ 53.-
January 2006 ISBN 978 90 74822 69 5 Cloth with dustjacket (192 pp., 50 color & 16 b/w illus.) List price EUR 79.- /US$ 108.-
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Visions of Japan
Kawase Hasuis Masterpieces
Printed to Perfection
Twentieth-century Japanese Prints from the Robert O. Muller Collection
Joan B. Mirviss, Amy Reigle Newland, Chris Uhlenbeck, Marije Jansen with Henk Herwig. General Editor: Amy Reigle Newland
January 2004 ISBN 978 90 74822 73 2 Paperback (132 pp., 123 color & 6 b/w illus.) List price EUR 29.- /US$ 40.-
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Marije Jansen
January 2005 ISBN 978 90 74822 78 7 Paperback (96 pp., 58 color illus.) List price EUR 25.- /US$ 37.-
January 2004 Paperback (152 pp. 100 color illus.) ISBN 978 90 74822 68 8 List price EUR 45.- /US$ 67. Cloth with dustjacket (152 pp., 100 color illus.) ISBN 978 90 74822 80 0 List price EUR 93.- /US$ 138.-
January 2004 ISBN 978 90 74822 60 2 Paperback (176 pp., 80 color illus.) List price EUR 47.- /US$ 70. Famous Japanese Prints Series, 1
January 2004 ISBN 978 90 74822 61 9 Cloth with dustjacket (360 pp., 280 color illus.) List price EUR 89.- /US$ 132.-
January 2001 ISBN 978 90 74822 42 8 Cloth with dustjacket (272 pp., 165 color illus.) List price EUR 99.- /US$ 147.-
January 2000 ISBN 978 90 74822 20 6 Cloth with dustjacket (216 pp., 280 color illus.) List price EUR 99.- /US$ 147.-
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Mount Fuji
Sacred Mountain of Japan
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Gregory Irvine
January 2004 ISBN 978 90 74822 74 9 Paperback (204 pp., 90 color illus.) List price EUR 18.- /US$ 26.-
Hiroko Johnson
January 2005 ISBN 978 90 74822 64 0 Cloth with dustjacket (176 pp., 57 illus., some color) List price EUR 78.- /US$ 116.-
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Reflecting Truth
Japanese Photography in the 19th Century
Edited by Nicole Coolidge Rousmaniere and Mikiko Hirayama
January 2004 ISBN 978 90 74822 76 3 Paperback (112 pp., 60 b/w illus.) List price EUR 41.- /US$ 61.-
The Koto
A Traditional Instrument in Contemporary Japan
Henry Johnson
January 2004 ISBN 978 90 74822 63 3 Cloth with dustjacket (200 pp., 78 color & 23 b/w illus.) List price EUR 79.- /US$ 117.-
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Lee Bruschke-Johnson
January 2004 ISBN 978 90 74822 52 7 Cloth with dustjacket (256 pp., 30 b/w illus.) List price EUR 79.- /US$ 117. Japonica Neerlandica, 9
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Hokusais Project
The Articulation of Pictorial Space
David Bell, University of Otago
February 2007 ISBN 978 19 05 24615 1 Hardback (224 pp.) List price EUR 77.- /US$ 105.-
This important new study on the great ukiyo-e artist Katsushika Hokusai is not so much about who he was or what he did, but rather an in-depth appreciation, involving close examination of some forty-four Hokusai prints, of why his works appear in the way they do and how he evolved
his own unique artistic style. Although a prolific artist, the focus is mostly on his later woodblock prints when his distinctive style, today recognized worldwide, became fully crystallized. Like so many of his contemporaries, faced with the same challenges of social, aesthetic, personal and contractual limitations, how was it that the Hokusai style or methodology emerged, and why was it so successful? The book opens with a discussion on how Hokusai broke with the pictorial habits of ukiyo-e, which then leads into an examination of three main themes: How Hokusai learned his trade; Hokusai, Mount Fuji and the articulation of pictorial space, and Hokusai flowers, poets and aesthetic detachment. In addition to a select bibliography, the book is supported by a valuable glossary of artistic terms.
This new volume in Genji studies comprises a collection of six individual essays by leading international scholars addressing the Tale of Genji Scrolls and the Tale of Genji texts in the context of new critical theory relating to cultural studies, narrative painting, narratology, comparative literature and a global view of medieval romance. Uniquely, it also links new critical theory with multidisciplinary and interdisciplinary interests. Increasingly, scholarly research views reading The Tale of Genji Scrolls as an inseparable part of reading the Tale of Genji itself. Hence this book, which is subdivided into three sections: Reading the Genji Scrolls; Reading the Genji Texts; Reading the Genji Romance. The contributors are Yukio Lippit (Harvard), Sano Midori (Gakushuin), Richard Okada (Princeton), Murakami Fuminobu (Hong Kong), Jeremy Tambling (Manchester) and Richard Stanley-Baker (formerly Hong Kong).
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students of Korean Studies. Part I presents the material in essay form; Part II, which uses a dictionary format, summarizes the information in Part I and highlights the hidden messages and symbolism inherent in literati ink brush painting in Korea. When China and Japan opened up to outside influence in the nineteenth century, Korea maintained a closed-door policy, becoming known as the hermit kingdom, only to be swallowed up in the struggle for hegemony between the Great Powers. Annexation by Japan in 1910 threatened Koreas language and culture with extinction. Liberation in 1945 was followed by the tragedy of the Korean War in 1950. In the period of recon-struction after the Korean War, artists and scholars faced the task of retrieving Koreas endangered cultural tradition. Ink brush painting is a unique part of this tradition; its history stretches back through the Choson dynasty when Chinese influences were assimilated and absorbed and made into Koreas distinctive tradition.
Heroes. Containing thirty traditional stories, the book is fully illustrated throughout and contains a wide variety of Korean art, including rare shamanist paintings, as well as the work of some contemporary Korean artists. All the stories, based on Korean oral tradition, have been retold by the author according to their main plot and meaning because the original texts songs by shamans, containing many obsolete words and obscure idioms, are not easily understood today. The original title and source, including text notes, are provided at the end of each story. The authors Introduction sets out the historical background and significance of the myths that appear here. He also provides full details of each of the Korean gods and their roles in mythology. While being a welcome addition to the literature on Korean culture for the non-specialist, An Illustrated Guide to Korean Mythology also provides an invaluable reference source for scholars and researchers in the fields of East Asian Mythology and Anthropology, as well as Korean History, Religion and Literature.
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Japanese anime plays a major role in modern popular visual culture and aesthetics, yet this is the first study which sets out to put todays anime in historical context by tracking the visual links between Edo- and Meiji-period
painters and the post-war period animation and manga series Gegegeno Kitaro by Mizuki Shigeru. Through an investigation of the very popular Gegegeno Kitaro series, broadcast from the 1960s to the present time, the author is able
to pinpoint the visual roots of the animation characters in the context of ykai folklore and Edo- and Meiji- period monster painting traditions. Through analysing the changing images related to the representation of
monsters in the series, the book documents the changes in the perception of monsters over the last half-century, while at the same time reflecting on the importance of Mizukis work in keeping Japans visual traditions alive and educating new audiences about folk- lore by recasting ykai imagery in modern-day settings in an innovative way. In addition, by analysing and comparing character, set, costume and mask design, plot and storyline of ykai-themed films, the book is also the first study to shed light on the roles the representations of ykai have been assigned in post-war Japanese cinema. This book will be of particular interest to those studying Japanese visual media, including manga and animation, as well as students and academics in the fields of Japanese Studies, Animation Studies, Art History and Graphic Design.
Traditional Monster Imagery in Manga, Anime and Japanese Cinema builds on the earlier volume Anime and its Roots in Early Japanese Monster Art, that aimed to position contemporary Japanese animation within
a wider art historical context by tracing the development of monster representations in Edo- and Meiji-period art works and post-war visual media. While the previous volume concentrated on modern media representations, this work focuses on how Western art historical concepts and methodology might be adapted when considering non-Western works, introducing traditional monster art in more detail, while also maintaining its links to post-war animation, sequential art and Japanese cinema. The book aims at a general readership interested in Japanese art and media as well as graduate students who might be searching for a research model within the fields of Animation Studies, Media Studies or Visual Communication Design.
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some of which anticipated future discussions. These articles fall into a coherent series of closely-related examinations on the problems of modernity in Chinese art. Most of the essays published previously have been adapted for this publication, while others, e.g., the first hand observations of Beijing and Hong Kong in 1981, appear in print now for the first time. Chapters often include unique interview material, and other information not found elsewhere. Including illustrations of over 200 art works in color with biographical appendices of Taiwan and Hong Kong artists, extensive chronological materials in thematic categories on Chinese art and an extensive bibliography, this is an essential reference work for anyone interested in modern Chinese art.
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