You are on page 1of 44

2014

Japanese Art

Contents
1

Books shown on cover page for quick reference

Japanese Visual Culture

13

Brill

17

Hotei Publishing

34

Global Oriental

38

Authors Index

41

Order Information and


Contact Page

Brill Open
Brill offers its journal authors the
option to make their articles freely
available online in Open Access upon
publication. The Brill Open publishing
option enables authors to comply with
new funding body and institutional
requirements (for example those in
place from the Wellcome Trust and the
NIH, and announced for several other
funding bodies and universities).
The Brill Open option is available
for all journals published under the
imprints Brill and Martinus Nijhoff.
More details can be found at
brill.com/brillopen
Rights and Permissions
Brill offers a journal article permission
service using the Rightslink licensing
solution. Go to the special page on the
Brill website brill.com/rights journal
articles for more information.
Brills E-Book Collection
In 2009, Brill, as a leading international
academic publisher in the Humanities
and Social Sciences, introduced its
E-Book collections. Top quality book
content is now also available
online, visit ebooks.brillonline.com

See page 4

See page 5

See page 14

See page 17

See page 18

See page 19

See page 20

See page 21

See page 22

Bookmark our dedicated web pages:


brill.com/asianstudies
brill.com/hotei
brill.com/globaloriental
brill.com/jvc
And follow us on social media:
Twitter.com/Brill_Asian
Twitter.com/Brill_Hotei
Twitter.com/GlobalOriental
Facebook.com/BrillAsian
Visit our YouTube page:
Youtube.com/BrillPublishing

Copyright 2014 Brill. All rights reserved.

Edited by John T. Carpenter (managing editor),


Julie Nelson Davis, Shigeru Oikawa, Henry D. Smith II,
Hans Bjarne Thomsen and Gennifer Weisenfeld

JAPANESE V I SUAL C ULTURE

Japanese Visual Culture

The series is attractively designed and allows for copious


illustrative material, using the latest technology for highquality colour reproduction. The books rely on Brills wellestablished distribution networks to research libraries in
Europe, North America, and East Asia, especially Japan.
While the primary readership will be specialists and students
of Japanese art history and related fields, we expect the
attractively designed format will attract wider audiences.
ISSN 2210-2868
For more information please visit brill.com/jvc

BR ILLS JAPANE S E A RT CATALOG 201 4

Japanese Visual Culture is an academic series devoted to the


visual culture of the Japanese archipelago of every era. It
includes studies on the history of painting, prints, calligraphy,
sculpture, architecture and applied arts, but also extends to the
performing arts, cinema, manga and anime. Despite the recent
trend away from monographs on individual artists or objectbased studies, the Japanese Visual Culture series recognizes the
still-crucial need for research on Japanese artists or previously
neglected categories of art to help build the foundation for
the further development of the field. It also actively seeks
interdisciplinary or theoretical approaches to archaeology,
religion, literature, and the social sciences. Though all volumes
are published in English, the series encourages submission by
scholars based in Europe.

Forthcoming

Cover available soon

Performing Propaganda:
Kamishibai in Japans Fifteen Year War

JAPANESE V ISUAL CU LTU R E

Sharalyn Orbaugh, University of British Columbia

Three chapters analyze a number of wartime kamishibai


plays, divided by the demographic segment to which their
specific propaganda messages were addressed: very young
children, older boys from poor neighborhoods, rural girls,
farmers, male urban shopkeepers, widows, etc.

B RI L L S JA PA N ESE ART CATALOG 2014

This will be the first scholarly book in English (and the most
complete in any language) on kamishibai (paper theater),
a performance/visual/textual art form that was popular
on the streets of Japan from 1930-1970, at times eclipsing
even the popularity of movies or manga. After providing an
introduction to the form and a history of its development
in the 1930s, the study turns to an in-depth exploration of
the way kamishibai was used for propaganda purposes by
governmental and quasi-governmental agencies during
Japans Fifteen Year War, 1931 to 1945.

August 2014
ISBN 978 90 04 24882 3
Cloth with dustjacket (ca. 300 pp.)
List price EUR 103.- / US$ 133. Japanese Visual Culture, 13

Then the findings from those analyses are incorporated


into a consideration of the phenomenology and
neurobiology of propaganda: how this particular
medium with its unique combination of text, image and
performance, and its unique circumstances of consumption
(always in a tightly-huddled group of friends, neighbors,
schoolmates or workmates) functioned in helping to create
the propaganda environment that permeated Japan during
the Fifteen Year War.
Each content chapter is followed by the translation (with
illustrations) of a propaganda kamishibai play. The plays for
translation have been chosen to provide a broad sampling
of representative illustration styles, narrative types, and
target demographics.

Forthcoming

Cover available soon

Courtly Visions
The Politics of Cultural Appropriation
and the Ise Stories (Ise monogatari)
Joshua S. Mostow, University of British Columbia
JAPANESE V I SUAL C ULTURE

Courtly Visions: The Politics of Cultural Appropriation and The


Ise Stories tracesthrough the visual and literary record
the reception and use of the 10th-century literary romance
from its creation in a salon of politically disenfranchised
courtiers, through its establishment as a canonical work for
female artistocratic readers, to use as cultural capital in the
struggles within the imperial household in the early 14th
century. Mostow traces the development of the standardized
iconographies of the Rinpa school and the printed Saga-bon
edition, examining what these tell us about how the Ise was
being read and why. The study ends with an Epilogue that
briefly surveys the uses Ise was put to throughout the Edo
period and into the modern day.

3
BR ILLS JAPANE S E A RT CATALOG 201 4

June 2014
ISBN 978 90 04 24485 6
Cloth with dustjacket (ca. 300 pp.)
List price EUR 103.- / US$ 133. Japanese Visual Culture, 12

Painting Circles
Tsuchida Bakusen and Nihonga Collectives
in Early Twentieth Century Japan
JAPANESE V ISUAL CU LTU R E

John D. Szostak, University of Hawaii at Manoa

Painting Circles addresses the changing professional milieu


of artists in early 20th century Japan, particularly the
development of new social roles and networks, and how these
factors informed the development of artistic identity. The
focus of the study is the Nihonga painter Tsuchida Bakusen
(1887-1936), who in 1918 founded an exhibition collective, the
Kokuga Society, in response to increasing dissatisfaction with
the nations government-sponsored exhibition salon. The
study examines efforts by Bakusen and company to establish
an independent position vis--vis the arts establishment by
demonstrating their reflexive knowledge of Western modernist
art movements on the one hand, and on the other, by showing
their deep commitment to preserving traditional Japanese
painting themes, media and techniques into the 20th century.

B RI L L S JA PA N ESE ART CATALOG 2014

painting circles

bakusens early life and works

Tsuchida Bakusen, sketches, circa 1900. Ink on paper. Sado History Museum. Photo by author.

11

sor of philosophy at Kyoto University. Kyson


wrote a description of his brothers youthful days
on Sado, published in memoriam shortly after
Bakusens death in 1936. Kyson describes Bakusens prodigious talent with the brush emerging
when his brother was four, and notes that he developed this talent largely through self-learning, complimented by rudimentary lessons in calligraphy
at elementary school and the occasional advice
from local amateur artists and traveling painters.
Kyson identies the various artworks Bakusen
studied at local temples and in local private collections, or encountered in periodic journals, as his
most important teachers, rather than any living
instructor. It was from these paintings and images,
Kyson explains, that Bakusen absorbed a variety
of brush styles and painting techniques until he was

the notable personages in the medieval and early


modern periods exiled there. Bakusen was the second of three surviving sons born to Tsuchida
Chiyokichi, a successful farmer, businessman and
village official for Niibo; a fourth son, the familys
rstborn, died in infancy. The Tsuchida family had
risen to local political and social prominence on
Sado in the late eighteenth and early nineteenth
centuries, and although the tenancy reforms of the
early Meiji era drastically affected the familys
wealth and holdings, these had largely been recovered by the time of Bakusens birth, allowing him to
grow up in comparative privilege.2
Most of what we know about Bakusens early
years we learn from the familys youngest son, Tsutomu, who made a name for himself as Tsuchida
Kyson (18911934), an essayist, critic, and profes-

Tsuchida Bakusen, Punishment, 1908. Ink, colors on silk: framed (originally six-panel folding screen). National Museum
of Modern Art, Kyoto.

12

JVC11_p010-035.indd 12

where life and its problems were far less


complicated. In this sense, Punishment reects
the salient facts about nostalgia observed by
Svetlana Boym:

a longing for an idyllic life set in Japans preindustrial landscape.77


When we compare Manchurian Summer
Heat with Punishment, we nd an increased
sophistication in the later work in terms of composition and mise en scne. The prominently displayed
time schedule and a blossoming aster lying near the
girls foot, for example, supply clues regarding the
nature of the children's offense, suggesting the
three young students dawdled on the way to school
picking owers. The scene, enhanced by an enveloping warm golden glow, seems tailor made to
arouse nostalgia in the viewer for a past time
(childhood) and place (Japans rural countryside)

At rst glance, nostalgia is a longing for a place, but


actually it is a yearning for a different time the
time of our childhood, the slower rhythms of our
dreams. In a broader sense, nostalgia is a rebellion
against the modern idea of time, the time of history
and progress.78

Overt sentimentalism of the sort on display in Punishment is rarely associated with artistic modernism
31

04-09-13 12:53

JVC11_p010-035.indd 31

October 2013
ISBN 978 90 04 21672 3
Cloth with dustjacket (320 pp., 150 illus.)
List price EUR 103.- / US$ 133. Japanese Visual Culture, 11

04-09-13 12:53

The Life and Afterlives of Hanabusa Itch,


Artist-Rebel of Edo
Miriam Wattles, UCEAP Tokyo Study Center

JAPANESE V I SUAL C ULTURE

Miriam Wattles recounts the making of Hanabusa Itch


(1652-1724), painter, haikai-poet, singer-songwriter, and artist
subversive, in The Life and Afterlives of Hanabusa Itch, ArtistRebel of Edo. Translating literary motifs visually to encapsulate
the tensions of his time, many of Itchs original works became
models emulated by ukiyo-e and other artists. A wide array of
sources reveals a lifetime of multiple personas and positions
that are the source of his multifarious artistic reincarnations.
While, on the one hand, his legend as seditious exile appears
in the fictional cross-media worlds of theater, novels, and
prints, on the other hand, factual accounts of his complicated
artistic life reveal an important figure within the first artists
biographies of early modern Japan.

multiple names for many personas

Hanabusa Itch. The Bodhisattva Jiz. 166798. Hanging


scroll; mineral colors and gold on paper. 62.9 x 26.7 cm.
The Metropolitan Museum of Art.

11
Hanabusa Itch. Standing Beauty.
Late 17th century. Hanging scroll;
color on silk. 71.5 x 29.8 cm. Chiba
City Museum of Art.

24

JVC10_p001_300_HT.indd 24

October 2013
ISBN 978 90 04 20285 6
Cloth with dustjacket (xii, 288 pp.)
List price EUR 103.- / US$ 133. Japanese Visual Culture, 10

BR ILLS JAPANE S E A RT CATALOG 201 4

the life and afterlives of hanabusa itch

details of the young Itchs earliest associations with


Yasunobu.24 Almost no known works survive from
the period when Itch was securely under Yasunobus wing in the Nakabashi school; we have merely a
textual record indicating that the boy signed a work
with the name Isabur when he was ten.25 The best
record of Kan-school training, a nineteenth-century account by Kan Hgai (182888), tells of a strict
hierarchy among the student-artists, who learned
primarily by reproducing models.26
One hanging scroll by Itch, probably painted
sometime in the 1660s or 1670s, dates to the period
when he was still associated with his master. Depicting Jiz (the bodhisattva Kitigarbha), and now
at the Metropolitan Museum of Art in New York,
the work clearly reveals Itchs mastery of a standard Kan subject, the religious icon (g. 5). Icons
were necessary for the rituals that were held
throughout the year, and the official painters were
called on to render them. Itch has signed the work
in gold, with his rarely found, Kan-derived name
Shrinsai, suggesting that he painted the image
while he still maintained an affiliation with the
school. An icon such as this was a typical proving
ground for a young painter. Given its small size, this
formal rendering of Jiz, the deity known for saving
souls from the various Buddhist hells, may have
been executed for a temple or a private household
shrine. This type of icon was a highly codied work
that necessitated knowledge of correct iconography
and materials, knowledge that could only be gained
through access to official painters. Itchs meticulous application and modulation of the colored pigments and gold, and the control evident in the perfectly round, unwavering ow of his brush in the
gold, black, gray, and red iron lines of the mandorla behind the gure, are clearly the result of conscientious practice that must have spanned years.
This is the gaku that Yasunobu so stresses in his
treatise, Gad yketsu. The signature notes that the
work was reverently painted (tsutsushinde egaki),
implying that its creation should be perceived as an
act of devotion; viewing the painting was an act of
reverence as well. This attitude, reected in the signature, helps us to understand the grave purpose of

33

16-08-13 15:07

JVC10_p001_300_HT.indd 33

16-08-13 15:07

Aesthetic Strategies of The Floating World

JAPANESE V ISUAL CU LTU R E

Mitate, Yatsushi, and Fry


in Early Modern Japanese Popular Culture

B RI L L S JA PA N ESE ART CATALOG 2014

Alfred Haft, Sainsbury Institute for the Study


of Japanese Arts and Cultures

Japans classical tradition underpinned almost every area


of cultural production throughout the early modern or Edo
period (16151868). This book offers the first in-depth account
of three aesthetic strategiesunexpected juxtaposition
(mitate), casual adaptation (yatsushi) and modern standards
of style ( fry)that shaped the way Edo popular culture and
particularly the Floating World absorbed and responded to this
force of cultural authority. Combining visual, documentary
and literary evidence, Alfred Haft here explores why the
three strategies were central to the life of the Floating World,
how they expanded the conceptual range of the popular
woodblock print (ukiyo-e), and what they reveal about the
role of humor in the Floating
Worlds relationship with
established society. Through
a critical analysis of prints
by major artists such as
Harunobu, Korysai, Utamaro,
Eishi and Hiroshige, Aesthetic
Strategies of the Floating World
shows how the strategies
made ukiyo-e not merely the
by-product of a demimonde,
but an agent in the social and
cultural politics of their time.

December 2012
ISBN 978 90 04 20987 9
Cloth with dustjacket
(216 pp.; ca. 100 color illus.)
List price EUR 93.- / US$ 127. Japanese Visual Culture, 9

Painting Nature for the Nation


Taki Katei and the Challenges
to Sinophile Culture in Meiji Japan
Rosina Buckland, National Museum of Scotland
JAPANESE V I SUAL C ULTURE

In Painting Nature for the Nation: Taki Katei and the Challenges
to Sinophile Culture in Meiji Japan, Rosina Buckland offers an
account of the career of the painter Taki Katei (18301901).
Drawing on a large body of previously unpublished paintings,
collaborative works and book illustrations by this highly
successful, yet neglected, figure, Buckland traces how Katei
transformed his art and practice based in modes derived from
China in order to fulfil the needs of the modern nation-state at
large-scale exhibitions and at the imperial court. She provides
a rare examination of the vibrant world of Chinese-inspired
culture during the 1880s, and the hostility which it faced in the
following decade.

7
painting nature for the nation, 18861901

painting nature for the nation

Taki Katei. View of Audience Chamber, with One Thousand Plovers. 1892. Sliding door-panels; ink and colour on silk.
Each panel H. 170.0 x 140.0 cm. Rakujuen, Mishima.

95a

Taki Katei. Detail of One Thousand Plovers. 1892. Wainscot panel; ink and colour on silk. 29.5 114.5 cm.
Rakujuen, Mishima.

Taki Katei, Kano Eitoku Tatsunobu, and Noguchi Ykoku. Sumiyoshi, Fuji, and Yos hino. 1889. Set of three hanging scrolls;
ink and colour on silk. Each H. 170.8 x 68.5 cm. Museum of the Imperial Collections.

higher-status Audience Chamber (Ekken-no-ma)


tted with a tokonoma alcove, Kateis One Thousand Plovers spreads over six doors and four wainscot-panels (g. 95).44 Across the wide door-panels,
columns of birds in ight rise and swoop in an open
sky, moving from right to left away from the corridor into the room to create a powerful sense of the
undulations of the ock. Those at the front are
depicted clearly, while those further back are partially obscured by banks of gold mist. Their numbers thin towards the corner of the room, and on
the nal panel of the sequence one line recedes into
the far distance. On the wainscot-panels, the birds

(gtenj). The subjects are birds and owers of the


four seasons, as well as narrative scenes in Yamatoe style for the cupboard doors.42
The artists were all affiliated with the Japan Art
Association, chosen because they had participated
in the door-painting programme for the palace.
The two painters for the fusuma in the central
rooms were Katei and Noguchi Ykoku, and their
selection echoed their prominent roles as artists of
the ceiling paintings for the imperial palaces
East Antechamber.43 The paintings are on silk
and, as suits their location in rooms overlooking
a lake, they take water as their theme. For the

139

136

JVC8_p126_163.indd 136

December 2012
ISBN 978 90 04 23355 3
Cloth with dustjacket (264 pp.; ca. 100 color illus.)
List price EUR 93.- / US$ 127. Japanese Visual Culture, 8

01-11-12 14:09

JVC8_p126_163.indd 139

01-11-12 14:09

BR ILLS JAPANE S E A RT CATALOG 201 4

91

95

Miyazawa Kenji and His Illustrators


Images of Nature and Buddhism
in Japanese Childrens Literature
JAPANESE V ISUAL CU LTU R E

Helen Kilpatrick, University of Wollongong

In Miyazawa Kenji and His Illustrators, Helen Kilpatrick


examines re-visionings of the literature of one of Japans most
celebrated authors, Miyazawa Kenji (1896-1933). The deeply
Buddhist Kenjis imaginative dwa (childrens tales) are among
the most frequently illustrated in Japan today. Numerous
internationally renowned artists such as Munakata Shik, Kim
Tschang-Yeul and Lee Ufan have represented his stories in an
array of intriguing visual styles, reinvigorating them as picture
books for modern audiences.
Focusing on some of Kenjis most famous narratives, the author
analyses the ways artists respond to the stories metaphysical
philosophies, exploring the interaction of literature, art and
culture. Miyazawa Kenji and His Illustrators is richly depicted
with full colour images of the representations of Kenjis work,
making the book a valuable resource on how illustrations
shape story, and how these picture books continue to convey
the texts witty and ironic messages more deeply than the
written word alone.

tic,
wer
ves
t, is
t is
the
e is
eohis
on.
und
city
his

B RI L L S JA PA N ESE ART CATALOG 2014

8
Miki House,
1987.

discomfort as he stands, holding his umbrella asif


waiting for traffic lights. He is thus still subject to
outside forces, the order and conformity demanded by city life. Moreover, the shape of his umbrella is
formed from curved lines in the background, suggestive of hills in the distance, reminiscent of the
mountain terrain which offered the unfullled possibility of a different kind of life. Shimadas closure
thus accentuates the culture/nature dichotomy and
the mens discomfort with their own choices. They
now have to conform to the dictates of their own
supercial modishness and endure the emptiness of
city life and their material desires.

miyazawa kenji and his illustrators

from a second person perspective in four different


postures. The picture and layout thus construct an
active subject position for the implied reader with
Konzabur demanding attention (g. 26). At this
point in the narrative Konzabur is trying to demonstrate his own sincerity by denying fox mischief
and inviting the children to the slide show, so the
viewpoint is impelling the viewer to believe him and
enter into a contract with him. Kobayashis chequerboard layout separates yet simultaneously links
the pictures and words by interspersing four pieces
of text in white rectangles with four blue rectangles
of a beckoning, anthropomorphic Konzabur. The
rst four boxes position Konzabur against his
narrative denial of fox trickery and his recount
of Jimbs drunkenness (at top) and his offer of

miyazawa kenji and his illustrators

dumplings (at bottom reading direction is right to


left). On the second (left hand) page, he is inviting
the children to the slide show after the children politely refuse Konzaburs offer of dumplings. This
aligns viewers with Shir and Kankos position as
Konzabur entreats them to both believe him and
accept his invitation.
The viewer is being positioned to trust
Konzabur but also to share in the joke about the
drunken Jimbs all night antics, to be similarly
bemused by the humans behaviour. Such positioning establishes a contract with Konzabur before
the invitation to the slide show is issued. The dialogic interaction helps breaks down the dichotomy
in human/animal relationships and forms the basis
for further negotiations. By interpellating viewers

Kobayashi Toshiya (1947);


pp. 323; Donguri to Yamaneko;
Paroru-sha, 1979.

174

26 Kobayashi Toshiya (1947); pp. 89, Yukiwatari; Paroru-sha, 1989.

Kobayashi Toshiya (1947); p. 35;


Donguri to Yamaneko; Paroru-sha, 1979.

80

JVC7_p001_222.indd 80

Kobayashi Toshiya (1947); p. 39;


Donguri to Yamaneko; Paroru-sha, 1979.

54

04-11-12 16:34

04-11-12 16:32

JVC7_p001_222.indd 54

December 2012
ISBN 978 90 04 24307 1
Cloth with dustjacket (232 pp., ca. 120 color illus.)
List price EUR 93.- / US$ 127. Japanese Visual Culture, 7

04-11-12 16:32

Hell-bent for Heaven


in Tateyama Mandara
Painting and Religious Practice
at a Japanese Mountain
JAPANESE V I SUAL C ULTURE

Caroline Hirasawa, Sophia University, Tokyo

Hell-bent for Heaven in Tateyama mandara treats the history,


religious practice, and visual culture that developed around
the mountain Tateyama in Toyama prefecture. Caroline
Hirasawa traces the formation of institutions to worship
kami and Buddhist divinities in the area, examines how two
towns in the foothills fiercely fought over religious rights, and
demonstrates how this contributed to the creation of paintings
called Tateyama mandara.
The images depict pilgrims, monks, animals, and supernatural
beings occupying the mountains landscape, thought to
contain both hell and paradise. Sermons employing these
paintings taught that people were doomed to hell in the alpine
landscape without cult interventionand promoted
rites of
JVC6_p001_272.indd
87
salvation. Women were particular targets of cult campaigns.
Hirasawa concludes with an analysis of spatial practices at
the mountain and in the images that reveals what the cult
provided to female and male constituents.

hell-bent for heaven in tateyama mandara

BR ILLS JAPANE S E A RT CATALOG 201 4

Drawing on methodologies from historical, art historical, and


religious studies, this book untangles the complex premises
and mechanisms operating in these pictorializations of the
mountains mysteries and furthers our understanding of the
rich complexity of pre-modern
Japanese religion.

epilogue

125 Hsenb Tateyama mandara. Four hanging scrolls, ink and colors on silk. 1858. Private collection.
Image reproduced with permission from the Tateyama Museum.

December 2012
ISBN 978 90 04 20335 8
Cloth with dustjacket (272 pp.;
ca. 100 color illus.)
List price EUR 93.- / US$ 127. Japanese Visual Culture, 6

of kami worship should be replaced; and that


Buddhist sculpture, temple bells, and other objects
should be removed from shrine precincts.15 These
edicts, intended to reorganize the hybrid religious
environment that had developed over many centuries, have been dubbed shinbutsu bunri-rei (kami and
buddha [shrine-temple] separation edicts; also
called hanzen-rei).16 An important object of this
separation was to intensify the new governments
prerogatives through the emperors ancestral connection to and his embodiment of kami powers
and to use this in creating a unied identity for citizens of the rapidly modernizing nation. Reinventing
practices related to kami worship and asserting
authority over restructured shrines contributed to
transforming Japans religious landscape.

59 Depiction of hell. Detail from the Sshinb [B] Tateyama mandara (42). Photograph by author.

90

JVC6_p001_272.indd 90

Shinbutsu bunri activities occurred throughout


Japan. There was, however, much regional variation; diverse kami-buddha combinatory arrangements obtained at different locations and the
individuals responsible for implementing these
policies held divergent ideas. In some places
separation was only loosely enforced; in others,
numerous temples and Buddhist sculptures were
destroyed. The most extreme examples, referred
to as haibutsu kishaku (expelling Buddhism and
destroying its teachings), amounted to a riotous
frenzy.
Research of these events tends to emphasize
virulent anti-Buddhist elements, reecting the
interests of scholars in focusing on parts of the
country that were worst affected. Indeed, Buddhist
185

06-11-12 09:56

JVC6_p001_272.indd 185

06-11-12 09:59

Art and War in Japan and its Empire:


1931-1960

Art and War in Japan and its Empire: 1931-1960 is an anthology


that investigates the impact of the Fifteen-Year War (19311945) on artistic practices and brings together twenty scholars
including art historians, historians, and museum curators from
the United States, Canada, France, Taiwan, Korea, and Japan.
This will be the first art-historical anthology that examines
responses to the war within and outside Japan in the wartime
and postwar period. The anthology will scrutinize official and
unofficial war artists who recorded, propagated, or resented
the war; explore the unprecedented transnationality of artistic
activity under Japans colonial expansion; and consider the
role of todays museum institutions in remembering the war
through art.

10

Contributors include: Asato Ikeda, Aya Lousa McDonald, Ming


Tiampo, Akihisa Kawata, Mikiko Hirayama, Mayu Tsuruya,
Michael Lucken, Bert Winther-Tamaki, Mark H. Sandler, Maki
Kaneko, Kendall Brown, Reita Hirase, Gennifer Weisenfeld,
Kari Shepherdson-Scott, Aida-Yuen Wong, Hyeshin Kim, Laura
Hein and Julia Adeney Thomas.

B RI L L S JA PA N ESE ART CATALOG 2014

JAPANESE V ISUAL CU LTU R E

Asato Ikeda, Fordham University, New York,


Aya Louisa McDonald, University of Nevada,
and Ming Tiampo, Carleton University

November 2012
ISBN 978 90 04 22900 6
Cloth with dustjacket
(400 pages, ca. 180 color illus.)
List price EUR 130.- / US$ 178. Japanese Visual Culture, 5

Edwardian London
through Japanese Eyes

Yui Suzuki

Elizabeth Lillehoj

Edwardian London Through Japanese


Eyes considers the career of the
Japanese artist Yoshio Markino (18691956), a prominent figure on the early
twentieth-century London art scene
whose popular illustrations of British
life adroitly blended stylistic elements
of East and West. He established his
reputation with watercolors for the
avant-garde Studio magazine and
attained success with The Colour of
London (1907), the book that offered,
in word and picture, his outsiders
response to the modern Edwardian
metropolis. Three years later he
recounted his British experiences in
an admired autobiography aptly titled
A Japanese Artist in London. Here,
and in later publications, Markino
offered a distinctively Japanese
perspective on European life that won
him recognition and fame in a Britain
that was actively engaging with proWestern Meiji Japan. Based on a wide
range of unpublished manuscripts and
Edwardian commentary, this lavishly
illustrated book provides a close
examination of over 150 examples of
his art as well analysis of his writings
in English that covered topics as wideranging as the English and Japanese
theater, womens suffrage, current
events in the Far East and observations
on traditional Asian art as well as
Western Post-Impressionism.

This profusely illustrated volume


illuminates the primacy of icons in
disseminating the worship of the
Medicine Master Buddha (J: Yakushi
Nyorai) in Japan. Suzukis meticulous
study explicates how the devotional
cult of Yakushi, one of the earliest
Buddhist cults imported to Japan from
the continent, interacted and blended
with local beliefs, religious dispositions, and ritual practices over the centuries, developing its own distinctive
imprint on Japanese soil. Worship of
the Medicine Master Buddha became
most influential during the Heian
period (7941185), when Yakushis
popularity spread to different levels of
society and locales outside the capital.
The large number of Heian-period
Yakushi statues found all across Japan
demonstrates that Yakushi worship
was an integral component of Heian
religious practice.Medicine Master
Buddha focuses on the ninth-century
Tendai master Saich (767822) and
his personal reverence for a standing
Yakushi icon. The author proposes
that, after Saichs death, the Tendai
school played a critical role in popularizing the cult of this particular icon as
a way of memorializing its founding
master and strengthening its position
as a major school of Japanese Buddhism. This publication offers a fresh
perspective on sculptural representations of the Medicine Master Buddha,
and in so doing, reconsiders Yakushi
worship as foundational to Heian religious and artistic culture.

During the first century of Japans


early modern era (1580s to 1680s),
art and architecture created for the
imperial court served as markers
of social prestige, testifying to the
enduring centrality of the palace to
the cultural life of Kyoto. Emperors
Go-Yzei and Go-Mizunoo relied
on financial support from ruling
warlordsToyotomi Hideyoshi and
the Tokugawa shogunsjust as the
warlords sought imperial sanction
granting them legitimacy to rule.
Taking advantage of this complex
but oftentimes strained synergy, GoYzei and Go-Mizunoo (and to an
unprecedented exent his empress,
Tfukumonin) enhanced the
heriditary prerogatives of the imperial
family.

December 2011
ISBN 978 90 04 22039 3
Cloth with dustjacket (240 pp.;
with over 150 full-color illus.)
List price EUR 93.- / US$ 127. Japanese Visual Culture, 4

December 2011
ISBN 978 90 04 19601 8
Cloth with dustjacket
(192 pp., 60 full-color illus.)
List price EUR 89.- / US$ 122. Japanese Visual Culture, 3

September 2011
ISBN 978 90 04 20612 0
Cloth with dustjacket (296 pp.)
List price EUR 96.- / US$ 124. Japanese Visual Culture, 2

The Art and Writings of


Yoshio Markino, 18971915
William S. Rodner

Among the works described in


this volume are masterpieces
commissioned for the residences
and temples of the imperial family,
which were painted by artists of the
Kano, Tosa and Sumiyoshi ateliers,
not to mention Tawaraya Statsu.
Anonymous but deluxe painting
commissions depicting grand
imperial processions are examined
in detail. The courts fascination
with calligraphy and tea, arts that
flourished in this age, is also discussed
in this profusely illustrated volume.

11
BR ILLS JAPANE S E A RT CATALOG 201 4

Art and Palace Politics


in Early Modern Japan,
1580s-1680s
JAPANESE V I SUAL C ULTURE

Medicine Master Buddha:


The Iconic Worship of
Yakushi in Heian Japan

Related Journal
Now
available in
Paperback

Portraits of Chgen

East Asian Publishing and Society

The Transformation of Buddhist Art


in Early Medieval Japan

Edited by Peter Kornicki, University of Cambridge


Editorial Board: Cynthia Brokaw, Brown
University, Matthi Forrer, Leiden University, Patricia
Sieber, Ohio State University, and Hilde De Weerdt,
Leiden University

JAPANESE V ISUAL CU LTU R E

John M. Rosenfield

B RI L L S JA PA N ESE ART CATALOG 2014

12

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 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.

November 2010
ISBN 978 90 04 16864 0
Cloth with dustjacket (296 pp.; incl. 197 illus., mostly in color)
List price EUR 96.- / US$ 124. Japanese Visual Culture, 1
Also available in paperback
October 2012
ISBN 978 90 04 24325 5
Paperback (296 pp.; incl. 197 illus., mostly in color)
List price EUR 59.- / US$ 82.-

East Asian Publishing and Society is a new journal


dedicated to the study of the publishing of texts and
images in East Asia, from the earliest times up to
the present. The journal will provide a platform for
multi-disciplinary research by scholars addressing
publishing practices in China, Korea, Japan, Taiwan
and Vietnam.
East Asian Publishing and Society invites articles that
treat any aspect of publishing history: production,
distribution, and reception of manuscripts, imprints
(books, periodicals, pamphlets, and single sheet
prints), and electronic text. Studies of authorship and
editing, the business of publishing, reading audiences
and reading practices, libraries and book collection,
the relationship between the state and publishing
to name just a few possible topicsare welcome.
Brills journal aims to print innovative studies on East
Asian publishing to meet the scholarly communitys
expanding interest in this rich and varied field.
For more information please visit brill.com/eaps

2014: Volume 4, in 2 issues


ISSN 2210-6278 / E-ISSN 2210-6286
Institutional Subscription rates
Electronic only: EUR 156.- / US$ 204.Print only: EUR 172.- / US$ 224.Electronic & print: EUR 187.- / US$ 245. Individual Subscription rates
Print or Electronic only: EUR 57.- / US$ 75.-

Cover available soon

The Shakuhachi
Roots and Routes
Henry Johnson

June 2014
ISBN 978 90 04 24339 2
Hardback (ca. 172 pp., ca. 60 color illus.)
List price EUR 84.- / US$ 109.-

13
BR ILLS JAPANE S E A RT CATALOG 201 4

Related titles: See also The Shamisen: Tradition and Diversity


(p. 27) and The Koto (p. 31).

BRIL L

The shakuhachi is a traditional Japanese musical instrument.


The instrument an end-blown, bamboo flute has been
known in Japan since the Nara period (710-94), after being
introduced from China. In Japan, it was originally part of
the court orchestra (gagaku), but was soon disseminated to
other music styles and regions to become one of Japans most
mysterious and fascinating musical instruments. Yet, with
a very long history in Japan, over the last 30 years or so it is
increasingly establishing a place for itself outside Japan. The
shakuhachi has a long association with Fuke subsect of Rinzai
Zen Buddhism, especially during the Edo period (1600-1868).
These komus mendicant monks had about 80 regional temples
around Japan and transmitted shakuhachi music orally. Later
performance traditions developed that focused more on the
music than on religion, and today several traditions or styles
are well known (e.g., Kinko and Tozan schools). Made of a
single stem of bamboo, the instrument is blown across one
end in order to make a sound. It is the sound of the shakuhachi
that has a haunting yet beautiful tone, which has intrigued
Japanese and non-Japanese alike for many years. In this book,
the instrument is explored through ethnographic research
with performers and instrument makers; with detailed study
of historical research materials; and through the depiction of
the instrument in Japanese art (e.g., Ukiyo-e woodblock prints).
This book is the first of its kind in English to investigate the
history of this intriguing instrument from its introduction
to Japan to the present-day phenomenon of becoming more
popular in international contexts.

xxxxx

Understanding Japanese
Woodblock-Printed
Illustrated Books
A Short Introduction to Their History,
Bibliography and Format
Suzuki Jun and Ellis Tinios

BRIL L

Understanding Japanese Woodblock-Printed Illustrated Books


offers a wider understanding and appreciation of the illustrated
books produced in Japan between 1603 and 1912. It is a valuable
tool for scholars of early modern Japanese art and literature
and a broad range of other disciplines who wish to integrate
the content of Japanese illustrated books into their teaching
and research. As a handbook aimed at collectors, curators
and librarians, it is also an essential resource to assist in
evaluating, describing and conserving the books in their care.
The background essays, a detailed glossary and case studies are
equally of interest to students of the history and art of the book,
publishing, printing and book illustration.

B RI L L S JA PA N ESE ART CATALOG 2014

14

part ii: understanding woodblock-printed illustrated books

suzuki & tinios

46

(Yoshiwara keisei) Shin bijin awase jihitsukagami. Illustrated by Kitao Masanobu. Edo, 1784. 38 x 25.5 cm. Trustees
of the British Museum.
Tsutaya Jzabur, one of the most innovative Edo publishers, produced this sumptuous, exceptionally large
album-format book in which the top courtesans of the Yoshiwararivals in the quality of their calligraphy as
well as their beautyare compared. Portrayed here are Hitomoto (right) and Tagasode (left), courtesans of the
Daimonjiya brothel, with members of their entourages.

further renements such as blind-printing (karazuri


), the burnishing of printed areas (tsuyadashi
) and the application of metallic pigments
and mica (kirazuri ) had been perfected
(see Items 12 & 16). Because of the cost involved,
relatively few books were issued that employed the
full panoply of special printing techniques. Initially,
most of the more elaborate publications were commissioned by members of poetry circles. The latter
called upon artists of the stature of Kitagawa
Utamaro, Katsushika Hokusai and Kubo Shunman
to provide designs, and engaged the best block-

cutters and most skilful printers to realize them.


The resultant anthologies of their poems present
crisp, clear texts and subtly coloured images printed on the best quality paper (see Case study 3 & g.
22). In addition to poetry albums, from the 1770s
some erotic books also sported elaborate colouring
and the highest production values. In the nineteenth century, until the about 1870, the majority of
multi-colour printed books were erotica (see gs.
24, 31 & 33). In those years, rental libraries
(kashihonya ) played a roleas yet unquantiedin supporting the production of these

19-09-13 17:21

Tinios_p001_136 def.indd 79

November 2013
ISBN 978 90 04 25831 0
Hardback (136 pp.)
List price EUR 84.- / US$ 109.-

90

Konotegashiwa. Illustrated by Keisai Eisen.


Edo, 1836. 22 x 15.2 cm. Ebi collection,
ARC database, Ritsumeikan University,
Ebi1000.
This half-sheet on the inside front cover
of a banned erotic book provides (bottom
right) the artists pseudonym: Insai Hakusui . The rst character of Keisai
( mountain stream) is replaced with
morphologically similar in lewd. Eisen
is replaced with the components of
the second character sen (haku and
sui ).

79

22

Tinios_p001_136 def.indd 22

47

Meika gafu. Edited by Mano Tkei. Nagoya,


1814. 27.5 x 19 cm. Ebi collection, ARC
database, Ritsumeikan University, Ebi0361.
This half-sheet on the inside front cover
provides, from right to left: name of the
editor, title of the book and studio name
(Thekid ) of the Nagoya-based
publisher Eirakuya Tshir followed by
his seal. In the circular kaisei-in seal
, there is an image of the Chinese god of
literature (Ch: Kuixing).

19-09-13 17:22

15-6 Fujita Tsuguharu (later Lonard, 1880-1968), Glorious Death on Saipan, (also titled Japanese compatriots carry out
their duty on Saipan Island) 1944, oil on canvas, 181 x 362cm, The National Museum of Modern Art, Tokyo.

15-7

Detail of 15-6.

Modernities of Japanese Art


John Clark

15A-23 Eugene Smith (1918-1978), Mass


grave for 2000 Japanese soldiers killed
in nal Banzai charge (on Saipan),
photograph published in Life,
24.8.1944. The National Museum of
Modern Art, Kyoto.

This book contains foundational studies of various modernities


in Japanese art published since 1986 by John Clark. His articles
address modern Japanese print history, modern Japanese
aesthetics, the history of Japanese Western-style painting
including the avant-garde, the relation of art and foreign
aggression, and the post-World War II development of critical
art, as well as post-modernism. The basis for these essays is
ongoing empirical research in Japanese sources over many
MODERNITIES
visits to Japan since 1969, with at the same time
a theoretical OF JAPANESE ART
rigour derived from semiotics applied to traditional Japanesestyle painting and other subjects. Some of these essays which
were previously published in French and Japanese appear here
in English for the first time. Modernities of Japanese Art brings
together in one concise volume a large body of art historical and
critical work, not easily accessed otherwise.

234

Modernities-S7_HT 2012.indd 234

30-10-12 12:36

MODERNITIES OF JAPANESE ART

1-25 Calendar in the form of Japanese Coins, 1865, etching, (B-70).

1-26 Shuntsai (Okada, .1832-1861) att., The God of Fortune Calculator, 1850s, etching, 6.9 x 10.5cm (B-54).

1-27 Gengend Studio, Commentary on Domestic Security, ca.


1850s, etching, 8.8 x 14.5cm, (B-88).

BRIL L

This book forms a pair with the authors Modernities of Chinese


Art (Brill, 2010).

1-24 Matsumoto Yasuoki, Shimabara, Kyoto, ca. 1840s, etching.


(S-11), Reproduced by permission of the Trustees of the
National Library of Scotland.

1-28 Shshitsu (Mizuhikid, .1860s) att., Kannon of the ThirtyThree (Pilgrimage) Sites, ca 1860s, etching, 12.6 x 9.7cm (B-46).

1-30 (B-39, B-48) childrens diversions.

42

Modernities-S1_HT2012.indd 42

30-10-12 12:41

JAPANESE ETCHINGS

December 2012
ISBN 978 90 04 23689 9
Cloth with dustjacket (352 pp.)
List price EUR 108.- / US$ 150.-

1-35 Shuntsai, A Sea and Land Battle, ca, 1830s-40s, etching, 15 x


20.6cm, (B-10).

1-36 Shuntsai, European Scene, ca.1830s-40s, etching, 15 x


20.6cm, (B-9).

1-37 Matsumoto Yasuoki, Sea Battle, 1840-50s, etching, (from


Nishimura Tei, Nihon Dbanga-shi, Tokyo: Fujimori Shoten,
1939).

1-38 Artist unknown, A Black Ship, ca. 1854-60, monochrome


wood block print.

1-39 Yasuda Raish, Stoomboot, ca. 1850s, etching, 11.9 x 18.5,


(from Sugano Y, Nihon Dbanga no Kenky, Kinsei, Tokyo:
Bijutsu Shuppansha, 1974).

1-40 Artist Unknown, Kyoto School, Steamship, ca.1860s, etching,


31.6 x 21.5cm, (B-5).

10-8 Asai Ch, Willows at Grez, 1901, oil on canvas, 58 x 70cm, Kyoto Municipal Museum of Art.
Modernities-S1_HT2012.indd 45

brushwork without a built up chromatic palette which was to

BR ILLS JAPANE S E A RT CATALOG 201 4

1-29 Umekawa Kahoku (1799-1847) after Nakabayashi Chikkei


(1816-1867), Buddhist admonitions against animal slaughter and
the Three Jewels (of the Buddhist Law), ca. 1840s, etchings, each
14.7 x 9.4cm, (B-28, B-29).

15

45

30-10-12 12:41

through the matire of paint as one might have expected had

Images of Familial Intimacy


in Eastern and Western Art
Edited by Nakamura Toshiharu, Kyoto University

BRIL L

Images of Familial Intimacy in Eastern and Western Art


offers a comparative art and socio-historical analysis of
selected images of familial intimacy in Asia and Europe
from the pre-modern era to the present day based on an
examination of the value systems and expectations existing
at the time in the regions in which the works were created.
A wide variety of images are discussed ranging from family
portraits and depictions of the home in seventeenthcentury Dutch genre paintings, ukiyoe prints and fusuma
sliding wall panels of the Edo period, to familial images
made after the Korean War of 1950-53, providing the reader
with a rare insight into the evolution East and West of the
cultural norms and customs impacting on the family and
personal space.

Optical Allusions
Screens, Paintings, and Poetry
in Classical Japan (ca. 800-1200)
Joseph T. Sorensen, University of California at Davis

In Optical Allusions: Screens, Paintings, and Poetry in


Classical Japan (ca. 800-1200), Joseph T. Sorensen illustrates
how, on both the theoretical and the practical level, painted
screens and other visual art objects helped define some of
the essential characteristics of Japanese court poetry. In his
examination of the important genre later termed screen
poetry, Sorensen employs ekphrasis (the literary description
of a visual art object) as a framework to analyze poems
composed on or for painted screens. He provides close
readings of poems and their social, political, and cultural
contexts to argue the importance of the visual arts in the
formation of Japanese poetics and poetic conventions.

B RI L L S JA PA N ESE ART CATALOG 2014

16

February 2014
ISBN 978 90 04 24820 5
Hardback
List price EUR 115.- / US$ 160. The Intimate and the Public in Asian
and Global Perspectives, 4

July 2012
ISBN 978 90 04 21931 1
Hardback (xii, 294 pp.)
List price EUR 112.- / US$ 156. Brills Japanese Studies Library, 40

Erotic Japonisme
The Influence of Japanese Sexual Imagery
on Western Art
Ricard Bru

17
BR ILLS JAPANE S E A RT CATALOG 201 4

68

HOTEI PUBL ISHING

At its height in the late nineteenth and early twentieth


centuries, Japonisme had a tremendous impact on Western art.
In this publication, author Ricard Bru approaches the cultural
phenomenon of Japonisme from an innovative standpoint. He
presents an in-depth discussion of the influence of Japanese
printed erotic imagery by ukiyo-e masters such as Kitagawa
Utamaro, Katsushika Hokusai, and Utagawa Hiroshige on
European artists, including Edgar Degas, Auguste Rodin, Henri
de Toulouse-Lautrec, Gustav Klimt and Pablo Picasso, as well
as writers, critics, and collectors, such as Edmond de Goncourt,
Joris-Karl Huysmans, and mile Zola. With over 160 color
illustrations sourced from public and private collections, Erotic
Japonisme demonstrates the rich artistic dialogue that existed
between Europe and Japan.

127 Gustav Klimt. The Blood of Fish (Fischblut),


in Ver Sacrum 1, February 1898. Book illustration,
print based on ink drawing, 18.5 x 18.5 cm.
Museum of Applied Arts, Vienna, ZII167.
As seen in this piece, the curvilinear
forms that Klimt observed in Japanese stencils
(katagami) and in the Japanese prints in his private collection provided inspiration for his erotic
drawings and illustrations. This image was created for the journal Ver Sacrum, founded by Klimt,
Koloman Moser (18681905), and Josef Hoffmann
(18701956) as the official magazine of the Vienna
Secession. Ver Sacrum illustrated countless examples of the diverse influences of Japonisme on
Viennese artists.

69

however, Japonisme did not advance in Vienna until the turn of the
century: it was not until this time, with the emergence of the Secessionist movement in 1897 and its fourth exhibition in 1900, that
Japonisme became rmly rooted in that city.247
Gustav Klimts richly ornate style perhaps best exemplies the
inuence of Japonisme on the development of modern Viennese
painting. Klimts use of at surfaces, gold backgrounds, and a sense
of two dimensionalityas well as the embellishment of the forms
and clothing with repetitive, schematic, abstract elements, or motifs
inspired by Japanese heraldic symbolsoffered a new concept in
decorative painting.248 The Kiss (g. 128), a work dating to the artists
so-called golden phase, is the ultimate expression of this decorative effect, illustrating an isolated couple whose passionate embrace
envelops them such that they appear as a unied whole.
In addition to his paintings, Klimts drawings and those by Egon
Schiele created between 1905 and 1918, approximate the same type
of pure eroticism encountered in Japanese prints (gs. 129 & 130).
This personal, pure, and aesthetic eroticism is grounded in the compositional elements, in the conguration of the gures, and in the
manner in which the artist represented the forms of his subjects.249
Unfortunately, there is no detailed information regarding the nature of the Japanese print collections of Klimt and Schiele, even

68
Torii Kiyonaga. Interior of a Bathhouse, ca. 1787. Color woodblock print, diptych, 38.8 x 26.3 cm (each sheet). Former Edgar Degas
collection. Museum of Fine Arts, Boston, William Sturgis Bigelow
Collection, 30.46-7.
Edgar Degas. The Tub (Le tub), 1886. Pastel on card, 83 x 60 cm.
69
Muse dOrsay, Paris, RF4046.
Kiyonagas Interior of a Bathhouse is a rare print with only three
copies known today (Boston Museum of Fine Arts, Guimet Museum,
and Kawasaki Isago no Sato Museum). It illustrates a scene of naked
and semi-naked women at a public bath in poses similar to those of
women in the bath portrayed by Degas, such as Woman in a Tub (ca.
1883, Tate Gallery, London) or The Tub. Kiyonagas diptych was one of
Degass favorites, and it apparently hung above his bed, close to two
drawings by Jean-Auguste-Dominique Ingres and a landscape by
Camille Corot (17961875).

78

Erotic_Japonisme_p001_192.indd 78

December 2013
ISBN 978 90 04 25832 7
Paperback (192 pp., with 200 illus.)
List price EUR 59.- / US$ 76.-

though both men made erotic drawings that call to mind shunga.250
Klimt was a collector of Asian art with wide ranging tastes: his Japanese holdings included samurai armor, kimono, and masks. His ukiyo-e collection included material by Kiyonaga, Hokusai, Kuniyoshi,
and Kunisada, and some of these were on display in his studio on
Feldmhlgasse in Vienna. Furthermore, Klimts library contained
works by Hayashi Tadamasa, Siegfried Bing, Ernest Fenollosa (1853
1908), and books on Japanese art, including the volumes of Krin-ha
gash (19031906), which dealt with the decorative Rinpa school,
and the volume Japanische Erotik (g. 52). The latter two were important sources for his paintings.251 On the other hand, according to
Frank Whitford, Schieles atelier was reputed to have possessed the
best collection of erotic Japanese prints in Vienna.252 Schiele, impressed by the theories of Sigmund Freud, also portrayed sexual
scenes as a means of expressing his inner world, one lled with obsession and emotion (g. 131). The impact of shunga on his nudes is
detectable through the suggestive positions of his subjects: couples
caressing, embracing, or engaged in sexual intercourse. However, to
date the only woodblock prints documented from his collection are
two landscapes, a portrait by Utamaro, and an erotic image by Hokusai.253 Nevertheless, there is no doubt that both he and Klimt had
easy, direct access to a great number of Japanese woodblock prints

118

28-10-13 08:47

Erotic_Japonisme_p001_192.indd 118

28-10-13 08:49

Kuniyoshi
Japanese master of imagined worlds
Iwakiri Yuriko and Amy Newland

HOTEI PUBL ISH I NG

Enjoying a career spanning almost fifty years, from the 1810s


to his death in 1861, Utagawa Kuniyoshi (17971861) was
instrumental in establishing warrior prints as one of the
major genres in the history of Japanese woodblock prints
(ukiyo-e). His most spectacular triptychs of warriors resonate
even in contemporary culture, their influence reflected
in modern graphic media such as manga. This publication
demonstrates that Kuniyoshis artistic genius also extended
to the creation of striking prints in other genres: images of
beautiful women and kabuki actors, ghosts, demons and
monsters, anthropomorphic renditions of animals illustrating
everyday life, as well as compositions replete with humour
and often involving witty wordplay. Examples of Kuniyoshis
work also reveal the artists dialogue with aspects of European
pictorial traditions in his experimentation with shading and
perspective. The selection of prints in Kuniyoshi: Japanese
master of imagined worlds includes representative pieces of
the highest quality, a number of which are illustrated for the
first time outside Japan. Descriptive texts accompany the 136
prints in the publication and these are introduced by an indepth discussion of Kuniyoshis life and his art.

B RI L L S JA PA N ESE ART CATALOG 2014

18

Kuniyoshi_p025_097_Layout 1 11-10-13 12:10 Pagina 97

Kuniyoshi_p025_097_Layout 1 11-10-13 12:05 Pagina 32

Catalogue Prints of beautiful women

Catalogue Warrior prints

71. Shellfish from Fukagawa

8. Matsui Tamijir

(Fukagawa no mukimi )

(Matsui Tamijir )

From the series Pride of Edo:

From an untitled series of

comparison of famous products (Edo

warrior prints

jiman meibutsu kurabe

Date: c.18261827

Signature: Ichiysai Kuniyoshi ga

Chban

Censorship seal: kiwame

Date: c.1844

Publisher: Tsutaya Kichiz

Signature: Ichiysai Kuniyoshi ga


Artists seal: yoshikiri

The title slip on this print lists

Censors seal: Hama

the name Matsui Tamijir

Publisher: Ibaya Kybei

(), but the


figure is actually Matsui

Each of the seven designs in this

Tamijir () written

series has inset landscapes that

with different, yet

illustrate a famous site in the capital

homophonous, characters.

Edo. Here, it is the gate of the

Matsui Tamijir is the second

Tomioka Hachiman shrine and the

son of Matsui Kura, a feudal

approach to the shrine was the

retainer in Dewa province in

location of one of the Fukagawa

Yamagata. Tamijir studies

districts pleasure quarters. Many

fencing (kenp) with a

pedlars came from nearby

foreigner and later sets off to

Hamaguri-ch to this area selling

avenge his brother who is

shucked shellfish, a famous product

killed by Takahashi Yakur.

(meibutsu) of the Fukagawa.

He proceeds to the fief of the

The woman sports a casual

Miharu clan in sh province,

chignon fastened at the back known

where he subjugates a giant

as the horses tail (uma no shippo),

serpent that attacks the castle

and the shells she opens are a type of

of Lord Akita Kawachi no

trough shell (Mactra chinensis) referred

Kami, thereby achieving

to as bakagai, literally, horse/deer [or

military fame. This narrative

foolish] shell, thus creating an

appears in the 1806 yomihon,

entertaining wordplay for the viewer.

Senkutsushi (History of the

Because bakagai are generally gritty,

hermits cave, also known as

they can be easily removed from their

Matsui Tamijir monogatari

shells and cleaned. The orange

[Tale of Matsui Tamijir]), with

tongue (the foot) of the trough shell

text by Akagi Sanjin and

called aoyagi, literally green willow

pictures by Kitagawa

can be removed from the body and

Masaatsu.

eaten as such, or dried, as seen in the


upper right corner in this print.

Kuniyoshi

97

December 2013
ISBN 978 90 04 25830 3
Paperback (168 pp., 140 illus.)
List price EUR 45.- / US$ 58.-

32

K uni y o s hi

Kunisadas Tkaid
Riddles in Japanese Woodblock Prints
Andreas Marks

HOTEI PUBL ISHING

The Tkaid highway, connecting Edo with Kyoto, was the


most vital thoroughfare in Japan. Its cultural presence in
pre- to early modern Japanese society led to the publication of
woodblock print series, such as the widely known landscape
prints by Hiroshige, that took this famous road as their theme.
The prints of Utagawa Kunisada, the most sought-after
woodblock print designer of his day, represent a different
treatment of the Tkaid, in which popular kabuki actors
in specific roles are paired with Tkaid post stations. This
study discusses the phenomenon of serialization in Japanese
prints outlining its marketing mechanisms and concepts. It
then proceeds to unravel Kunisadas pairings of post-stations
and kabuki roles, which served as puzzles for his audience
to decipher. Finally, this study analyses Kunisadas methods
when he invented and developed these patterns.

19
BR ILLS JAPANE S E A RT CATALOG 201 4

Kunisadas Tkaid is a valuable visual source for the print


collector, illustrating over 700 prints.

gure 61

gure 19

Utagawa Kunisada. The actors Band Takesabur I as Oguri Hangan

Utagawa Hiroshige. No. 3: Odawara, Hakone, Mishima, Numazu, from

(right), Nakayama Ichiz as Ariwaraya Narihira (centre), and Iwai

the series Gojsan tsugi harimaze (Cutouts of the Fifty-three Stations).

Kumesabur III as Okoma (left), in the play Sekai no hana Oguri gaiden

xii/1852. Published by Izumiya Ichibei. Colour woodblock print, ban.

(Worldly Flowers, an Oguri Anecdote), performed at the Nakamura

Trustees of the British Museum

Theatre in IV/1851, from an untitled series of horizontal actor prints. c.


iv/1851. Published by Tsujiokaya Bunsuke. Colour woodblock print,
ban. Waseda University The Tsubouchi Memorial Theatre Museum

gure 20
Utagawa Kunisada ii. Tora and Soga Jr Sukenari Juxtaposed to Hiratsuka, from the series Shoga gojsan tsugi (Writings and Paintings Along
the Fifty-three Stations). x/1872. Published by Sawamuraya Seikichi.
Colour woodblock print, ban. National Diet Library, Tokyo

Utagawa Yoshitora designed most of the main motifs. Other designers involved were Kunisada ii, Kysai, Utagawa
Shigekiyo (act. c.185487), and Utagawa Yoshimori (18301884). Additional images and inscriptions were contributed by Hiroshige iii, Utagawa Yoshiharu (18281888), Utagawa Yoshimune (18171880), Tani Bunch (18231876),
Koyama Unsen (18551911), Matsumoto Fko (18401923), Noguchi Ykoku (18141898), Iijima Kga (18291900),
Sugihara Chikuho (18331882), Nakajima Kysai (d. 1896), and others.144
The series breaks with the traditional system of Tkaid stations by renaming some of them, reecting the changes
taking place during the Meiji period. Fuch becomes Shizuoka, Yoshida turns into Toyobashi, Miya is now Atsuta,
and Kyoto takes on the name Saiky (Western Capital).145 Another sign of the changing times is the electricity pylon
at the right border of each design.

gure 62
Utagawa Kunisada. Fifty-one: The actors (from right to left) Ichikawa

2.3.2.7 Warrior Tkaid series


To date, the only Tkaid series that has surfaced with warriors as the main motif is by Yoshitora. Published in 1850,
only three designs are known. Just as his teacher Kuniyoshi had a few years earlier in the series Fifty-three Pairs of
the Tkaid (Tkaid gojsan tsui) so did Yoshitora also choose Nitta Yoshioki (died 1358) as the motif to pair with
Kawasaki. For the station Yui, Hj Tsunashige (15151587) holding off the attacks of Takeda Shingen (15211573) is
the motif associated with the place.

Kodanji IV as the sher Namishichi, Seki Utasuke as Zeze no Shz, Nakayama Ichiz as Onigawara no Dhachi, Arashi Otohachi III as Untenb,
Onoe Kikujir II as Princess Terute, in the play Sekai no hana Oguri gaiden
(Worldly Flowers, an Oguri Anecdote), performed at the Nakamura
Theatre in IV/1851, from an untitled series of horizontal actor prints. c.
iv/1851. Published by Kobayashi Taijir. Colour woodblock print, ban.
Ritsumeikan University

Canonization of station-character motif schemes 245

Kunisada_p001_360.indd 245

December 2013
ISBN 978 90 04 19146 4
Hardback with dustjacket (360 pp., 700 illus.)
List price EUR 99.- / US$ 129.-

52 Kunisadas Tkaid. Riddles in Japanese Woodblock Prints

08-10-13 16:06

Kunisada_p001_360.indd 52

08-10-13 15:51

The Harunobu Decade


A Catalogue of Woodcuts by Suzuki Harunobu
and his followers in the Museum of Fine Arts,
Boston

HOTEI PUBL ISH I NG

David Waterhouse

B RI L L S JA PA N ESE ART CATALOG 2014

20

The Museum of Fine Arts in Boston is home to the worlds


largest and richest collection of works by Suzuki Harunobu
(1725?70), the first great artist of the full-colour Japanese
woodcut (nishiki-e). This complete and very detailed catalogue,
compiled and revised intermittently over forty years, describes
and illustrates in colour 721 single-sheet prints, including 589
by Harunobu himself. Most of these designs were produced in
the 1760s, the majority during the six years from 1765 to 1770.
Harunobu is famous for his sylph-like young women (and young
men); but, as the catalogue shows, his range was astonishingly
wide. His work is notable for its witty allusions, sometimes
concealed, to classical Japanese and Chinese poetry, N drama,
Japanese and Chinese folklore and history, and events and
personalities of the day. These allusions are explained in the
catalogue, often for the first time.
A lengthy Introduction places Harunobus life
and work in context, explains the principles
applied in dating the prints, and summarises
previous studies. In the Catalogue itself, all
quoted poems are transliterated and translated
into English, usually according to the original
metre; and in addition to background historical
information the commentaries include, as far as
possible, references to other known specimens
and states. Descriptions of prints issued as sets
appear under the first entry for each, often
accompanied by a summary table, and with what
on occasion amounts to a free-standing essay. A
series of Appendixes contains indexes of Chinese,
Korean and Japanese characters, a glossary of
names and terms, and lists of institutional and
private collections. The extensive Bibliographies
list books illustrated by Harunobu himself,
pre-modern Japanese publications, and modern
publications in Japanese and other languages.
The book concludes with a comprehensive Index.
November 2013
ISBN 978 90 04 23354 6
Cloth with dustjacket (750 pp.;
2 vols. in slipcase; over 700 color illus.)
List price EUR 159.- / US$ 217.-

Shunga
Sex and Pleasure in Japanese Art
Edited by: Timothy Clark, C.Andrew Gerstle,
Aki Ishigami and Akiko Yano

October 2013
ISBN 978 90 04 26326 0
Hardback (560 pp., 420 illus.)
List price EUR 76.- / US$ 99.-

Drawing on the latest scholarship from the leading experts


in the field and featuring over 400 images of works from
major public and private collections, this landmark book
looks at painted and printed erotic images produced in
Japan during the Edo period (16001868) and early Meiji
era (18681912). These are related to the wider contexts of
literature, theatre, the culture of the pleasure quarters,
and urban consumerism; and interpreted in terms of their
sensuality, reverence, humour and parody.
This title is only available through Hotei Publishing in the
United States of America, Canada and the Philippines.

21
BR ILLS JAPANE S E A RT CATALOG 201 4

Shunga is in some ways a unique phenomenon in premodern world culture, in terms of the quantity, the quality
and the nature of the art that was produced. This catalogue
of a major exhibition at the British Museum marks the
culmination of a substantial international research project
and aims to answer some key questions about what shunga
was and why it was produced. In particular the social and
cultural contexts for sex art in Japan are explored.

Erotic Japanese art was heavily suppressed in Japan


from the 1870s onwards as part of a process of cultural
modernisation that imported many contemporary western
moral values. Only in the last twenty years or so has it been
possible to publish unexpurgated examples in Japan and
this ground-breaking publication presents this fascinating
art in its historical and cultural context for the first time.

HOTEI PUBL ISHING

In early modern Japan, 16001900, thousands of sexually


explicit paintings, prints, and illustrated books with
texts were produced, known as spring pictures (shunga).
Frequently tender, funny and beautiful, shunga were mostly
produced within the popular school known as pictures of
the floating world (ukiyo-e), by celebrated artists such as
Utamaro and Hokusai. Early modern Japan was certainly
not a sex-paradise; however, the values promoted in shunga
are generally positive towards sexual pleasure for all.
Official life in this period was governed by strict Confucian
laws, but private life was less controlled in practice.

The art of influence. Asian propaganda


Mary Ginsberg

Revolutionary art generally means propaganda art with a


political message that is intended to motivate or persuade.
However, propaganda is not just a sinister manipulation, as
connoted in the West since the early twentieth century.
HOTEI PUBL ISH I NG

In revolutionary and wartime societies, propaganda is


considered a vital part of education and political participation.
Propaganda encourages or condemns; reinforces existing
attitudes and behaviour; and promotes social membership
within nation, class or work unit.
Drawing on the British Museums wide-ranging collection, this
book provides a fascinating contextual survey of political art
across Asia, covering the period from about 1900 to 1976. The
author explores themes such as propaganda in daily life; heroes
and villains; the use of the past; symbolism; dissent; women and
children; and revolutionary inspirations. Over 100 works of art
from China, Japan, Vietnam, Korea, India and other countries
are featured. Here are posters, prints, cartoons, calligraphy,
ceramics, paper cuts, textiles, panels and badges powerful
images designed to move hearts and minds.

B RI L L S JA PA N ESE ART CATALOG 2014

22

This title is only


available through
Hotei Publishing
in the United States
of America, Canada
and the Philippines.

21

FRONT magazine
1942
Japan
Coloured photographs, printed on paper
41.5 19 cm
British Museum 2008,3035.133, PB.390
Purchase funded by Brooke Sewell Bequest

FRONT magazine was published by the Eastern


Way Company (Tohosha), a private company
established by the Japanese military specifically
to produce propaganda for foreign audiences.1
FRONT was modelled on the 1930s publication
USSR in Construction, which was designed by the
avant-garde graphic artist El Lissitzky (1890
1941) with contributions by the photomontage
innovator Alexander Rodchenko (18911956).2
Sent to all countries of the Greater East-Asia
Co-Prosperity Sphere, FRONT was published in
fifteen languages.
FRONT portrayed the daily actions of ordinary
soldiers, showing the development of the war
through dynamic design and the advances of
propaganda technology. Media technologists
pointed to new ways of working with background,
foreground, color, layout, font and montage.3
A series of special themed issues of FRONT
covered branches of the armed services,
Manchuria, Tokyo at war and other subjects. The
British Museum has three volumes comprising
two issues each.4 The volume dealing with the
navy is in French, the air force volume is in
English and the Manchuria issues are in Japanese.
1 Kushner 2006, pp. 712.
2 Fraser 1996, p. 103. For several covers and double-page spreads,
see pp. 1034.
3 Kushner 2006, p. 74.
4 Ten volumes were produced, but copies of only nine survive.
The entire stock of the tenth was destroyed in a 1945 air raid.
British Museum Collections Online.

86

the art of influence

3 CATALOGUE LAYOUTS 18-03-13.indd 86

wartime

21/03/2013 15:12

3 CATALOGUE LAYOUTS 18-03-13.indd 87

87

21/03/2013 15:12

June 2013
ISBN 978 90 04 25631 6
Paperback (192 pages,
ca. 100 full color illus.)
List price EUR 38.- / US$ 49.-

Surimono in the Rijksmuseum Amsterdam


Matthi Forrer

HOTEI PUBL ISHING

Surimono (literally printed things) constitute one of the most


delicate genres in Japanese printmaking. This genre fascinates
because it combines poetry and image and because it presents
a pictorial puzzle, which provides the viewer with a particular
insight into the intellectual and literary world of late 18th- and
early 19th-century Edo (todays Tokyo). Major artists such as
Katsushika Hokusai, Utagawa Kunisada, Totoya Hokkei and
Yashima Gakutei, to name but a few, provided imagery to
accompany the poetic exploits of poetry club members. The
prints were circulated among networks of poets and friends
and, in contrast to other prints of the period, were not produced
for commercial gain. Intricate still lifes, historical and mythical
heroes, actors on the stage and tranquil landscapes form a
visual partnership with the witty poems (kyka). The beauty
of these prints is enhanced by the astonishing printing quality,
including the use of metallic pigments and blindprinting.
The Rijksmuseum Amsterdam is home to one of the most
important collections of surimono in the world. Two recent
major donations have enriched the collection to such a degree
that a publication documenting the complete surimono
holdings of the museum is justified. The true beauty of the
collection can now be appreciated in full, with all the prints
illustrated in colour for the first time.

23
BR ILLS JAPANE S E A RT CATALOG 201 4

Surimono_p011_026_Opmaak Surimono 2 (okt.) 27-10-12 19:55 Pagina 21

Matthi Forrers deep understanding of poetry


circles and of the major artists of the time has
resulted in numerous revisions of the existing
descriptions and of previously established
chronologies within the genre.
Surimono in the Rijksmuseum Amsterdam is thus
an essential work of reference and at the same
time a source of endless aesthetic enjoyment.

December 2012
ISBN 978 90 74 82240 4
Cloth with dustjacket (332 pp.,
more than 600 color illus.)
List price EUR 110.- / US$ 163.-

Surimono in the Rijksmuseum Amsterdam

21

Genjis World in Japanese Woodblock Prints


Andreas Marks, with contributions by Bruce A. Coats,
Michael Emmerich, Susanne Formanek, Sepp Linhart
and Rhiannon Paget

HOTEI PUBL ISH I NG

Genjis world in Japanese Woodblock Prints provides the first


comprehensive overview of Genji prints, an exceptional subject
and publishing phenomenon among Japanese woodblock prints
that gives insight into nineteenth-century Japan and its art
practices.
In the late 1820s, when the writer Rytei Tanehiko (17831842),
the print designer and book illustrator Utagawa Kunisada
(17861865) and the publisher Tsuruya Kiemon sat down
together in Edo to plot the inaugural chapter of the serial novel
A Rustic Genji by a Fraudulent Murasaki (Nise Murasaki inaka
Genji), it is doubtful that any one of them envisioned that their
actions would generate a new genre in Japanese woodblock
prints that would flourish until the turn of the century, Genjie
(Genji pictures). During these sixty years, over 1,300 original
designs were created, of which many were very popular at their
time of release.

B RI L L S JA PA N ESE ART CATALOG 2014

24

The story of A Rustic Genji, set in fifteenth-century Japan, is in


many respects drawn from Murasaki Shikibus (c.9731014/25)
classic novel The Tale of Genji from the early eleventh century.
As the foremost collection of prints of this subject, the extensive
holdings of Paulette and Jack Lantz provided the majority of
images necessary for this publication.

Utagawa Kunimori. A Critical Study of the Charms of


Women (Enshoku shina sadame), vol. 1, p. (4/5). 1852.
Hanshibon. S039

9a NMIG, Chap. 19, p. 12/13. 1836

41

62

Genji_p001_288_HT.indd 62

09-08-12 23:30

Genji_p001_288_HT.indd 41

September 2012
ISBN 978 90 04 23353 9
Cloth with dustjacket (256 pp., with over 300 color illus.)
List price EUR 89.- / US$ 124.-

09-08-12 20:00

Yoshitoshi

Splendid Impressions

Masterpieces from the Ed Freis Collection

Japanese Secular Painting 1400-1900,


in the Museum of East Asian Art Cologne

Chris Uhlenbeck and Amy Reigle Newland,


with contributions by Maureen de Vries, Ed Freis
and Robert Schaap

The more than 160 illustrations in the volume are fully


annotated. Ed Freis has selected a handful of Yoshitoshis
signature works to highlight the details of process and
variant editions. Maureen de Vries succinctly describes the
often complex, layered iconography of Yoshitoshis imagery.
Robert Schaap has created a valuable pictorial appendix of
all Yoshitoshis documented serial works.

December 2011
ISBN 978 90 04 21958 8
Paperback (160 pp.; incl. 160 full-color illus.)
List price EUR 49.- / US$ 67.-

The publication is divided into two parts: the first section


discusses the reception of Japanese art and the dawn of
East Asian art history in Germany, as well as shedding new
light on the role of the monk painter as mediator between
Chinese and Japanese concepts of secular art.
The main body of the publication is the catalogue
section. Here, 94 works (divided into seven subject
categories) are presented: hand scrolls, fans, hanging
scrolls and folding screens. All works are reproduced in
full colour, many scrolls being shown in their entirety.
Each chapter is preceded by an introduction, elucidating
the historiographical, aesthetic and methodological
questions that are central to current research in the visual
culture of pre-modern Japan. The illuminating entries are
followed by a comprehensive appendices section, including
photographs of the paintings signatures, seals and
transcriptions of the inscriptions in the paintings.
Splendid Impressions will serve as a reference source not
only for curators, scholars and students of Japanese art and
culture, but also for anyone who has a personal interest in
Japanese painting.

November 2011
ISBN 978 90 04 20611 3
Cloth with dustjacket (360 pp.)
List price EUR 99.- / US$ 135.-

25
BR ILLS JAPANE S E A RT CATALOG 201 4

The two essays in the volume by Chris Uhlenbeck and Amy


Reigle Newland take new approaches in the discussion
of the art and life of Yoshitoshi, and depend little on the
usual, at times dubitable, sources frequently used to paint
a portrait of the artist. Chris Uhlenbeck offers insight into
Yoshitoshi through a discussion of extant prints. He charts
the development of Yoshitoshis work from the late 1850s,
when he received his first substantial commissions from
various publishers, to his death at the age fifty-three in
1892. Amy Reigle Newland establishes Yoshitoshis position
among his peers using contemporary accounts found in
types of popular guidebooks known as nazorae saiken(ki)
(riddle guidebooks) and in the emerging press.

This publication focuses on the collection of Japanese


secular painting in the Museum of East Asian Art in
Cologne, a large part of which was acquired by the
museums founders Adolf and Frieda Fischer before 1913. Six
internationally renowned specialists of Japanese art present
new insights and approaches to pre-modern Japanese visual
culture in this exquisitely illustrated catalogue.

HOTEI PUBL ISHING

Tsukioka Yoshitoshi (18391892) created some of the most


spectacular designs in 19th century Japanese woodblock
prints. The last comprehensive overview of Yoshitoshis
work was published almost twenty years ago, but advances
in scholarship since then have resulted in a re-evaluation
of his work. This publication draws from the Ed Freis
collection, which was assembled over the course of thirty
years. It illustrates numerous works from Yoshitoshis
early career, including several prints that have to date not
appeared in Western language catalogues.

Edited by Doris Croissant, with a foreword by


Adele Schlombs and with contributions by
Yukio Lippit, Melissa McCormick, Matthew McKelway,
Joshua S. Mostow and Melanie Trede

Publishers of Japanese
Woodblock Prints: A Compendium

HOTEI PUBL ISH I NG

Andreas Marks

B RI L L S JA PA N ESE ART CATALOG 2014

26

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.
Today, the names of these artists themselves are celebrated
throughout the world, and yet very little is known about
the publishers of these artworks, despite the fact that they
played a crucial role in the production, visual appearance
and actual distribution of the works within the highly
commercial world of Japanese printmaking. It was the
publisher who gauged the markets, commissioned the
artists and took on the risks of production. Once a design
was completed by an artist, it was the publisher who
coordinated the production process, farming out the work
to the block carvers and printers, and also managed the
distribution of the prints in the appropriate markets.
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 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.
December 2010
ISBN 978 90 04 18531 9
Hardback (576 pp.)
List price EUR 143.- / US$ 185.-

The Beauty of Silence


Japanese N and Nature Prints
by Tsukioka Kgyo (1869-1927)
Robert Schaap and J. Thomas Rimer

The Beauty of Silence. Japanese N and Nature Prints by


Tsukioka Kgyo (1867-1927) is the first monograph in English
on Tsukioka Kgyo, one of the lesser-known exponents of
Japanese woodblock prints of the Meiji period (1868-1912).
This publication exposes Kgyos life and work, presenting
a detailed and 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.
October 2010
ISBN 978 90 04 19385 7
Cloth with dustjacket (192 pp.)
List price EUR 81.- / US$ 105.-

The Shamisen:
Tradition and Diversity

Crows, Cranes
& Camellias

Henry Johnson

The Natural World of


Ohara Koson 1877-1945

December 2009
ISBN 978 90 04 18137 3
Cloth with dustjacket (xx, 145 pp.)
List price EUR 85.- / US$ 110.-

December 2009
ISBN 978 90 04 18106 9
Cloth with dustjacket (224 pp.)
List price EUR 98.- / US$ 127.-

The Interplay of Text and


Image in Japanese Prints
With a catalogue of the Marino
Lusy Collection, edited by
John T. Carpenter
November 2008
ISBN 978 90 04 16841 1
Cloth with dustjacket
(432 pp., over 400 colour illus.)
List price EUR 102.- / US$ 132.-

HOTEI PUBL ISHING

See also: The Shakuhachi (p. 13)

Amy Reigle Newland,


Jan Perre and Robert Schaap

Reading Surimono

27

Chris Uhlenbeck and


Marije Jansen
November 2008
ISBN 978 90 04 17195 4
Paperback (112 pp.,
over 140 colour illus.)
List price EUR 26.- / US$ 34.-

A Brush With Animals


Japanese Paintings 1700-1950
Robert Schaap, with essays by
Willem van Gulik, Henk Herwig,
Arendie Herwig-Kempers, Daniel
McKee and Andrew Thompson
January 2008
ISBN 978 90 70 21607 8
Cloth with dustjacket
(206 pp. 275 color illus.)
List price EUR 81.- / US$ 105.-

Competition
and Collaboration
Japanese Prints of
the Utagawa School
Laura Mueller with essays by
Fujisawa Akane, Kobayashi Tadashi
and Ellis Tinios
November 2007
ISBN 978 90 04 15539 8
Cloth with dustjacket
(232 pp. over 220 color illus.)
List price EUR 81.- / US$ 105.-

BR ILLS JAPANE S E A RT CATALOG 201 4

Hiroshige, Shaping
the Image of Japan

Japanese Warrior Prints


1646-1905

The Hundred Poets


Compared

James King and Yuriko Iwakiri

A Print Series by Kuniyoshi,


Hiroshige, and Kunisada

July 2007
ISBN 978 90 74 82284 8
Cloth with dustjacket (400 pp.,
over 200 color illus.)
List price EUR 97.- / US$ 126.-

Henk J. Herwig and


Joshua S. Mostow

HOTEI PUBL ISH I NG

June 2007
ISBN 978 90 74 82282 4
Cloth with dustjacket (256 pp.
118 color illus.)
List price EUR 81.- / US$ 105.-

Chikanobu
Modernity and Nostalgia
in Japanese Prints
Bruce A. Coats, with essays by
Allen Hockley, Kyoko Kurita
and Joshua Mostow
August 2006
ISBN 978 90 74 82288 6
Cloth with dustjacket
(208 pp. 280 color illus.)
List price EUR 81.- / US$ 105.-

B RI L L S JA PA N ESE ART CATALOG 2014

28

Heroes of the
Grand Pacification
Kuniyoshis Taiheiki
eiy den
E. Varshavskaya
January 2006
ISBN 978 90 74 82269 5
Cloth with dustjacket (192 pp.
50 color & 16 b/w illus.)
List price EUR 81.- / US$ 105.-

Haiku & Haiga


Moments in Word
and Image
Edited by Ron Manheim
January 2006
ISBN 978 90 74 82286 2
Cloth with dustjacket
(208 pp. 79 color illus.)
List price EUR 48.- / US$ 62.-

Yoshitoshis Strange
Tales
John Stevenson
December 2005
ISBN 978 90 74 82271 8
Cloth with dustjacket (160 pp., 91 illus.)
List price EUR 50.- / US$ 65.-

Kuniyoshi.
The Faithful Samurai
David R. Weinberg
Foreword by B.W. Robinson
Translations and essay by
Alfred H. Marks

Sexual Imagery of
the Edo Period
Edited by Chris Uhlenbeck
and Margarita Winkel
January 2005
ISBN 978 90 74 82266 4
Cloth with dustjacket (248 pp.
277 color illus.)
List price EUR 81.- / US$ 105.-

Strong Women,
Beautiful Men
Japanese Portrait Prints
from the Toledo Museum
of Art
Laura Mueller
January 2005
ISBN 978 90 74 82278 7
Paperback (96 pp. 58 color illus.)
List price EUR 26.- / US$ 34.-

HOTEI PUBL ISHING

December 2005
ISBN 978 90 74 82285 5
Cloth with dustjacket (192 pp., 87 illus.)
List price EUR 41.- / US$ 53.-

Japanese Erotic Fantasies

29

Japanese Export
Lacquer

The Akita Ranga Art


School and Foreign Books

1580-1850

Hiroko Johnson
January 2005
ISBN 978 90 74 82264 0
Cloth with dustjacket
(176 pp. 57 illus., some color)
List price EUR 80.- / US$ 104.-

Oliver Impey and Christiaan Jrg


January 2005
ISBN 978 90 74 82272 5
Cloth with dustjacket
(384 pp. 657 illus., mostly color)
List price EUR 92.- / US$ 119.-

The Hotei Encyclopedia


of Japanese Woodblock
Prints (2 vols.)
General Editor: Amy Reigle Newland
Specialist Advisers: Julie Nelson Davis,
Oikawa Shigeru, Ellis Tinios and
Chris Uhlenbeck
January 2005
ISBN 978 90 74 82265 7
Cloth with dustjacket (600 pp.
over 300 color illus.)
List price EUR 201.- / US$ 260.-

BR ILLS JAPANE S E A RT CATALOG 201 4

Western Influences
on Japanese Art

Written Texts -
Visual Texts
Woodblock-printed Media
in Early Modern Japan

HOTEI PUBL ISH I NG

Edited by Susanne Formanek


and Sepp Linhart
January 2005
ISBN 978 90 74 82258 9
Cloth with dustjacket (368 pp. 139 b/w illus.)
List price EUR 100.- / US$ 130. European Studies on Japan, 3

A Guide to Japanese
Art Collections
in the UK
Gregory Irvine
January 2004
ISBN 978 90 74 82274 9
Paperback (204 pp. 90 color illus.)
List price EUR 19.- / US$ 25.-

Heroes of the
Kabuki Stage
An Introduction to the World
of Kabuki with Retellings of
Famous Plays, illustrated by
Woodblock Prints
Henk Herwig and Arendie Herwig
January 2004
ISBN 978 90 74 82261 9
Cloth with dustjacket (360 pp. 280 color illus.)
List price EUR 92.- / US$ 119.-

B RI L L S JA PA N ESE ART CATALOG 2014

30

Printed to Perfection

Reflecting Truth

Visions of Japan

Twentieth-century
Japanese Prints from the
Robert O. Muller Collection

Japanese Photography
in the 19th Century

Kawase Hasuis Masterpieces

Joan B. Mirviss, Amy Reigle


Newland, Chris Uhlenbeck,
Marije Jansen with Henk Herwig
General Editor: Amy Reigle Newland
January 2004
ISBN 978 90 74 82273 2
Paperback (132 pp. 123 color & 6 b/w illus.)
List price EUR 30.- / US$ 39.-

Edited by Nicole Coolidge


Rousmaniere and
Mikiko Hirayama
January 2004
ISBN 978 90 74 82276 3
Paperback (112 pp. 60 b/w illus.)
List price EUR 42.- / US$ 54.-

Kendall H. Brown
January 2004
ISBN 978 90 74 82268 8
Paperback (152 pp. 100 color illus.)
List price EUR 46.- / US$ 60.-

The Koto
A Traditional Instrument
in Contemporary Japan

The Commercial and


Cultural Climate of
Japanese Printmaking
Edited by Amy Reigle Newland

January 2004
ISBN 978 90 74 82263 3
Cloth with dustjacket (200 pp. 78 color
& 23 b/w illus.)
List price EUR 81.- / US$ 105.-

January 2004
ISBN 978 90 74 82249 7
Cloth with dustjacket (272 pp. 18 color
& 48 b/w illus.)
List price EUR 84.- / US$ 109. European Studies on Japan, 2

See also: The Shakuhachi (p. 13)

Essays by Cecilia Segawa Seigle,


Alfred H. Marks,
Harue M. Summersgill,
Amy Reigle Newland and
Monika Hinkel with assistance
from Kodaira Takashi and
Ishigami Hidemi
January 2004
ISBN 978 90 74 82259 6
Paperback (182 pp. 67 color illus.)
List price EUR 40.- / US$ 52. Famous Japanese Prints Series, 2

HOTEI PUBL ISHING

Henry Johnson

A Courtesans Day:
Hour by Hour

31

Dismissed as
elegant fossils

Marije Jansen

Konoe Nobutada and


the role of aristocrats
in Early Modern Japan

January 2004
ISBN 978 90 74 82260 2
Paperback (176 pp. 80 color illus.)
List price EUR 48.- / US$ 62. Famous Japanese Prints Series, 1

Lee Bruschke-Johnson
January 2004
ISBN 978 90 74 82252 7
Cloth with dustjacket (256 pp. 30 b/w illus.)
List price EUR 84.- / US$ 109. Japonica Neerlandica, 9

Kawase Hasui
The Complete Woodblock
Prints
Kendall H. Brown
with an essay by Watanabe Shichir
General Editor: Amy Reigle Newland
January 2003
ISBN 978 90 74 82246 6
Cloth with dustjacket (592 pp. 617 color
& 131 b/w illus.)
List price EUR 273.- / US$ 354.-

BR ILLS JAPANE S E A RT CATALOG 201 4

Hiroshiges journey
in the 60-odd provinces

Fine & Curious

Japanese Export Porcelain Japanese Erotic Prints

Japanese Export Porcelain


in Dutch Collections

Catalogue of the Collection


of the Ashmolean Museum,
Oxford

HOTEI PUBL ISH I NG

Christiaan J.A. Jrg


January 2003
ISBN 978 90 74 82216 9
Cloth with dustjacket
(304 pp. 420 color illus.)
List price EUR 50.- / US$ 65.-

Oliver Impey
January 2002
ISBN 978 90 74 82239 8
Cloth with dustjacket
(264 pp. 500 color illus.)
List price EUR 50.- / US$ 65.-

Shunga by Harunobu
and Korysai
Inge Klompmakers
June 2001
ISBN 978 90 74 82237 4
Paperback (160 pp. 68 color illus.)
List price EUR 40.- / US$ 52.-

B RI L L S JA PA N ESE ART CATALOG 2014

32

Yoshitoshis One Hundred


Aspects of the Moon

Births and Rebirths


in Japanese Art

John Stevenson

Essays Celebrating the


Inauguration of The
Sainsbury Institute for the
Study of Japanese Arts and
Cultures

January 2001
ISBN 978 90 74 82242 8
Cloth with dustjacket
(272 pp. 165 color illus.)
List price EUR 99.- / US$ 138.-

Edited by Nicole Coolidge


Rousmaniere
January 2001
ISBN 978 90 74 82244 2
Cloth with dustjacket (232 pp.
21 color & 111 b/w illus.)
List price EUR 84.- / US$ 109. European Studies on Japan, 1

Mount Fuji
Sacred Mountain of Japan
Chris Uhlenbeck and Merel Molenaar
January 2000
ISBN 978 90 74 82232 9
Paperback (128 pp. 128 color illus.)
List price EUR 19.- / US$ 25.-

Plunder and Pleasure

The Female Image

Japanese Art in the West,


1860 - 1930

20th Century Japanese


Prints of Japanese Beauties

Max Put

Shinji Hamanaka
and Amy Reigle Newland
January 2000
ISBN 978 90 74 82220 6
Cloth with dustjacket
(216 pp. 280 color illus.)
List price EUR 102.- / US$ 132.-

Images of a forgotten
Master: Toyohara Kunichika
(1835 - 1900)
Amy Reigle Newland
with an essay by Shigeru Oikawa
January 1999
ISBN 978 90 74 82211 4
Cloth with dustjacket
(176 pp. 166 color & 6 b/w illus.)
List price EUR 67.- / US$ 87.-

New Series

Edited by Kuiyi Shen, University of California, San Diego, Sonal Khullar,


University of Washington, and Patrick D. Flores, University of the Philippines
brill.com/maav ISSN 2214-5257

Modern Asian Art and Visual Culture is an academic series devoted to the visual culture
of Asia of the modern period, spanning roughly from the mid-1850s up to the present
day. It includes monographs and edited volumes on art and architecture; art history;
art worlds and markets; visual materials related to propaganda; religion and art and
also extends to the performing arts, cinema and media studies. It also actively seeks
interdisciplinary or theoretical approaches to archaeology, religion, literature, and the
social sciences as well as projects that address modern Asian art and visual culture
from a comparative or interregional perspective.

Between State and Market


Contemporary Art in the Post-Mao Era
Jane DeBevoise
November 2014
ISBN 978 90 04 26801 2
Hardback
List price EUR 103.- / US$ 133. Modern Asian Art and Visual Culture, 2

Liangyou, Kaleidoscopic Modernity


and the Shanghai Global Metropolis,
1926-1945
Edited by Paul G. Pickowicz, Kuiyi Shen
and Yingjin Zhang
November 2013
ISBN 978 90 04 24534 1
Hardback with dustjacket (xii, 288 pp.)
List price EUR 98.- / US$ 127. Modern Asian Art and Visual Culture, 1

33
BR ILLS JAPANE S E A RT CATALOG 201 4

Modern Asian Art and Visual Culture

HOTEI PUBL ISHING

January 2000
ISBN 978 90 74 82209 1
Cloth with dustjacket
(152 pp. 20 b/w illus.)
List price EUR 53.- / US$ 69.-

Time Present
and Time Past

The Anime Paradox

Kabuki at the Crossroads

Kurokawa N

Patterns and Practices


Through the Lens of
Traditional Japanese Theater

Years of Crisis, 1952-1965

Shaping the Image and


Perception of Japans Folk
Traditions, Performing Arts
and Rural Tourism

GLOBAL ORIENTAL

Stevie Suan, University of Hawaii

B RI L L S JA PA N ESE ART CATALOG 2014

34

Founded on richly stylized expression,


Anime has developed into an art
with a high degree of sophistication
that is comparable to that of the
traditional theatrical forms of Noh,
Bunraku, and Kabuki. By analyzing
Anime through the lens of traditional
Japanese theater, the patterns and
practices in Anime can be mapped
out. In The Anime Paradox, Stevie
Suan utilizes this framework to reveal
Animes distinct form, examining
and delineating the particular formal
qualities of Animes structure,
conventions, aesthetics, and modes
of viewing. However, the comparison
works both waysjust as Japanese
theater can give us analytical insights
into Anime, Anime can enrich our
understanding of Japanese classical
theater.

Samuel L. Leiter

Samuel L. Leiters Kabuki at the


Crossroads: Years of Crisis, 19521965 is the first detailed account of
Japans kabuki theatre in the years
immediately following the end of
the Occupation. It examines every
aspect of this traditional theatre as
it struggled to maintain its position
in a rapidly changing postwar
entertainment environment. It covers
acting rivalries, major productions,
theatres, international tours, the
convention of men playing female
roles, name-taking and memorial
ceremonies, the company system and
managerial strategies. In addition,
the volume includes numerous
appendixes chronicling the period,
including a thorough chronology and
150 summaries of new plays never
previously discussed in English.

Eike Grossmann, Hamburg University

In the 1960s, Kurokawas historic n


tradition, as theatre and festival, came
under the spotlight of the Japanese
public. Advertised as secret n of the
snow country it soon became one of
the most well-known and long-studied
folk performing arts traditions.
That a secluded village isolated by
mountainous country around it
should have developed and sustained
a high cultural entertainment such
as n theatre and integrated it into
Shinto shrine festivals, prompted
considerable interest among folklore
scholars, theatre researchers,
politicians, and tourists alike. Even
today Kurokawa n continues to be
regarded as an example of an earlier
form of Japanese culture and folk
tradition that essentially has been
frozen in time over the course of many
centuries.
In this volume, the author provides
a detailed record of the history and
development of Kurokawa n and the
processes of its transmission over the
generations. The author also examines
its impact on the wider cultural life
of Japan and its literary heritage, the
travel industry, government policy
and folklore traditions in Japan
generally. In addition, Kurokawa N
offers an invaluable, authentic case
study in the wider context of notions
of Japanese self-perception and selfrepresentation.

May 2013
ISBN 978 90 04 22214 4
Hardback (358 pp., 45 illus.)
List price EUR 96.- / US$ 133.-

April 2013
ISBN 978 90 04 25009 3
Hardback (approx. 575 pp.)
List price EUR 164.- / US$ 213.-

January 2013
ISBN 978 90 04 22334 9
Hardback (361 pp.)
List price EUR 115.- / US$ 160.-

Commerce and Culture


at the 1910 Japan-British Exhibition:
Centenary Perspectives
Edited by Ayako Hotta-Lister and Ian Nish

The contents include the following themes: The Exhibition


and domestic conditions in Britain and Japan; the
Exhibition and Japans economic background; selling
the backward Japanese economy; imperialism and the
Exhibition; the Japanese media and the Exhibition; the arts
of Britain and Japan; Ainu in London; Japanese fine art; the
human legacy; Japanese gardens.

Makiko Yamanashi

Founded in the hot-spring resort town of the same name


in 1914, Takarazuka is a kaleidoscopic medium, both in
terms of its theatricality and visual characteristics. Yet,
despite its prominence and popularity, it has not received
the academic attention it deserves, especially in the
context of theatre studies. This book, therefore, by taking
an interdisciplinary approach, endeavours to fill this
gap through a detailed analysis of the Takarazuka Revue
Companys history, educational traditions and theatrical
ethos viewed from the prism of Japans modernization
and globalization in the twentieth century. Its important
relationship to Japanese popular culture, especially
in the fields of manga and fashion are also given due
consideration.
Furthermore, because of its unique features as an allfemale performance art appealing mostly to female
Japanese audiences, the study also includes an in-depth
consideration of its continuing success, way of life
and wider social impact from both cultural and social
perspectives.
With Takarazukas centenary fast approaching, A
History of the Takarazuka Revue Since 1914 will have wide
interdisciplinary appeal, as well as in the particular context
of Japanese Studies. Illustrated throughout, supported by
an extensive bibliography, it is divided into five chapters:
l. The Formative Years of Takarazuka; 2.The Mechanisms
of Takarazuka; 3. The Stage Art of Takarazuka Fantasy
Adventure; 4. The Taish Modern; in the Female Domain
of Shjo Bunka; 5. Takarazuka in the Modern Heritage of
Girls Culture and Beyond.

This book has wide inter-disciplinary relevance for students


in modern East Asian Studies, but especially in the context
of colonial and economic history, inter-cultural exchange
and Anglo-Japanese relations.
October 2012
ISBN 978 90 04 22916 7
Hardback (xvii, 231 pp. incl. several illus.)
List price EUR 85.- / US$ 118.-

May 2012
ISBN 978 90 04 20386 0
Hardback (248 pp. including 130 color illus.)
List price EUR 85.- / US$ 117.-

35
BR ILLS JAPANE S E A RT CATALOG 201 4

In the event, the Japanese press, unlike the British press,


took umbrage at what they considered the trivialization
of Japanese culture, thus in part frustrating the positive
cultural, commercial and political outcomes that were
hoped for. Eighteen months later, Emperor Meiji died
and the Great War of 1914-18 followed soon after, thereby
relegating the exhibition its origins, composition,
relevance and impact to oblivion until recent times.
The papers in this volume, therefore, drawn from four
centenary conferences held in London and Tokyo, offer an
important spotlight on the exhibitions legacy specifically
in the contexts of commerce and culture.

Modernity, Girls Culture, Japan Pop

GLOBAL ORIENTAL

This volume, intended to complement Hotta-Listers


original 1999 study, marks the centenary of Londons 1910
great Japan-British Exhibition, which was held at White
City, Shepherds Bush, and attracted over eight million
visitors during its six-month stay. While the initiative came
from Britain, the Japanese Government was the major
source of funding for the Japanese side of the Exhibition.
Using the Anglo-Japanese Alliance as its springboard, Japan
at the time a new colonial power hoped to bring about
a greater understanding of its cultures and traditions and
thereby stimulate trade and commerce between the two
countries.

A History of the Takarazuka


Revue Since 1914

GLOBAL ORIENTAL
B RI L L S JA PA N ESE ART CATALOG 2014

36

Japan and The Graphic

Japan and The Illustrated London News

A Complete Record of Events, 1870-1899

Complete Record of Reported Events, 18531899

Compiled and introduced by Terry Bennett

Edited by Terry Bennett

Launched in December 1869 in direct competition to The


Illustrated London News, (ILN) which first appeared in 1842,
The Graphic set out to upstage its competitor through the
quality and amount of its illustrations (including colour)
and the paper it was printed on. Together, however, the
two periodicals dominated nineteenth-century British
journalism. With circulations far in excess of The Times,
the extent of the news including considerable foreign
reporting opinion and miscellaneous data of these
two publications provides an invaluable resource for
researchers and historians.

The Illustrated London News, launched in 1842, was the


worlds first illustrated newspaper and an immediate
success. Its first report on Japan, however, was not until
eleven years later. Japan and The Illustrated London News
provides a one-stop access point to the complete record of
reported events relating to Japan in the critical half century
following its opening to the West.

As with the ILN, this complementary one-stop reference


volume brings together the complete archive of all reports,
features, illustrations and incidental commentaries relating
to Japan from the first report of 5 February 1870 discussing
Japans recent civil war, the overthrow of the Shiogoon or
Tyocoon, the restoration of the Emperor (Mikado) and a
vindication of Britains policy of firmness vis vis Japan.
Its concluding report on 16 December 1899 (the year of
the ratification of the ending of the Unequal Treaties was
concluded) notes: No power in the world stands in a more
delicate and difficult position than Japan does just now.
This volume of 400 pages includes an 8-page plate section
featuring a selection of The Graphics colour printing
relating to Japan, a full cross-referenced Index by J.E.
Hoare, together with an historical perspective by former
British Ambassador to Japan Sir Hugh Cortazzi and an
introduction to The Graphic in the context of nineteenthcentury media history by Terry Bennett.

November 2011
ISBN 978 19 06 87651 7
Hardback (404 pp.)
List price EUR 140.- / US$ 192.-

September 2006
ISBN 978 19 01 90326 3
Hardback (394 pp., highly illus.)
List price EUR 161.- / US$ 209.-

Tengu
The Shamanic and Esoteric Origins
of the Japanese Martial Arts
Roald Knutsen

As this study shows, the part-hidden tengu under review


passed on and taught the clearest theory of tactics and
strategy to bushi of the highest calibre, the absorption and
mastery of which often decided if the warrior and his clan
lived or were annihilated on the all-too-frequent killing
grounds of the Muromachi age.

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.

Tengu will be widely welcomed in many contexts including


studies relating to martial arts, religion and folklore,
shamanism and mythology, and the social and military
history of Japan.

August 2011
ISBN 978 19 06 87622 7
Hardback (280 pp.)
List price EUR 57.- / US$ 74.-

October 2010
ISBN 978 19 06 87652 4
Hardback (272 pp. including 4 color illus.)
List price EUR 88.- / US$ 114.-

37
BR ILLS JAPANE S E A RT CATALOG 201 4

According to Roald Knutsen, who is widely known for his


writings on the samurai tradition, prompting his life-long
study of tengu the part-human, part-animal creatures
was the early discovery that the tengu of the Muromachi
period were interacting with the deadly serious bugei
masters teaching the arts of war. Here were beings who did
not conform to the comic, goblin-like creatures of common
folklore and were not the creations of the Buddhist priests
intent on demonizing that which they did not understand
and could not control.

Zlia Papp

GLOBAL ORIENTAL

This fully illustrated volume, including an eight-page


colour-plate section, is the first in-depth study in English
to examine the warrior and shamanic characteristics and
significance of tengu in the martial art culture (bugei) of
Muromachi Japan (1336-1573).

Traditional Monster Imagery in Manga,


Anime and Japanese Cinema

AUTHORS IND E X
B RI L L S JA PA N ESE ART CATALOG 2014

38

36 Bennett, T. (ed.) Japan and The Graphic, A Complete


Record of Events, 1870-1899
36 Bennett, T. (ed.) Japan and The Illustrated London
News, Complete Record of Reported Events, 18531899
31 Brown, K. Kawase Hasui, The Complete Woodblock Prints
30 Brown, K. Visions of Japan, Kawase Hasuis Masterpieces
17 Bru, R. Erotic Japonisme, The Influence of Japanese
Sexual Imagery on Western Art
31 Bruschke-Johnson, L. Dismissed as elegant fossils,
Konoe Nobutada and the role of aristocrats in Early
Modern Japan
7 Buckland, R. Painting Nature for the Nation, Taki Katei
and the Challenges to Sinophile Culture in Meiji Japan
27 Carpenter, J. Reading Surimono, The Interplay of Text
and Image in Japanese Prints
15 Clark, J. Modernities of Japanese Art
21 Clark, T.; Gerstle, C.A.; Ishigami, A.; Yano, A. (eds.)
Shunga, Sex and Pleasure in Japanese Art
28 Coats, B. Chikanobu, Modernity and Nostalgia in
Japanese Prints
32 Coolidge Rousmaniere, N. (ed.) Births and Rebirths in
Japanese Art, Essays Celebrating the Inauguration of The
Sainsbury Institute for the Study of Japanese Arts and
Cultures
30 Coolidge Rousmaniere, N.; Hirayama, M. Reflecting
Truth, Japanese Photography in the 19th Century
25 Croissant, D. Splendid Impressions, Japanese Secular
Painting 1400-1900, in the Museum of East Asian Art
Cologne
30 Formanek, S.; Linhart, S. (eds.) Written Texts - Visual
Texts, Woodblock-printed Media in Early Modern Japan
23 Forrer, M. Surimono in the Rijksmuseum Amsterdam
22 Ginsberg, M. The art of influence. Asian propaganda
34 Grossmann, E. Kurokawa N, Shaping the Image and
Perception of Japans Folk Traditions, Performing Arts
and Rural Tourism
6 Haft, A. Aesthetic Strategies of The Floating World,
Mitate, Yatsushi, and Fry in Early Modern Japanese
Popular Culture
33 Hamanaka, S.; Reigle Newland, A. The Female Image,
20th Century Japanese Prints of Japanese Beauties.
30 Herwig, H.; Herwig, A. Heroes of the Kabuki Stage,
An Introduction to the World of Kabuki with Retellings
of Famous Plays, illustrated by Woodblock Prints
28 Herwig, H.; Mostow, J.S. The Hundred Poets Compared,
A Print Series by Kuniyoshi, Hiroshige, and Kunisada
9 Hirasawa, C. Hell-bent for Heaven in Tateyama
Mandara, Painting and Religious Practice at a Japanese
Mountain
35 Hotta-Lister, A.; Nish, I. (eds.) Commerce and Culture
at the 1910 Japan-British Exhibition: Centenary
Perspectives
10 Ikeda, A.; McDonald, A.L.; Tiampo, M. (eds.)
Art and War in Japan and its Empire: 1931-1960
29 Impey, O.; Jrg, C. Japanese Export Lacquer 1580-1850
32 Impey, O. Japanese Export Porcelain, Catalogue of the
Collection of the Ashmolean Museum, Oxford
30 Irvine, G. A Guide to Japanese Art Collections in the UK
18 Iwakiri, Y.; Newland, A. Kuniyoshi, Japanese master of
imagined worlds
31 Jansen, M. Hiroshiges journey in the 60-odd provinces
31 Johnson, H. The Koto, A Traditional Instrument in
Contemporary Japan

13 Johnson, H. The Shakuhachi, Roots and Routes


27 Johnson, H. The Shamisen: Tradition and Diversity
29 Johnson, H. Western Influences on Japanese Art,
The Akita Ranga Art School and Foreign Books
32 Jrg, C. Fine & Curious, Japanese Export Porcelain in
Dutch Collections
8 Kilpatrick, H. Miyazawa Kenji and His Illustrators,
Images of Nature and Buddhism in Japanese Childrens
Literature
28 King, J.; Iwakiri, Y. Japanese Warrior Prints 1646-1905
32 Klompmakers, I. Japanese Erotic Prints, Shunga by
Harunobu and Korysai
37 Knutsen, R. Tengu, The Shamanic and Esoteric Origins
of the Japanese Martial Arts
34 Leiter, S.L. Kabuki at the Crossroads, Years of Crisis,
1952-1965
11 Lillehoj, E. Art and Palace Politics in Early Modern
Japan, 1580s-1680s
28 Manheim, R. Haiku & Haiga, Moments in Word
and Image
24 Marks, A. Genjis World in Japanese Woodblock Prints
19 Marks, A. Kunisadas Tkaid, Riddles in Japanese
Woodblock Prints
26 Marks, A. Publishers of Japanese Woodblock Prints:
A Compendium
3 Mostow, J.S. Courtly Visions, The Politics of Cultural
Appropriation and the Ise Stories (Ise monogatari)
27 Mueller, J. Competition and Collaboration, Japanese
Prints of the Utagawa School
29 Mueller, J. Strong Women, Beautiful Men, Japanese
Portrait Prints from the Toledo Museum of Art
16 Nakamura, T. (ed.) Images of Familial Intimacy
in Eastern and Western Art
2 Orbaugh, S. Performing Propaganda: Kamishibai
in Japans Fifteen Year War (provisional)
37 Papp, Z. Traditional Monster Imagery in Manga, Anime
and Japanese Cinema
33 Put, M. Plunder and Pleasure, Japanese Art in the West,
1860 - 1930
30 Reigle Newland, A. (ed.) Printed to Perfection,
Twentieth-century Japanese Prints from the
Robert O. Muller Collection
31 Reigle Newland, A. (ed.) The Commercial and Cultural
Climate of Japanese Printmaking
29 Reigle Newland, A. (ed.) The Hotei Encyclopedia
of Japanese Woodblock Prints (2 vols.)
33 Reigle Newland, A. (ed.) Time Present and Time Past,
Images of a forgotten Master: Toyohara Kunichika
(1835 - 1900)
27 Reigle Newland, A.; Perre, J.; Schaap, R. Crows, Cranes
& Camellias, The Natural World of Ohara Koson 1877-1945
11 Rodner, W.S. Edwardian London through Japanese Eyes,
The Art and Writings of Yoshio Markino, 18971915
12 Rosenfield, J. Portraits of Chgen, The Transformation
of Buddhist Art in Early Medieval Japan
27 Schaap, R. A Brush With Animals [hardback],
Japanese Paintings 1700-1950
26 Schaap, R.; Rimer, J.T. The Beauty of Silence, Japanese
N and Nature Prints by Tsukioka Kgyo (1869-1927)
31 Segawa Seigle, C.; Marks, A. H.; Summersgill, H. M.;
Reigle Newland, A.; Hinkel, M. A Courtesans Day:
Hour by Hour

AUTHORS IND E X
39

32 Stevenson,
Yoshitoshis
One
Aspects of the
he sher Namishichi,
SekiJ.Utasuke
as Zeze
noHundred
Shz, Na-

Moon
28 Stevenson, J. Yoshitoshis Strange Tales
II as Princess
inThe
the play
Sekai
no hana
Oguri gaiden
34 Terute,
Suan, S.
Anime
Paradox,
Patterns
and Practices
ers, an Oguri Anecdote),
performed
at
the
Nakamura
Through the Lens of Traditional Japanese Theater
Suzuki, series
J.; Tinios,
E. (eds.) Understanding
1851, from 14
an untitled
of horizontal
actor prints. c. Japanese
Woodblock-Printed
Illustrated
Short
shed by Kobayashi Taijir. Colour woodblockBooks,
print, A
ban.
Introduction to Their History, Bibliography and Format
University
11 Suzuki, Y. Medicine Master Buddha: The Iconic
Worship of Yakushi in Heian Japan
4 Szostak, J. Painting Circles: Tsuchida Bakusen and
Nihonga Collectives in Early Twentieth Century Japan
27 Uhlenbeck, C.; Jansen, M. Hiroshige, Shaping the
Image of Japan

as Onigawara no Dhachi, Arashi Otohachi III as Untenb,

32 Uhlenbeck, C.; Molenaar, M. Mount Fuji,


Sacred Mountain of Japan
25 Uhlenbeck, C.; Reigle Newland, A. (eds.) Yoshitoshi,
Masterpieces from the Ed Freis Collection
29 Uhlenbeck, C.; Winkel, M. Japanese Erotic Fantasies,
Sexual Imagery of the Edo Period
28 Varshavskaya, E. Heroes of the Grand Pacification,
Kuniyoshis Taiheiki eiy den
20 Waterhouse, D. The Harunobu Decade, A Catalogue
of Woodcuts by Suzuki Harunobu and his followers
in the Museum of Fine Arts, Boston
5 Wattles, M. The Life and Afterlives of Hanabusa Itch,
Artist-Rebel of Edo
29 Weinberg, D.R. Kuniyoshi. The Faithful Samurai
35 Yamanashi, M. A History of the Takarazuka Revue

Canonization
of station-c
Since 1914, Modernity, Girls Culture, Japan Pop
BR ILLS JAPANE S E A RT CATALOG 201 4

16 Sorensen, J.T. Optical Allusions, Screens, Paintings,

and
Poetry
in (from
Classical
Japan
(ca.Ichikawa
800-1200)
sada. Fifty-one:
The
actors
right
to left)

B RI L L S JA PA N ESE ART CATALOG 2014

40

Subscribe to Brills Asian Studies Newsletter


& Art and Architecture Newsletter
Find Brills (Asian) Art program
on Facebook and Twitter!
Twitter.com/Brill_Asian
Twitter.com/Brill_Hotei
Twitter.com/GlobalOriental
Facebook.com/BrillAsian
Visit our YouTube page:
These free email newsletters will keep you up-to-date on all
developments in our (Asian) Art lists:
- recently published and forthcoming titles,
reference works, books and journals
- news about conferences and events
- special offers
- and much more
Go to brill.com/newsletters for a full overview
and to subscribe now!

Youtube.com/BrillPublishing
Dont forget to bookmark our dedicated web pages:
brill.com/asianstudies
brill.com/hotei
brill.com/globaloriental
brill.com/jvc

Where to Order
Book Orders

Customers in the Americas


BRILL
c/o Books International
P.O. Box 605
Herndon, VA 2017 2-0605
USA
T (800) 337 -9255
(toll free, US & Canada only)
T +1 (703) 661 -15 85
F +1 (703) 661 -15 01
brillmail@presswarehouse.com

All customers can order via our website brill.com. To make sure the ordering
process is safe Brill uses the latest encryption technology and other methods to
protect your credit card information.

Journal Orders

All Customers Worldwide


BRILL
c/o Turpin Distribution
Stratton Business Park
Pegasus Drive
Biggleswade
Bedfordshire SG18 8TQ
United Kingdom

Online Products

Primary Source Collections


Customers Outside the Americas
BRILL
P.O. Box 9000
2300 PA Leiden
The Netherlands
T +31 (0)71-53 53 500
F +31 (0)71-53 17 532
sales-nl@brill.com

Customers in the Americas


BRILL
153 Milk Street, Sixth Floor
Boston, MA 02109
USA
T 1-617-263-2323
F 1-617-263-2324
sales-us@brill.com

Customers in the Americas


BRILL
153 Milk Street, Sixth Floor
Boston, MA 02109
USA
T 1-617-263-2323
F 1-617-263-2324
sales-us@brill.com

For our General Ordering Information and Conditions of Sale please see
brill.com or contact our sales department directly at sales-nl@brill.com
(customers outside the Americas), sales-us@brill.com (customers in the Americas)

Inge Klompmakers, Acquisitions Editor


HOTEI Publishing & Japan Studies
klompmakers@brill.com
Paul Norbury, Senior Acquisitions
Editor, Global Oriental/Brill
norbury@brill.com
Thomas Begley,
Assistant Editor Asian Studies
begley@brill.com
For questions about our marketing
please contact Heleen Palmen,
Marketing Manager,
marketing@brill.com
BRILL
P.O. Box 9000
2300 PA Leiden
The Netherlands
VAT number NL 001539243 B01
Commercial Register Leiden 28000012

Sales Contacts
Asia, Africa, Europe, the Middle East,
Australia & New Zealand
Veronica van Nieuwenhuyzen,
nieuwenhuyzen@brill.com
Asia
Ching Hui Tsai, tsai@brill.com
Europe: Trade Sales
Eva Wantzen, wantzen@brill.com
Europe: Library Sales
Linda Empringham,
empringham@brill.com
Europe: Library Sales Benelux,
Germany, Eastern Europe
Dominique de Roo, roo@brill.com
The Americas:
Eleanor Kerrissey,
kerrissey@brill.com
North America: Library Sales
Ellen Endres, endres@brill.com
Sylvia Bonadio, bonadio@brill.com

All prices may be subject to change without prior notice. Prices do not include VAT (applicable only to residents of the Netherlands and residents of other EU member states
without a VAT registration number). Prices do not include shipping & handling except for journals where shipping and handling is included in the price (applicable to all customers
worldwide). Customers in Canada, USA and Mexico will be charged in US Dollars. Please note that due to fluctuations in the exchange rate, the US dollar amounts charged to credit
card holders may vary slightly from the prices advertised. For non-exempt customers in the USA sales tax will be charged for purchases originating from MA, MO, NY, and VA.

41
BR ILLS JAPANE S E A RT CATALOG 201 4

Customers Outside the Americas


BRILL
P.O. Box 9000
2300 PA Leiden
The Netherlands
T +31 (0)71-53 53 500
F +31 (0)71-53 17 532
sales-nl@brill.com

T +44 (0) 1767 604-954


F +44 (0) 1767 601-640
brill@turpin-distribution.com

If you would like to get in touch with


the Brill publishing team please feel
free to contact us.

OR D ER I NF OR M ATI ON AND CONTAC T PAGE

Customers Outside the Americas


BRILL
c/o Turpin Distribution
Stratton Business Park
Pegasus Drive
Biggleswade
Bedfordshire SG18 8TQ
United Kingdom
T +44 (0) 1767 604-954
F +44 (0) 1767 601-640
brill@turpin-distribution.com

Contact

Brill offers publications in the following areas:

BRILL
P.O. Box 9000
2300 PA Leiden

African Studies

International Law

The Netherlands

American Studies

International Relations

F +31 (0)71-53 17 532

Ancient Near East and Egypt

Jewish Studies

Art and Architecture

Language and Linguistics

153 Milk Street, Sixth Floor

Asian Studies

Middle East and Islamic Studies

USA

Biblical Studies

Philosophy

F 1-617-263-2324

Biology

Religious Studies

Classical Studies

Slavic and Eurasian Studies

History

Social Sciences

Human Rights and Humanitarian Law

Theology and Missiology

HP - CvH - Jan 2014

T +31 (0)71-53 53 500


sales-nl@brill.com
BRILL
Boston, MA 02109
T 1-617-263-2323
sales-us@brill.com

brill.com