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Japanese woodblock prints [ edit ]
20th century [ edit ]
19th century [ edit ]
18th century [ edit ]
夜の梅を見る女 [Woman looking at plum blossoms at night] by
Suzuki Harunobu 鈴木春信画 (about 1768)
調布の玉川 [The Jewel River at Chōfu] by
Suzuki Harunobu 鈴木春信画 (1768)
17th century [ edit ]
16th century [ edit ]
15th century [ edit ]
Japanese calligraphy and poetry [ edit ]
The poem was written by Kamo no Chōmei 鴨長明, the self-isolated monk who lived in medieval Japan at the end of XII and beginning XIII century.
ながむれば に
もの おもう あき に
また わが み
ひとつ の みね の
まつ かぜ
Gazing into the distance,
in a melancholy autumn mood,
is it for me alone that winds
howl through boughs of pines
on that solitary peak?
[note 1] —Trans. John T. Carpenter. (Source: The Metropolitan Museum of Art ). Image above: Imaginary portrait of Kamo no Chōmei , this graphical impression of the poet was created by the Japanese artist Kikuchi Yosai 菊池 容斎 (1781-1878). Note:
Forth line in the translation of the poem refers to a literal meaning of Japanese characters
kanji "松風" (Matsukaze), which direct translation is 'wind blowing against the forest of pine trees'. The same characters were also used in Japanese literature as expression to describe a desolate or state of waiting. In calligraphic representation of the poem by Hon'ami Kōetsu, the under-painting depiction of cherry blossoms (image on the left) seemed clashing with the poem's mood of melancholy.
本阿見光悦書・俵屋宗達下絵 桜下絵和歌色紙 鴨長明 [Poem by Kamo no Chōmei with Underpainting of Cherry Blossoms] Calligraphy by
Hon'ami Kōetsu 本阿弥 光悦 (1606)
The Poet Koōgimi (小大君) from the “Fujifusa Version” of Thirty-six Poetic Immortals by unknown artist (15th century). Ink and color on paper (handscroll fragment), mounted as a hanging scroll.
References [ edit ]
^ Forth line in the translation of the poem refers to a literal meaning of Japanese characters kanji "松風" (Matsukaze), which direct translation is 'wind blowing against the forest of pine trees'. The same characters were also used in Japanese literature as expression to describe a desolate or state of waiting.
References [ edit ]
Sources [ edit ]
Nagata, Seiji (2005). 北斎展 [Hokusai Exhibition. ] (in jap). Tokyo: Nihon Keizai Shinbunsha. p. 190. {{cite book }}
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Asano, Shūgō; Clark, Timothy (2017). 北斎 : 富士を超えて [Hokusai: Beyond Mount Fuji. ] (in jap). Osaka: Abeno Harukasu Bijutsukan. p. 82. {{cite book }}
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Clark, Timothy (2017). Hokusai: Beyond the Great Wave . London: Thames & Hudson . p. 114.
Munsterberg, Hugo (1982). The Japanese Print: A Historical Guide . New York: John Weatherhill Inc. p. 51.
Addiss, Stephen (1996). How to Look at Japanese Art . New York: Harry N. Abrams . p. 98.
Waterhouse, David (2004). "Harunobu in Chiba (Review)". Impressions . 26 (Japanese Art Society of America ): 118–126. JSTOR 42597835 .
Carpenter, John (2012). Designing Nature: The Rinpa Aesthetic in Japanese Art . New York: The Metropolitan Museum of Art . p. 66.
Lippit, Yukio; Ulak, James (2015). Sōtatsu . Washington, D.C.: Smithsonian Institution . pp. 210–211.
External links [ edit ]
Keisai Eisen [ edit ]
Suzuki Harunobu [ edit ]