Cover

pdf iconDownload PDF
 

Title Page, Copyright Page

pdf iconDownload PDF
 

Contents

pdf iconDownload PDF

pp. v-vi

Illustrations

pdf iconDownload PDF

pp. vii-x

read more

Foreword

pdf iconDownload PDF

pp. xi-xii

This book is based on a symposium, “Classicism in Japanese Art of the Early Edo Period,” which was sponsored by the Ruth and Sherman Lee Institute for Japanese Art at the Clark Center in Hanford, California, in June 1999. Many of the institute’s goals are similar to those of other museums both large and small—in particular, collecting, exhibiting, and preserving works of art and ...

read more

Introduction

pdf iconDownload PDF

pp. 1-20

In Japan, the seventeenth century was a time of remarkable artistic innovation developing in the midst of ineluctable social change. A protracted phase of civil strife had ended, and a triumphant military clan was inaugurating a new regime of power. This clan, the Tokugawa, installed their administration—a military government (bakufu) headed by a shogun—at Edo, launching the ...

read more

Chapter One. Terminology and Ideology: Coming to Terms with “Classicism” in Japanese Art-Historical Writing

pdf iconDownload PDF

pp. 21-52

The very title of this book, Critical Perspectives on Classicism in Japanese Painting, 1600–1700, and the assembled chapters—all of which refer to the seemingly familiar Western concept of classicism—compel us to pose a set of questions. What does it mean when we characterize a period as being “classic” in a European context, and what does it mean when we apply this expression to ...

read more

Chapter Two. Tawaraya Sōtatsu and the “Yamato-e Revival”

pdf iconDownload PDF

pp. 53-78

Modern Japanese art historians typically identify Tawaraya Sōtatsu (d. 1643?) as an independent town painter (machi-eshi) active in the city of Kyoto in the early Edo period (1600–1868), or more specifically around 1630.1 Sometime before 1630, the court appointed him to the rank of hokkyō (Bridge of the Law) owing to his great talent, and they provided him with many imperial commissions.2 ...

read more

Chapter Three. The Patrons of Tawaraya Sōtatsu and Ogata Kōrin

pdf iconDownload PDF

pp. 79-98

Recent research on the history of Japanese art reveals that a construct known as Japanese art history (Nihon bijutsu shi) began emerging at the start of Japan’s modern era, that is, during the Meiji period (1868–1912) and the Taishō period (1912–1926). This construct contributed to the formation of a Japanese sense of national identity in the early twentieth century and, consequently, ...

read more

Chapter Four. Japanese Exemplars for a New Age: Genji Paintings from the Seventeenth-Century Tosa School

pdf iconDownload PDF

pp. 99-132

Is it correct to apply the terms “classicism” and “classical revival” to early Edo art? My own position has changed since 1998, when I coorganized the symposium on which this volume is based. The routine employment—and apparent acceptance—of such terms by most scholars of Japanese art and literature notwithstanding, applying a system of Western aesthetic principles to the study ...

read more

Chapter Five. A New “Classical” Theme: The One Hundred Poets from Elite to Popular Art in the Early Edo Period

pdf iconDownload PDF

pp. 133-168

Although the One Hundred Poets, One Poem Each collection (Hyakunin isshu), edited by Fujiwara no Teika (1162–1241) in the 1230s, was esteemed as the preeminent compilation of Japanese poetry by the fourteenth century, it did not become a theme for visual art until the early seventeenth century. This fact is surprising when we remember that the genre of imaginary portraits of famous poets ...

read more

Chapter Six. Classical Imagery and Tokugawa Patronage: A Redefinition in the Seventeenth Century

pdf iconDownload PDF

pp. 169-186

In art, however, “classical” most commonly refers to a work of the highest rank or importance that becomes a model. For at least five centuries, Western art history has located such a model in the perfected human image and pure forms of Greek art and architecture.1 But in Japanese painting, themes and styles were not consistently revived from a single time period, nor did they comprise ...

read more

Chapter Seven. Uses of the Past: Gion Float Paintings as Instruments of Classicism

pdf iconDownload PDF

pp. 187-206

A close study of one set of artworks—the Gion Festival Floats (Gion sairei boko), door paintings once installed in palace halls of Empress Tōfukumon’in (1607–1678)—offers a unique perspective on the imperial family and its role in the so-called classical revival in art of the early Edo period (1600–1868).1 (See Plates 14–15.) Born into the ruling Tokugawa clan seven years after their ...

read more

Afterword

pdf iconDownload PDF

pp. 207-212

The essays in this volume reveal both the advantages and the disadvantages inherent in the topic “Classicism in Japanese Art of the Early Edo Period.” The notion of a classical revival in the seventeenth century has a venerable academic pedigree and considerable support from visual evidence. A great many seventeenth-century paintings and works of craft decoration contain images ...

Appendix: Artists and Schools

pdf iconDownload PDF

pp. 213-216

Glossary

pdf iconDownload PDF

pp. 217-224

Kanji List

pdf iconDownload PDF

pp. 225-236

Selected Bibliography

pdf iconDownload PDF

pp. 237-260

Contributors

pdf iconDownload PDF

pp. 261-262

Index

pdf iconDownload PDF

pp. 263-272

Images Follow Page 132

pdf iconDownload PDF