04 November 2006
meadowsweet
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morley-fletcher's 1916 instructional manual, 'woodblock printing by the japanese method,' is entirely online here.
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Labels: frank morley fletcher, hiroshi yoshida
03 November 2006
serendipity
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i also didn't mention the quandry that put me in, because there i sat in my nyc hotel room, watching bits of san francisco burning on the tv,
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i went to the hirschl adler gallery to see their arts and crafts show, since immortalized in their book, 'from architecture to object.' and there i saw for the first time the work of b.j.o. nordfeldt.
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Labels: bjo nordfeldt, hiroshige ando
02 November 2006
purely Japanese character
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after moving to england from australia, menpes was swept into the japonisme craze. he became whistler's apprentice and helper. but unlike whistler, menpes actually went to japan, and he went more than once.
In his paintings of Japanese daily life, Menpes explores the subtleties of Japanese art, emulating the balance and perfection which he saw all around him and describes in some detail in his notes accompanying his illustrations in Japan A Record in Colour. Menpes admired the Japanese painters who would ponder for hours and sometimes weeks over the placing of every last object in their paintings. The proper placing of objects is not only an exact science, but also it forms almost a religion with the Japanese. When you just arrive in Japan you are at once impressed with the perfect placing of everything about you."2
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The cabinets of purely Japanese character in the dining-room ... are charming in their frank simplicity, and greatly to be preferred to the over-elaborated and decorated cabinets with their carved ivory and pearl inlays which have been made in recent years by the Japanese for the European market.3
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Labels: mortimer menpes
01 November 2006
she stoops to conquer?
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beautiful woman in the west stands tall and smiles. beautiful woman in the east does neither. does this legacy hold? i doubt it. but this is what the artists recorded for several centuries in japan. it's hard for me to see it except through western eyes. what does it mean?
Labels: Chikanobu Toyohara, comment, fashion, Kunichika Toyohara, paul berthon, Utamaro Kitagawa, women
seeing the moonlight
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spilling down
through these trees,
my heart fills to the brim
with autumn.
ono no komachi
see the charming website 'crackle mountain' in which japanese and chinese folk tales are illustrated with images choices that span the ages.
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Labels: hiroshige ando, ono no komachi, walter j phillips
31 October 2006
too many legs
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at the last moment his faithful manservant noticed that, on the wall behind her was
THE SHADOW NOT OF A WOMAN, BUT OF A SPIDER!!
he smote (smited?) the spider and everyone lived happily ever after. but when the little spider in your corner calls out to you tonight, ignore it, pretend you don't hear, turn your face to the wall and
turn up your ipod.
and if you wake with someone that you don't remember, be careful. they just might have six too many legs.
happy halloween!
('smiling spider' by odilon redon; 'raiko and the spider' by yoshitoshi tsukioka)
Labels: odilon redon, yoshitoshi Taiso
fantastic impressions
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i struck out for a new and method of work which was founded on japanese art quite original in the main... fantastic impressions treated in the finest possible outline with patches of 'black blot.'
AUBREY BEARDSLEY
taking freely all that the japanese art could give him, that release from the bondage of what we call real things, beardsley made the world over again in his head, as if it existed only when it was thus re-made... in black line on a white surface,
in white line on black surface.
ARTHUR SYMONS, fortnightly review, may 1, 1898
(quotes from 'beardsley, japonisme, and the perversion of the victorian ideal'; zatlin; columbia university press 1997)
upper print from a hokusai manga
AUBREY BEARDSLEY
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in white line on black surface.
ARTHUR SYMONS, fortnightly review, may 1, 1898
(quotes from 'beardsley, japonisme, and the perversion of the victorian ideal'; zatlin; columbia university press 1997)
upper print from a hokusai manga
Labels: aubrey beardsley, hokusai
30 October 2006
29 October 2006
the butterfly dance
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Around the turn-of-the-century the figure of the dancer, and particularly that of Loïe Fuller, can be found at the heart of an aesthetic revolution in Paris. Fuller appears in writings on this historical period as the figure who “embodied” the changing perception of human physicality, in particular its function regarding the production of meaning. Fuller's dancing is an exemplary model of transformation through flux and rhythmic continuity.
Following is a description of Fuller by her contemporary, Isadora Duncan, who travelled with Fuller to Berlin prior to her own successful tours to Europe: "Before our very eyes she turned to many-coloured shining orchids, to a wavering, flowing sea-flower, and at length to a spiral-like lily, all the magic of Merlin, the sorcery of light, colour, flowing form... She transformed herself into a thousand colourful images before the eyes of her audience. Unbelievable. Not to be repeated or described."
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Stephane Mallarme, the leading poet of the Symbolist movement, dubbed her "La Loie" and described her dancing as "the dizzyness of soul made visible by an artifice."
video of "skirt dancing"
more photos of la loie and of sada yacco, a dancer from japan who came to study and dance with fuller. (go all the way to the end on the right, then click on the photo)
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Labels: dance, loie fuller
shall we dance
no
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of course, ukiyo-e is the art of the floating world. it's the art of the theater and the geisha and the courtesans and the butterfly dancers. some of the rules, restrictions, that came about when the west came in, sadly, slowed down production of the "green house" images.
(seed sowing dance)
Labels: dance, eisen tomioka, Shuntei Miyagawa, Tsukioka YOSHITOSHI