Thematische Bibliographien / Japanese woodblocks

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Auswahl der wissenschaftlichen Literatur zum Thema „Japanese woodblocks“

Autor: Grafiati

Veröffentlicht am 29. Juni 2021

Zuletzt aktualisiert am 6. Februar 2022

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Zeitschriftenartikel zum Thema "Japanese woodblocks"

van Steenpaal, Niels. „Taming the Fire Horse“. East Asian Publishing and Society 5, Nr. 2 (03.08.2015): 178–216. http://dx.doi.org/10.1163/22106286-12341277.

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Despite the increasing popularity of studies of early modern Japanese print culture, the field has primarily restricted itself to examinations of the commercial printindustry—a bias that has come at the price of ignoring a wide variety of non-profit publications that, based on the frequency with which they appear in the archives, clearly played an important role in people’s lives. This article aims to highlight and clarify the significance of these non-profit publications through a case study of so-calledsein, or freely distributed single sheet pamphlets. Concretely, I will focus on how these pamphlets were used in the campaign against the superstition that women born in the year of the Fire Horse (hinoeuma) were a curse upon their husbands, leading them to an early death. By examining these pamphlets as they were distributed before and during the two consecutive Fire Horse years of Tenmei 6 (1786) and Kōka 3 (1846), I will show that the pamphlets were able to achieve wide circulation through a combination of extended networks of human resources, a variety of media strategies, and the phenomenon of sponsored variant woodblocks.

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Hoshino, Atsushi, Takayuki Mizuno, Keiichi Shimizu, Shoko Mori, Sachiko Fukada-Tanaka, Kazuhiko Furukawa, Kanako Ishiguro, Yoshikazu Tanaka und Shigeru Iida. „Generation of Yellow Flowers of the Japanese Morning Glory by Engineering Its Flavonoid Biosynthetic Pathway toward Aurones“. Plant and Cell Physiology 60, Nr. 8 (28.05.2019): 1871–79. http://dx.doi.org/10.1093/pcp/pcz101.

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Abstract Wild-type plants of the Japanese morning glory (Ipomoea nil) produce blue flowers that accumulate anthocyanin pigments, whereas its mutant cultivars show wide range flower color such as red, magenta and white. However, I. nil lacks yellow color varieties even though yellow flowers were curiously described in words and woodblocks printed in the 19th century. Such yellow flowers have been regarded as ‘phantom morning glories’, and their production has not been achieved despite efforts by breeders of I. nil. The chalcone isomerase (CHI) mutants (including line 54Y) bloom very pale yellow or cream-colored flowers conferred by the accumulation of 2′, 4′, 6′, 4-tetrahydoroxychalcone (THC) 2′-O-glucoside. To produce yellow phantom morning glories, we introduced two snapdragon (Antirrhinum majus) genes to the 54Y line by encoding aureusidin synthase (AmAS1) and chalcone 4′-O-glucosyltransferase (Am4′CGT), which are necessary for the accumulation of aureusidin 6-O-glucoside and yellow coloration in A. majus. The transgenic plants expressing both genes exhibit yellow flowers, a character sought for many years. The flower petals of the transgenic plants contained aureusidin 6-O-glucoside, as well as a reduced amount of THC 2′-O-glucoside. In addition, we identified a novel aurone compound, aureusidin 6-O-(6″-O-malonyl)-glucoside, in the yellow petals. A combination of the coexpression of AmAS1 and Am4′CGT and suppression of CHI is an effective strategy for generating yellow varieties in horticultural plants.

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Titareva, Diana Stanislavovna. „The influence of Ukiyo-e on the artistic language of easel graphics of A. P. Ostroumova-Lebedeva in the 1900s-1920s (on the example of St. Petersburg collection of woodblock prints)“. Культура и искусство, Nr. 3 (März 2021): 47–57. http://dx.doi.org/10.7256/2454-0625.2021.3.32778.

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The article reviews and analyzes the key easel graphic works by A. P. Ostroumova-Lebedeva from St. Petersburg collection of woodblock prints, created over the period from 1900s to 1920s. These works resemble the genre of Japanese art Ukiyo-e. The subject of this research is the uniqueness of the artistic language and the means of its expression in the works of A. P. Ostroumova-Lebedeva. Alongside other Russian artists of the turn of the XIX – XX centuries she was affected by Ukiyo-e, but perceived the Japanese wood engraving on a more profound level. The author examines the works of accomplished in this period, as well draws parallels with the woodblock prints of Japanese masters, using the formal-stylistic method. This approach is relevant as it reveals the role Japanese woodblock prints played in the establishment of artistic language of A. P. Ostroumova-Lebedeva. Within the Russian art history, this research is one of the few attempts of conducting comparative analysis between the woodblock prints of A. P. Ostroumova-Lebedeva and the works of Japanese masters, which defines the scientific novelty. The conclusion is made that the influence of Ukiyo-e can be traced in the compositional solution and in use of particular Japanese motifs in her works. The artist also contributed to the establishment of woodblock prints as an independent genre of graphic art, having enriched it with the images and color introduced by the Japanese masters.

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Zatlin, Linda Gertner. „Aubrey Beardsley's “Japanese” Grotesques“. Victorian Literature and Culture 25, Nr. 1 (1997): 87–108. http://dx.doi.org/10.1017/s1060150300004642.

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Aubrey Beardsley made major contributions to the art of the grotesque. Initially, he probably learned the theory as well as the technique of creating designs in this mode from the work of medieval European artists. His own development of the grotesque, however, rests on his treatment of subject matter, a treatment which was influenced by Japanese woodblock artists. The double viewpoint, both expressing an author's point of view and critiquing one's own society, is seen most frequently in humorous grotesque Japanese woodblock designs, which were collected, exhibited, and reproduced in England during the 1890s. In order to detail one of Beardsley's major contributions to this form, this essay will first delineate Beardsley's attraction to the grotesque as well as his exposure to Japanese art, and, after examining the ways in which the grotesque works, it will concentrate on Beardsley's adaptations of the Japanese grotesque.

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Delank, Claudia. „The Painters of the Blaue Reiter and Japan“. Journal of Japonisme 5, Nr. 1 (18.12.2019): 71–91. http://dx.doi.org/10.1163/24054992-00051p03.

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Abstract Japonisme, like today’s Japanese pop culture, is a transcultural phenomenon. In the ‘classical phase of Japonisme’ individual artists were influenced by Japanese art (especially by ukiyo-e woodblock prints) and transcended thematic and compositional adaption: the confrontation with Japanese art sparked a creative process and led to new developments in art. Japonisme became not only an important medium in the development of modern western art, but also attested a cultural transcendence.

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KOLTSOVA, DARYA. „Maximilian Voloshin’s japanese print collection in the context of european orientalism“. Journal of Education Culture and Society 4, Nr. 2 (10.01.2020): 316–24. http://dx.doi.org/10.15503/jecs20132.316.324.

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The paper is concerned with Maksimilian Voloshin’s Japanese woodblock print collec-tion. It starts with a short historical sketch of Orientalism in Europe and Russia, illustrating various highlights and the evolution of the image of the East in the minds of Europeans, and designed so that the emergence of Voloshin’s interest in Japanese art and his activity of collecting Ukiyo-e prints can be considered in the context of European Orientalism.

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CLANCEY, GREGORY. „The Meiji Earthquake: Nature, Nation, and the Ambiguities of Catastrophe“. Modern Asian Studies 40, Nr. 4 (18.09.2006): 909–51. http://dx.doi.org/10.1017/s0026749x06002137.

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On October 28, 1891, one of the most powerful earthquakes in modern Japanese history rocked the main island of Honshu from Tokyo to Osaka. Centered on the populous Nōbi Plain north of Nagoya, this was the first daishinsai (‘great earthquake disaster’) of the Meiji era, and the strongest to visit central Japan in 37 years. The Great Nōbi Earthquake killed only 7–8,000 people (compared to the over 100,000 destined to die in the Great Kantō Earthquake of 1923), mostly inhabitants of towns and villages in Nagoya's hinterland. But its breadth and power were unprecedented in the memories of most Japanese, and the event became the subject of many dozens of books, newspaper and journal articles, paintings and woodblock prints, and even images on fans, plates, and lampshades. This was Japan's first truly national natural catastrophe. It was national in the sense that it was deemed by many of its narrators to have affected the new nation-state directly, and a nationalizing discourse of alarm, regret, recrimination, sympathy, and even patriotism was generated around it by a newly-consolidating modern print media.

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Fraleigh, Matthew. „TRANSPLANTING THE FLOWER OF CIVILIZATION: THE “PEONY GIRL” AND JAPAN'S 1874 EXPEDITION TO TAIWAN“. International Journal of Asian Studies 9, Nr. 2 (Juli 2012): 177–209. http://dx.doi.org/10.1017/s1479591412000022.

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This article examines available narratives and modes of representation concerning “civilization” and “savagery” in the early Meiji proto-colonial discursive sphere. It focuses on a major event in the 1874 Taiwan Expedition: Japan's capture and attempted assimilation of an orphaned aboriginal girl. Through an analysis of Japanese newspaper reports, woodblock prints, illustrated books, and commercial photography, this article argues that alongside the well-characterized “rhetoric of aboriginal savagery” that exaggerated the otherness of Taiwanese indigenes, there developed a synergistic “rhetoric of aboriginal civilization” that emphasized the indigenes' capacity for transformation. This mode of representation stressed not the aboriginals' alterity but rather their latent affinity to Japan. According the aboriginal a measure of temporality, the rhetoric of aboriginal civilization formed an indispensable counterpart to the rhetoric of aboriginal savagery: one that affirmed the campaign's “civilizing” component by demonstrating its viability.

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Kaplas, Tommi, Kari Laitinen, Tuula Moilanen, Yrjö Tolonen, Kristoffer Albrecht und Raimo Silvennoinen. „Optical sensing of parameters crucial for Japanese woodblock print making“. Optical Review 17, Nr. 3 (Mai 2010): 252–56. http://dx.doi.org/10.1007/s10043-010-0044-1.

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Robertson, Marta. „Floating Worlds: Japanese and American Transcultural Encounters in Dance“. Congress on Research in Dance Conference Proceedings 2014 (2014): 126–35. http://dx.doi.org/10.1017/cor.2014.18.

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The repurposed metaphor “floating worlds,” from Japanese woodblock prints, highlights political junctions when transcultural American and Japanese dance collide and reconfigure. The first “floating world” is an “Ethiopian Concert” presented by Commodore Matthew Perry's Japanese Olio Minstrels in celebration of The Treaty of Peace and Amity (1854). The second challenges nostalgic Western notions of an “Old Japan” through the aggressively westernized Tokyo School of Music, where modern dancer Michio Ito trained for an opera career. Third, a post–World War I Peace Festival in Washington, DC, which included Ito's “eccentric dances,” documents an early Japanese diaspora within mainstream America. The final “floating world” conversely locates transcultural America outside of the United States through Ito's “Spirit of ’76” spectacle, staged for Occupied Forces following his unjust deportation to Japan. I apply analytical concepts of transcultural historians to imagine a global past that is less recognized, but no less nuanced, than the global present.

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Dissertationen zum Thema "Japanese woodblocks"

Winther, Leslie. „Från Japan till Sundborn : En undersökning av Karin Larssons textilier“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.

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The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.

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Tobin, Amanda. „A Solution to “The Woman Question”: Envisioning the Japanese Woman in the Bijin-ga of Japan's Modern Print Designers“. Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305769350.

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Damian, Michelle Rodgers Bradley. „Archaeology through Art: Japanese Vernacular Craft in Late Edo-Period Woodblock Prints“. [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2738.

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Williams, Kristin Holly. „Visualizing the Child: Japanese Children's Literature in the Age of Woodblock Print, 1678-1888“. Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10112.

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Children’s literature flourished in Edo-period Japan, as this dissertation shows through a survey of eighteenth-century woodblock-printed picturebooks for children that feature children in prominent roles. Addressing a persisting neglect of non-Western texts in the study of children’s literature and childhood per se, the dissertation challenges prevailing historical understandings of the origins of children’s literature and conceptions of childhood as a distinct phase of life. The explosive growth of print culture in seventeenth- and eighteenth-century Japan not only raised expectations for adult literacy but also encouraged the spread of basic education for children and the publication of books for the young. The limited prior scholarship on Edo-period Japanese children’s books tends to dismiss them as a few isolated exceptions or as limited to moralistic primers and records of oral tradition. This dissertation reveals a long-lasting, influential, and varied body of children’s literature that combines didactic value with entertainment. Eighteenth-century picturebooks drew on literary and religious traditions as well as popular culture, while tailoring their messages to the interests and limitations of child readers. Organized in two parts, the dissertation includes two analytical chapters followed by five annotated translations of picturebooks (kōzeibyōshi and early kusazōshi). Among the illustrators that can be identified are ukiyoe artists like Torii Kiyomitsu (1735-1785). The first chapter analyzes the picturebook as a form of children’s literature that can be considered in terms analogous to those used of children’s literature in the West, and it provides evidence that these picturebooks were recognized by Japanese of the late eighteenth and early nineteenth centuries as uniquely suited to child readers. The second chapter addresses the ways in which woodblock-printed children’s literature was commercialized and canonized from the mid-eighteenth century through the latter years of the Edo period, and it shows that picturebooks became source material for new forms of children’s culture during that time. The translated picturebooks, from both the city of Edo and the Kamigata region, include a sample of eighteenth-century views of the child: developing fetus, energetic grandchild, talented student, unruly schoolboy, obedient helper at home, young bride-to-be, and deceased child under the care of the Bodhisattva Jizō.
East Asian Languages and Civilizations

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Parman, Alison. „A World in Print; Foreigners in Japan's Early Modern Bankoku Jinbutsu-Zu“. Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20555.

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Japanese woodblock prints featuring foreigners that appeared after the opening of ports such as Yokohama to international trade in the mid-nineteenth century are broadly referred to as Yokohama-e (or “Yokohama Pictures”). While there are already seminal studies that document the representation of Western peoples in Yokohama-e, those of Asian peoples have not yet received equal attention. This thesis focuses on a group of prints that include the word “all nations” (bankoku) in their titles, particularly those of Utagawa Yoshiiku. Although these prints are currently considered a type of Yokohama-e, they are distinctively different from typical Yokohama-e in their scope, particularly in its inclusion of many Asian and mythical peoples. This study investigates how this group of “pictures of the peoples of all nations” (bankoku jinbutsu-zu) functioned as popular guides to the nations of the world and reflected the domestic new awareness for Japan’s role within it.

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Saiki, Fernando Cardoso. „Corpo interminável e outros corpos“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-26112015-114745/.

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corpo interminável e outros corpos apresenta uma série de experimentos poéticos que buscam investigar as possibilidades gráficas da técnica japonesa de xilogravura à base d\'água como modo de expressão na produção atual de estampas. De modo a estabelecer um diálogo entre diferentes perspectivas, o estudo foi iniciado no Departamento de Artes Visuais da Escola de Comunicação e Artes da Universidade de São Paulo e continuado no Departamento de Xilogravura da Universidade de Artes de Tóquio. Resultado de uma pesquisa empírica, que se apoia em observações e experiências vividas, o trabalho resulta de inquietações acerca de um corpo ficcionado e coletivo, que cresce pelas bordas e se desdobra por propagação. Composto por linhas de intensidades variáveis, esse corpo ocupa a superfície conforme combinações harmônicas e multiplicáveis.
endless body and other bodies presents a series of poetic experiments that seek to investigate the graphic possibilities of the Japanese woodblock printing, as a means of expression within the production of printmaking nowadays. In order to establish a dialogue between two very different cultural perspectives, this study has taken place at both the Visual Arts Department of the University of São Paulo and the Printmaking Department of the Tokyo University of the Arts. This essentially empirical research explores the concept of corpus in a dual meaning. Both in a literal sense as the predominance of the human figure in the works, and in a constructed sense referring to an ever-expanding universe of sources. By combining lines of different shapes and intensities, the bodies in the works aim to fill harmoniously the surface through multipliable combinations.

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Chan, Amy Beth. „Trembling Earth“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1248.

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This thesis details the literary and visual influences in my work, the definition of American Gothic, and its connection it to my work. Literary sources such as Edgar Allan Poe and Fanny Kemble help spark a vision of the landscape. Visual influences include Japanese woodblock prints, scenic wallpapers, vintage postcards and Victorian mourning pictures. My regional explorations span the James River, Tidewater swamps and architecture within the city of Richmond.My work depicts local history and ecology inspired by Richmond and the surrounding region. Subtle Gothic elements add anxiety to the otherwise pastoral scenes. Gothic foreboding in the work questions our ecological future and the permanence of our human presence in the landscape.

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Wang, Siying. „Aesthetics of colours in Japanese traditional paintings and woodblock prints in the Edo Period“. Thesis, 2016. http://hdl.handle.net/1828/7730.

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The aim of this thesis is to examine and study Japanese traditional colours: gold and red for the Kanō school, blue and purple for the ukiyoe, including their symbolic meanings, pigments, how they were applied in art works and how they were related to Japanese aesthetics. This thesis is comprised of four chapters: the Introduction, Chapter 2, Chapter 3, and Conclusion. The introduction indicates the research purpose, theory, and research method. It also demonstrates the reason why the four colours and the two schools were selected. A combination of western colour theory, represented by Goethe, and Asian colour theory, represented by Five-elements theory and Confucius, is used in the following studies. In Chapter 2, studies on the colour gold and red for the Kano school are presented. These show that Japanese aesthetics is not a simple concept, but an aggregation of conflicting senses of values. The thesis then examines the colour blue and purple for the ukiyoe in Chapter 3. The two colours illustrate the concept of Japanese aesthetics, especially wabi-sabi, 侘び寂び, shibui, 渋い, and iki, 粋”. In the two detailed central chapters, the thesis provides readers with resourceful charts and pictures of paintings that are helpful to understand the statement. Finally, the thesis concludes the studies on Japanese traditional colours and their relations to Japanese aesthetics. This thesis hopes to not only help scholars in the field of Japanese traditional art and art history, but also offer some inspiration to readers who are doing research on Japanese contemporary design and modern art.
Graduate
0377
0357
siyingwang2013@163.com

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Hoffman, Trey. „The derivation of Suzuki Harunobu's mature style a study of genre and stylistic change in Japanese woodblock prints /“. 1994. http://catalog.hathitrust.org/api/volumes/oclc/32159092.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 1994.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 43-45).

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Dantas, Beatriz Quintais. „Tōkaidō gojūsan tsui – Uma Série Japonesa na Coleção do Museu Calouste Gulbenkian“. Master's thesis, 2021. http://hdl.handle.net/10362/123530.

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A presente dissertação é dedicada ao estudo da série de estampas japonesas intitulada Tōkaidō gojūsan tsui (Cinquenta e Três Pares ao Longo da Estrada do Tōkaidō), que integra atualmente o espólio da Coleção do Fundador do Museu Calouste Gulbenkian. Datada do ano de 1845 e composta por um conjunto de cinquenta e cinco xilogravuras, a série é fruto da mestria dos artistas Utagawa Kuniyoshi, Utagawa Hiroshige e Utagawa Kunisada, em conjunto com um grupo formado por seis editores, xilógrafos, tipógrafos e poetas, constituindo, assim, um exemplo de uma complexa produção ukiyo-e. Ao contrário de séries anteriores dedicadas à representação da popular estrada do Tōkaidō, Tōkaidō gojūsan tsui é composta por uma variada multiplicidade temática, desde histórias provenientes dos palcos do teatro kabuki, lendas e contos conhecidos do folclore japonês, figuras femininas, referências literárias e poéticas, tradições locais, entre outras, expressando, deste modo, um imaginário particular que define a sociedade nipónica do século XIX. Acresce ainda que o uso de determinados motivos, nomeadamente teatrais, são reflexo das restrições impostas pelo governo Tokugawa durante a era Tenpō, a partir do início da década de 1840, proibindo a publicação de retratos de atores e de outras celebridades da época. Uma vez que estas imagens e composições se situam entre a realidade e a imaginação, a análise de Tōkaidō gojūsan tsui enquanto objeto artístico implica uma visão abrangente das várias faces que o criaram, não apenas como espaço real construído pela estrada do Tōkaidō, a sua conjuntura social, geográfica, e política e o seu contexto de produção, mas também os universos que pertencem a algo não tangível e as histórias que o constroem.
This dissertation is dedicated to the study of the series of Japanese prints entitled Tōkaidō gojūsan tsui (Fifty-Three Pairs Along the Tōkaidō Road), which is currently part of the Collection of the Founder of the Calouste Gulbenkian Museum. Dating back to 1845 and composed of a set of fifty-five woodblock prints, the series is the result of the artistry of Utagawa Kuniyoshi, Utagawa Hiroshige e Utagawa Kunisada, together with a group of six publishers, woodblock cutters, printers, and poets, therefore constituting an example of a complex ukiyo-e production. As opposed to previous series dedicated to the representation of the popular Tōkaidō road, Tōkaidō gojūsan tsui is composed by a varied thematic multiplicity, from stories from the kabuki theatre stages, well-known legends and tales of Japanese folklore, female figures, literary and poetic references, local traditions, among others, expressing, in this way, a specific imaginary that defines the Japanese society of the 19th century. Furthermore, the use of certain motifs, namely theatrical ones, is a reflection of the restrictions imposed by the government during the Tenpō era from the beginning of the 1840s which prohibited the publication of actor portraits and other celebrities of the time. Since these images and compositions lay in between reality and imagination, the analysis of Tōkaidō gojūsan tsui as an artistic object implies a comprehensive view of the various realms that create it, not just as a real space constructed by the Tōkaidō road, its social, geographical, and political conjuncture or its production context, but also the non-tangible universes and stories that make up such series.

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Bücher zum Thema "Japanese woodblocks"

Lawrence, Smith. Modern Japanese prints 1912-1989: Woodblocks and stencils. New York : Cross River Press: British Museum Press, 1994.

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Museum, British, Hrsg. Modern Japanese prints 1912-1989: Woodblocks and stencils. London: Published for the Trustees of the British Museum by British Museum Press, 1994.

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1879-1928, Tanigami Kōnan, Hrsg. Japanese woodblock flower prints. Mineola, N.Y: Dover, 2008.

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Japanese woodblock bird prints. Mineola, N.Y: Dover Publications, 2011.

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Roche, Catherine. Fleeting beauty: Japanese woodblock prints. Seattle, WA: Seattle Art Museum, 2010.

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Museum, Seattle Art, Hrsg. Fleeting beauty: Japanese woodblock prints. Seattle, WA: Seattle Art Museum, 2010.

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Modern Japanese woodblock prints: The early years. Honolulu: University of Hawaii Press, 1990.

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Shōichirō, Watanabe, Newland Amy Reigle und Klompmakers Inge, Hrsg. Kawase Hasui: The complete woodblock prints. Amsterdam: Hotei Pub., 2003.

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1939-, Yamada Nanako, Hrsg. Guide to modern Japanese woodblock prints: 1900-1975. Honolulu: University of Hawaii Press, 1992.

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Sumo and the woodblock print masters. Tokyo: Kodansha International, 1994.

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Buchteile zum Thema "Japanese woodblocks"

Emmerich, Michael. „Translating Japanese into Japanese: Bibliographic Translation from Woodblock to Moveable Type“. In A Companion to Translation Studies, 599–611. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118613504.ch45.

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Görlich, Aleksandra. „Two-dimensional Public Space: The Kabuki Play Kanadehon Chūshingura Transposed into 19th-century Woodblock Prints“. In Japanese Civilization Tokens and Manifestations, 49–59. Ksiegarnia Akademicka Publishing, 2019. http://dx.doi.org/10.12797/978838138072.03.

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Konferenzberichte zum Thema "Japanese woodblocks"

Panichkriangkrai, Chulapong, Liang Li, Keiko Suzuki, Ryo Akama und Kozaburo Hachimura. „Character Image Database of Woodblock-Printed Japanese Historical Book Images“. In 2015 International Conference on Culture and Computing (Culture Computing). IEEE, 2015. http://dx.doi.org/10.1109/culture.and.computing.2015.26.

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Panichkriangkrai, Chulapong, Liang Li und Kozaburo Hachimura. „Interactive System for Character Segmentation of Woodblock-Printed Japanese Historical Book Images“. In 2013 International Conference on Culture and Computing (Culture Computing). IEEE, 2013. http://dx.doi.org/10.1109/culturecomputing.2013.64.

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Panichkriangkrai, Chulapong, Liang Li, Takaaki Kaneko, Ryo Akama und Kozaburo Hachimura. „Internet Based Interactive Transcription Support System for Woodblock-Printed Japanese Historical Book Images“. In 2018 7th International Congress on Advanced Applied Informatics (IIAI-AAI). IEEE, 2018. http://dx.doi.org/10.1109/iiai-aai.2018.00189.

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