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Journal articles on the topic 'Japanese woodblocks'

Author: Grafiati

Published: 29 June 2021

Last updated: 6 February 2022

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1

van Steenpaal, Niels. "Taming the Fire Horse." East Asian Publishing and Society 5, no. 2 (August 3, 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, and Shigeru Iida. "Generation of Yellow Flowers of the Japanese Morning Glory by Engineering Its Flavonoid Biosynthetic Pathway toward Aurones." Plant and Cell Physiology 60, no. 8 (May 28, 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, no. 3 (March 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, no. 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, no. 1 (December 18, 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, no. 2 (January 10, 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, no. 4 (September 18, 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, no. 2 (July 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, and Raimo Silvennoinen. "Optical sensing of parameters crucial for Japanese woodblock print making." Optical Review 17, no. 3 (May 2010): 252–56. http://dx.doi.org/10.1007/s10043-010-0044-1.

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10

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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Perl, Jeffrey M. "Regarding Change at Ise Jingū." Common Knowledge 25, no. 1-3 (April 1, 2019): 220–32. http://dx.doi.org/10.1215/0961754x-7299318.

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This essay introduces the second of three installments of an “elegiac symposium” in Common Knowledge on figures and concepts devalued in what Thomas Kuhn refers to as “paradigm shifts.” The essay suggests that Kuhn’s idea is provincial, in three specified senses, and then goes on to show how differently Japanese culture regards and manages major change. The author of this introduction, who is also the journal’s editor, begins by evaluating a triptych of 1895 by Toshikata as a response to the seemingly revolutionary changes brought by the Meiji Restoration a generation before. He then goes on to discuss, as exemplary of Japanese attitudes toward change, the Shinto ritual during which the sacred shrines of Ise Jingū are torn down and rebuilt every twenty years. The essay concludes by explaining how the impetus for this ritual is also involved in less-exalted aspects of Japanese culture; for example, in the peculiarities of the market for ukiyo-e woodblock prints. Overall, this essay shows that Japanese ways of regarding concepts such as “old” and “new,” “continuity” and “change,” differ so radically from those presupposed in the West that the latter should be regarded as provincial rather than as universally valid.

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Brokerhof, Agnes W., Margrit Reuss, Fiona MacKinnon, Frank Ligterink, Han Neevel, Farideh Fekrsanati, and Graeme Scott. "OPTIMUM ACCESS AT MINIMUM RISK: THE DILEMMA OF DISPLAYING JAPANESE WOODBLOCK PRINTS." Studies in Conservation 53, sup1 (January 2008): 82–87. http://dx.doi.org/10.1179/sic.2008.53.supplement-1.82.

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13

Hánová, Markéta. "Emil Orlik: From Japan." Journal of Japonisme 3, no. 1 (December 4, 2018): 84–105. http://dx.doi.org/10.1163/24054992-00031p03.

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Prague-born painter and graphic artist Emil Orlik (1870-1932) made his first visit to Japan in 1900 to get acquainted with the woodblock printing technique as well as everyday life there. During his stay, he not only created ink drawings, watercolors, pastels, and gouaches, but also took the opportunity to collect Japanese art, including ukiyo-e prints. These were eventually included in an exhibition in 1902, which traveled to Brno and Prague after its premiere in Dresden and Berlin. Besides promoting a broader awareness of Japan and its traditional culture to Prague and its artistic milieu, the exhibition also testified to Orlik´s discernment as a collector.1

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Minamikawa, Takeo, Daiki Nagai, Takaaki Kaneko, Ittetsu Taniguchi, Mariko Ando, Ryo Akama, and Kenji Takenaka. "Analytical imaging of colour pigments used in Japanese woodblock prints using Raman microspectroscopy." Journal of Raman Spectroscopy 48, no. 12 (September 28, 2017): 1887–95. http://dx.doi.org/10.1002/jrs.5263.

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Allen, Nancy S. "JAPANESE WOODBLOCK PRINTS: A CATALOGUE OF THE MARY A. AINSWORTH COLLECTION. Roger S. Keyes." Art Documentation: Journal of the Art Libraries Society of North America 4, no. 4 (December 1985): 184–85. http://dx.doi.org/10.1086/adx.4.4.27947528.

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Hashimoto, R. Y., E. S. K. Menon, and J. Fiorillo. "Analysis of Metallic Pigments Used in 19th Century Japanese Prints." Microscopy and Microanalysis 5, S2 (August 1999): 594–95. http://dx.doi.org/10.1017/s1431927600016299.

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Japanese color woodblock prints ("ukiyo-e") from the Edo (1615-1868) and Meiji periods (1868- 1912) are among the most celebrated examples of color printmaking in the world. Full-color prints became technically and commercially viable around 1765. Traditional ukiyo-e colorants were watersoluble, uniform, translucent, organic (vegetal) and inorganic pigments of very small particle size. (Synthetic colorants were also introduced from the West in the 19th C, probably beginning with "Prussian blue" in the 1820s.) A pigment was applied with a brush to a color block, and then rice flour paste was mixed with the pigment to thicken it, facilitate control and rubbing into the paper, improve the uniformity of the colorant, and avoid a dry or granular texture. The dampened paper, sized with cooked bovine skins and alum, was then placed on the block (aligning with registration marks cut into the blocks). The colorants were then pressed into the paper by rubbing a bamboo pad against the back of the paper so that the colors were absorbed on the front surface.

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Nunokawa, Yumiko. "Influence of Japonisme on Art of M. K. Čiurlionis and His Contemporaries." International Journal of Area Studies 10, no. 1 (March 1, 2015): 85–118. http://dx.doi.org/10.1515/ijas-2015-0005.

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Abstract The aim of this paper is to show how Japonisme was introduced to Europe in the late 19th century and how it influenced artists in major cities. Japanese woodblock prints (ukiyo-e), especially those of Hokusai and Hiroshige, fascinated the Impressionists and other contemporaries such as Claude Monet (1840-1926), Vincent van Gogh (1853-1890), and James Abbott McNeill Whistler (1834-1903). Many of them adopted japonaiserie motifs in their paintings or sculptures, and it formed a major artistic trend called Japonisme. The Lithuanian composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911) was also influenced by the trend of Japonisme, especially from the paintings of the Impressionists or through artists in Poland. In Poland and Russia, Japanese artworks were imported by artists who had studied abroad, or by wealthy bourgeoisie such as Feliks “Manggha” Jasieński (1861-1929), a Polish collector whose nickname was directly associated with Japonisme, and Sergey Kitaev (1864-1927), an ardent Russian collector of Japanese artworks. In this article, Japonisme in European art in general will be outlined, together with similar tendencies in Čiurlionis’ paintings, and then, examples of Japonisme-influenced paintings in Poland and Russia will be briefly shown. Finally, by focusing on Čiurlionis’ paintings, it will be shown how he adopted Japonisme in three stages. In the first stage japonaiserie motifs were only partially borrowed. In the second stage ukiyo-e’s motifs and pictorial schemes were applied to his paintings, and finally, in the third stage of borrowing, expressions of Japanese motifs in his most sublime style will be shown.

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Čapková, Helena. "The Mystical Spirit of Japan – Stefan Łubieński and Transnational Artistic Networks in 1920s Japan." Studia Religiologica 53, no. 1 (2020): 15–31. http://dx.doi.org/10.4467/20844077sr.20.002.12505.

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Stefan Łubieński (1893–1976), composer, fine artist, diplomat, spiritual seeker, and thinker, was a Polish nobleman, follower of Anthroposophy and author of such books as Ways to Spiritual Light and Man between Microcosm and Macrocosm. With his first wife, Zina Łubieńska, he resided in Japan in the first half of the 1920s. Although Łubieński published his autobiography and the names of the two Poles were mentioned at that time, the time they spent in Japan has not yet been analysed by scholars. This article is an attempt to unravel the Łubieńskis’life in Japan and show how it is placed in the context of Japanese culture in the 1920s. Furthermore, it will document the ways the Łubieńskis operated within the transnational network of Theosophists that spread among artists, foreign and Japanese alike, as a way to meet and exchange ideas. One of the circles the Łubieńskis joined, together with Noémi and Antonín Raymond, was the Garakutashū(en. “Circle for the Study of Odd Things and Junk”), a casual setting for open discussion about passion for collecting objects, hobbies, and a shared interest in Japanese arts such as woodblock printing, calligraphy, and ink painting. The transnational method used in this article foregrounds the importance of thinking through a lens highlighting transnational networks and enables us to recognize the Łubieńskis as a part of the Theosophical Society (TS), Garakutashū, and other networks of modern Japan.

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Enshaian, Marie-Christine. "Conservation work in progress on the Claude Monet collection of Japanese woodblock prints at Giverny." Studies in Conservation 33, no. 1 (January 1988): 37–38. http://dx.doi.org/10.1179/sic.1988.33.1.37.

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Enshaian, Marie-Christine. "CONSERVATION WORK IN PROGRESS ON THE CLAUDE MONET COLLECTION OF JAPANESE WOODBLOCK PRINTS AT GIVERNY." Studies in Conservation 33, sup1 (January 1988): 37–38. http://dx.doi.org/10.1179/sic.1988.33.s1.010.

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Nowak, Hannah. "Why is the Geisha Hitting the Westerner? The Japanese Woodblock Print Genre of awate-e." Vienna Journal of East Asian Studies 5, no. 1 (December 1, 2014): 139–70. http://dx.doi.org/10.2478/vjeas-2014-0006.

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Abstract This paper attempts to bring to light a little-known genre of ukiyo-e (Japanese woodblock prints), the awate-e (hysteria pictures). This genre of polychrome ukiyo-e (nishiki-e) belongs among caricatures because it treats current events in a satirical way. The Namamugi incident (September 14, 1862), when samurai of the Satsuma domain killed one British merchant and injured two, led to the emergence of the awate-e. The British Crown demanded reparations for those killed. While the shogunate postponed payment, British warships gathered in the Bay of Edo to exert pressure. The danger of war was real and the cities of Yokohama and Edo were considered the main targets of a British attack. Many people moved to rural areas or at least sent their families and belongings away. This led to an increased demand for transport, houses, and land in the countryside. Hardly anybody remaining in the cities spent time in the pleasure quarters or bought luxury goods. The results were dramatic for people in those trades. This situation is satirised in the awate-e. Starting with the question ‘Why is the Geisha hitting the Westerner?’, this paper explores the genre of awate-e and its relevance for historical and ukiyo-e research by studying 21 awate-e as primary sources. It reveals a negative appraisal of Westerners, of people leaving the danger zone, and of professions in high demand. The producers of awate-e are biased towards people staying in areas become dangerous, professions suddenly grown poor, and the foreigners-out policy of the Emperor.

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Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.

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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X – XVII centuries and Japanese woodblock printing of the XVII – XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of female image and symbolic sound. The fact that the worldview orientation towards women and their status in the Far Eastern society faded away defines the relevance of the selected topic. The novelty of lies in the comparative analysis of philosophical-aesthetic traditions of Chinese and Japanese painting, reflected in female images in the historical development, with the emphasis on its modern development. The conclusion is made that the assessment of female image in Chinese and Japanese art requires taking into account the national mentality, spiritual traditions, and interinfluence of cultures. The perception of the changing image of women in society plays a special role. It is determined that the depiction of women in clothes and face paint that conceals their body shape and facial emotions, deprive a woman of her individuality and lower her social status. Such trend remains in the contemporary art of these countries. Up until now, female images resemble the symbolism of depiction, closeness to nature, interweaving of external and internal content substantiated by the aesthetic, ethical and philosophical saturation of painting, indicating the uniqueness of each culture and its national heritage.

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Derrick, Michele, Richard Newman, and Joan Wright. "Characterization of Yellow and Red Natural Organic Colorants on Japanese Woodblock Prints by EEM Fluorescence Spectroscopy." Journal of the American Institute for Conservation 56, no. 3-4 (April 12, 2017): 171–93. http://dx.doi.org/10.1080/01971360.2016.1275438.

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MINAMIKAWA, Takeo, Daiki NAGAI, Takaaki KANEKO, Ittetsu TANIGUCHI, Yoshinori Harada, Tetsuro Takamatsu, and Kenji TAKENAKA. "Development of molecular distribution analysis method of color pigments on Japanese woodblock prints by Raman spectral-imagin." Joho Chishiki Gakkaishi 26, no. 1 (2016): 1–10. http://dx.doi.org/10.2964/jsik_2015_021.

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Mleziva, Jindřich. "Asijské umění a umělecké řemeslo ve sbírce Západočeského muzea v Plzni." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 3–14. http://dx.doi.org/10.37520/mmvp.2019.002.

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The collection of the West Bohemian Museum in Pilsen includes significant examples of artworks and decorative arts from Asia. The history of this collection dates back to the last quarter of the 19th century, when these items were a part of a collection of the West Bohemian Museum of Decorative Arts in Pilsen. The first director of the museum, architect Josef Škorpil (1856–1931), contributed to the creation of the decorative arts collection and the acquisition of objects from the Far and Middle East. Thanks to its acquisition activities throughout Europe, a significant decorative arts collection was established in Pilsen. Its importance goes beyond the Pilsen region. The concept of creating this collection was in accordance with the emergence of decorative arts museums in Europe. The collection, together with the Asian objects, was presented to the public as a part of an exposition opened in 1913. Today, the Asian collection consists of Chinese and Korean objects, mainly ceramics and porcelain, as well as exceptionally well-preserved textiles from the late Qing Dynasty. The Japanese portable Buddhist altar zushi or a set of Japanese woodblock prints of the ukiyo-e style are among the most unique acquisitions. A relatively modest set of items from the Middle East includes typical examples of decorative arts from Iran, Turkey or Syria. The objects are still a popular subject of research and have also become a part of the new decorative arts permanent exhibition of the museum that was opened in 2017.

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Vela Castillo, José. "Un jardín rocoso. Cinco estampas de Ryōan-ji." VLC arquitectura. Research Journal 7, no. 1 (April 30, 2020): 33. http://dx.doi.org/10.4995/vlc.2020.10901.

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<p>Five (woodblock) prints of Ryōan-ji presents five approaches to the famous dry garden located in the homonymous temple in Kyoto. The aim has been to explore through them different peculiarities of this garden, and by extension, of Japanese dry gardens of Zen inspiration. The fields explored include narrative (Kawabata), music (Cage and Takemitsu), cinema (Ozu, Iimura) and architecture (Isozaki and Mies, in passing). The main intention has not been to give a unitary vison of Ryōan-ji. Instead, like the dazzle at the end of a haiku, I tried to build a mechanism of partial enlightenments, to show, at least partially, its complex essence. A mechanism which, simultaneously, sheds light on the narrative, the music and the architecture presented. The real protagonist of the text is the particular spatiality that this garden brings to life and the temporality that goes along with it; but also the constant correspondences of the play of traces and possible meanings disseminated across the different media.</p>

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Malinina, E. E., and D. S. Goloveshko. "Aesthetic phenomenon of the traditional Japanese tattoo and its connection with the art of Japanese woodblock prints (based on examples of Utagawa Kuniyoshi’s work)." Vestnik NSU. Series: History and Philology 17, no. 10 (2018): 99–108. http://dx.doi.org/10.25205/1818-7919-2018-17-10-99-108.

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Fowler, Sherry D. "The Literary and Legendary Lives of the Onoe Bell." Archives of Asian Art 71, no. 1 (April 1, 2021): 37–61. http://dx.doi.org/10.1215/00666637-8866671.

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Abstract During the eighteenth and nineteenth centuries, a large eleventh-century bronze bell made in Korea became a grand attraction on the grounds of Onoe Shrine in Kakogawa, Japan. Although such bells are made of expensive material that require significant financial investment and technical skill, most are overlooked as common fixtures inside bell towers at Buddhist temples across Asia. Yet the bell at Onoe Shrine has a particularly complex and fascinating story to tell. Using object biography as an approach to study this unusual monument enables us to see how this bell became the popular subject of legends, travel-diary accounts, gazetteer entries, popular woodblock prints, and souvenirs made in a variety of materials. The bell's legendary life story accorded it the ability to solve human problems and use its voice to demand where it should be located, which fueled people's desire to see it with their own eyes and to make physical contact with it. This examination of the bell's intertwining life tales reveals how, after initially serving as a ritual object at a Korean Buddhist temple, it experienced dramatic transformations into a high-value export (or trafficked) commodity, Japanese poetic trope, shrine treasure, and tourist draw.

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de Sabato Swinton, Elizabeth. "Modern Japanese Woodblock Prints: The Early Years. By Helen Merritt. Honolulu: University of Hawaii Press, 1990. 324 pp. $39.95." Journal of Asian Studies 50, no. 3 (August 1991): 695–96. http://dx.doi.org/10.2307/2057608.

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SHIMOYAMA, Susumu, Yasuko NODA, and Shinya KATSUHARA. "Non-destructive determination of colorants used for traditional Japanese ukiyo-e woodblock prints by the three-dimensional fluorescence spectrum using fibre optics." Bunseki kagaku 47, no. 2 (1998): 93–100. http://dx.doi.org/10.2116/bunsekikagaku.47.93.

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Mounier, A., G. Le Bourdon, C. Aupetit, S. Lazare, C. Biron, J. Pérez-Arantegui, D. Almazán, et al. "Red and blue colours on 18th–19th century Japanese woodblock prints: In situ analyses by spectrofluorimetry and complementary non-invasive spectroscopic methods." Microchemical Journal 140 (July 2018): 129–41. http://dx.doi.org/10.1016/j.microc.2018.04.023.

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Yoshimura, Reiko. "Japanese woodblock prints: artists, publishers, and masterworks, 1680–1900. Andreas Marks, Tokyo: Tuttle Publishing, 2010. 336 p. ill. ISBN 9784805310557 $45.95 (hardcover)." Art Libraries Journal 38, no. 2 (2013): 49–50. http://dx.doi.org/10.1017/s0307472200018058.

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Davis, Julie Nelson. "Understanding Japanese woodblock-printed illustrated books: a short introduction to their history, bibliography and format, written by Suzuki Jun and Ellis Tinios." East Asian Publishing and Society 5, no. 2 (August 3, 2015): 217–20. http://dx.doi.org/10.1163/22106286-12341278.

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Bocharova, Marina Yurevna. "Visual state symbols of Japan during the Meiji era." Человек и культура, no. 4 (April 2021): 73–90. http://dx.doi.org/10.25136/2409-8744.2021.4.35261.

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This article is dedicated to the visual state symbols of Japan of the late XIX century (national flag, personal seal of the emperor, order and medal of honor, and military insignia). The aforementioned symbols are viewed as the attributes of the status. First institutionalized graphic symbols in the history of the country have emerged under the influence of European culture and actualized elements of the ”old” Japanese culture, primarily  from the emblems “mon” used to decorate and identify an individual or a family. This article explores the mechanisms of their emergence, as well as the mechanisms of evolution and introduction into the cultural environment based on the material of print mass-market production (postcards and Ukiyo-e woodblock prints). The author’s main contribution consists in comprehensive analysis of the state symbols of Japan of the late XIX century as the attributes of the status, which has been conducted for the first time. The flag, order and emblem of the emperor were used to demonstrate their direct affiliation to the department, as an attribute of a festive event, or indicate their authority. The research also employed postcards as a rarely used source for studying political symbols, or used in the context of ideology alone. The visual images of print production illustrate the reality of using state symbols, as well as within the framework of artistic techniques expand their use as the symbols.

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Bogel, Cynthea J. "Guide to Modern Japanese Woodblock Prints: 1900–1975. By Helen Merritt and Nanakko Yamada. Honolulu: University of Hawaii Press, 1992, x, 365 pp. $90.00." Journal of Asian Studies 53, no. 1 (February 1994): 224–25. http://dx.doi.org/10.2307/2059591.

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Biron, Carole, Aurélie Mounier, Josefina Pérez Arantegui, Gwénaëlle Le Bourdon, Laurent Servant, Rémy Chapoulie, Clodoaldo Roldán, David Almazán, Nerea Díez-de-Pinos, and Floréal Daniel. "Colours of the « images of the floating world ». non-invasive analyses of Japanese ukiyo-e woodblock prints (18th and 19th centuries) and new contributions to the insight of oriental materials." Microchemical Journal 152 (January 2020): 104374. http://dx.doi.org/10.1016/j.microc.2019.104374.

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Pérez-Arantegui, Josefina, David Rupérez, David Almazán, and Nerea Díez-de-Pinos. "Colours and pigments in late ukiyo-e art works: A preliminary non-invasive study of Japanese woodblock prints to interpret hyperspectral images using in-situ point-by-point diffuse reflectance spectroscopy." Microchemical Journal 139 (June 2018): 94–109. http://dx.doi.org/10.1016/j.microc.2018.02.015.

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Clark, Tim. "John Stevenson: Yoshitoshi's thirtysix ghosts: a color album of the supernatural by the Japanese woodblock master. 92pp. Seattle: University of Washington Press, 1983, repr. 1992. With an introduction by Donald Richie. 92 pp., 49 colour illus. $29.95." Bulletin of the School of Oriental and African Studies 56, no. 2 (June 1993): 405–6. http://dx.doi.org/10.1017/s0041977x00006054.

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"Modern Japanese woodblock prints: the early years." Choice Reviews Online 28, no. 05 (January 1, 1991): 28–2544. http://dx.doi.org/10.5860/choice.28-2544.

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"The Hotei encyclopedia of Japanese woodblock prints." Choice Reviews Online 44, no. 01 (September 1, 2006): 44–0016. http://dx.doi.org/10.5860/choice.44-0016.

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"Kunisada's T kaid : riddles in Japanese woodblock prints." Choice Reviews Online 51, no. 11 (June 18, 2014): 51–5976. http://dx.doi.org/10.5860/choice.51-5976.

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"Guide to modern Japanese woodblock prints: 1900-1975." Choice Reviews Online 30, no. 03 (November 1, 1992): 30–1278. http://dx.doi.org/10.5860/choice.30-1278.

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Vermeulen, Marc, Diego Tamburini, Emily M. K. Müller, Silvia A. Centeno, Elena Basso, and Marco Leona. "Integrating liquid chromatography mass spectrometry into an analytical protocol for the identification of organic colorants in Japanese woodblock prints." Scientific Reports 10, no. 1 (December 2020). http://dx.doi.org/10.1038/s41598-020-77959-2.

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AbstractThree Japanese woodblock prints from the Edo period (1603–1868) underwent a scientific investigation with the aim of understanding the changes in the colorants used in Japanese printing techniques. A multi-analytical approach was adopted, combining non-invasive techniques, such as fiber optic reflectance spectroscopy (FORS), Raman spectroscopy, multispectral imaging (MSI), and macro X-ray fluorescence (MA-XRF) with minimally invasive surface-enhanced Raman spectroscopy (SERS). The results enabled many of the pigments to be identified and their distribution to be studied, apart from two shades of purple of organic composition. Consequently, the potential of high-pressure liquid chromatography tandem mass spectrometry (HPLC–MS/MS) was explored for the first time with application to Japanese woodblock prints. The intrinsic sensitivity of the instrument and an effective extraction protocol allowed us to identify a mixture of dayflower (Commelina communis) blue and safflower (Carthamus tinctorius) red in purple samples constituted of 2–3 single fibers. In addition to the innovative integration of MA-XRF and HPLC–MS/MS to investigate these delicate artworks, the study concluded on the use of traditional sources of colors alongside newly introduced pigments in late Edo-period Japan. This information is extremely important for understanding the printing practices, as well as for making decisions about display, conservation, and preservation of such artworks.

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"Japanese woodblock prints: artists, publishers, and masterworks, 1680-1900." Choice Reviews Online 48, no. 04 (December 1, 2010): 48–1868. http://dx.doi.org/10.5860/choice.48-1868.

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"The Beauty of the moment: women in Japanese woodblock prints." Choice Reviews Online 50, no. 08 (March 22, 2013): 50–4243. http://dx.doi.org/10.5860/choice.50-4243.

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"One hundred aspects of the moon: Japanese woodblock prints by Yoshitoshi." Choice Reviews Online 41, no. 01 (September 1, 2003): 41–0103. http://dx.doi.org/10.5860/choice.41-0103.

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Korenberg, Capucine, Michele Derrick, Lucía Pereira Pardo, and Ryoko Matsuba. "Establishing the production chronology of the iconic Japanese woodblock print ‘Red Fuji’." Arts et sciences 5, no. 1 (2021). http://dx.doi.org/10.21494/iste.op.2021.0608.

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Villafana, Tana, and Gwenanne Edwards. "Creation and reference characterization of Edo period Japanese woodblock printing ink colorant samples using multimodal imaging and reflectance spectroscopy." Heritage Science 7, no. 1 (November 14, 2019). http://dx.doi.org/10.1186/s40494-019-0330-6.

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AbstractThe Library of Congress Prints and Photographs Division holds a large collection of Edo period (1615–1868) nishiki-e, Japanese multicolored woodblock prints. The sensitivities of some of the traditional colorants to environmental and conservation treatment factors results in numerous preservation concerns. Characterization of colorants in these prints can help guide preservation policies, however, identification of colorants can be difficult and re-creation methodologies for reference samples have been elusive. This paper details reproducible colorant preparation methods and characterizes these samples using accessible non-invasive techniques, multimodal imaging and reflectance spectroscopy. A majority of the colorants can be identified using the two techniques as complementary methods.

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"Genji's world in Japanese woodblock prints: from the Paulette and Jack Lantz Collection." Choice Reviews Online 50, no. 11 (July 1, 2013): 50–5993. http://dx.doi.org/10.5860/choice.50-5993.

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"Dreams & diversions: essays on Japanese woodblock prints from the San Diego Museum of Art." Choice Reviews Online 48, no. 12 (August 1, 2011): 48–6706. http://dx.doi.org/10.5860/choice.48-6706.

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