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(★)(1.The Momoyama period [1573-1614] in Japanese history was a golden age of decorative art in which painting on screens and sliding partitions enjoyed particularly high esteem. Japan had achieved unification after almost a century of fierce internal warfare, and its new military rulers --first Oda Nobunaga and then Toyotomi Hideyoshi-- were quick to display their power by building castles and mansions on a prodigious scale and embellishing them in magnificent style. The walls and paper-covered sliding partitions in their palatial residences offered a perfect medium for painting Celebrated artists like Kano Eitoku and Kaiho Yusho were employed to picture on these surfaces such favorite subjects as birds and flowers, real and mythical animals, landscapes, and sages from Chinese legend. New techniques invented by the ingenious screen painters, especially the use of gold along with resplendent colors, served to enhance the already sumptuous character of this genre. Momoyama decorative painting has strong affinities with the painting of preceding ages. Outstandingly important in its emergence were the T´ang influence from China in the ninth century, the distinctively Japanese evolution from this influence in the next half millennium, and the innovative influences that came from China in the thirteenth century and inspired the monochrome ink painting of Zen Buddhism. By assimilating these elements and by developing its own styles, the painting of Momoyama times reached one of the highest levels of achievement in Japanese art history. The present book introduces the reader to this fascinating and often dramatic art form. In engagingly instructive fashion, it discusses the origins of the form, its characteristic features, the artists who created it, and the social milieu in which it flourished. The generous selection of 153 photographs, including 41 in full color, offers a vivid perspective of Japanese painting in one of its most brilliant phases. 2.Tsugiyoshi Doi [b.1906] received his doctor´s degree from Kyoto University, where he majored in aesthetics and art history. His career has included service as director of the Kyoto Imperial Museum [now the Kyoto National Museum] and as professor at the Kyoto University of Industrial Arts and Textile Fibers, of which he is now professor emeritus. Among his books in Japanese are works on Edo-period painting and on the artists Sanraku, Sansetsu, and Tohaku. He is also a painter in his own right.) |
BASE de DATOS, Biblioteca del Centro Cultural de la Embajada de Japon
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