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(★)(皇室名宝展)(Throughout its history, Japan´s rulers have revered, treasured, sponsored, and even created beautiful works of calligraphy and painting. From the early Heian period (794-1185) to the twentieth century, the emperors of Japan and their courts have been arbiters of taste, patrons, protectors, and participants in the arts. Yet until the 1992 opening of the Museum of the Imperial Collections in Tokyo, the holdings of the Japanese imperial household had seldom been exhibited, except to privileged visitors. Showcasing a stunning selection of seventy-six paintings and works of calligraphy dating from the ninth through the twentieth century, many for the first time to a Western audience, this volume celebrates the consistent influence of imperial taste on the development of Japanese art. Rare examples of calligraphy from the Heian and Kamakura (1185-1333) periods attest to a long-standing imperial interest in the aesthetically effective union of word and image. A series of large-scale scrolls by the eighteenth-century painter Itoo Jakuchuu, presented to the imperial household by the Zen Buddhist temple Shokokuji, represent the most revered Japanese paintings of natural life and the close relationship between the imperial family and the country´s religious institutions. The book also examines the court´s role as an art benefactor in the late nineteenth and early twentieth centuries, when international influences had a dramatic impact on Japanese notions of the visual arts. Replete with color reproductions,´Twelve Centuries of Japanese Art from the Imperial Collections´ offer scholars, collectors, connoisseurs, historians, and all those interested in Japanese art an unprecedented view of Japanese aesthetic sensibility as expressed in the imperial collections. ◆About the Authors : Ann Yonemura, associate curator of Japanese art, Freer Gallery of Art and Arthur M.Sackler Gallery, Smithsonian Institution, contributed the introductory essay. Author of ´Yokohama : Prints from Nineteenth-Century Japan (1990)´ and coauthor of ´From Concept to Context : Approaches to Asian and Islamic Calligraphy (1986)´, she has also written books and numerous articles about Japanese and Korean art and East Asian lacquer. James T.Ulak, curator of Japanese art and special assistant to the director for Japanese affairs, Freer Gallery of Art and Arthur M.Sackler Gallery, Smithsonian Institution, contributed to the catalogue entries. Ohkuma Toshiyuki, curator, Ohta Aya, curator, and Hirabayashi Moritoku, researcher, all from the Museum of the Imperial Collections, and Yuyama Ken-ichi, chief curator, Kyoto National Museum, each contributed numerous catalogue entries.) |
BASE de DATOS, Biblioteca del Centro Cultural de la Embajada de Japon
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