Many artists during Japan’s Edo period designed ukiyo-e woodblock prints, but the works of Utagawa Hirokage stand out from many of these “pictures of the floating world” for their affinity for the absurd. A student of the famed Utagaway Hiroshige, Hirokage is perhaps most known for an incredible triptych of a battle between fruits, vegetables, and fish — but also for a successful series he published around 1860 titled Edo meisho doke zukushi, or Joyful Events in Famous Places in Edo. The 46 images set in present-day Tokyo are simply bizarre: scenes of a tiny octopus attacking people on a beach or of foxes carrying pumpkins are so ridiculous you can’t help but chuckle. Hirokage, in a sense, was churning out the memes of his time.
This famous English saying – often misattributed to William Shakespeare, but actually a partially paraphrased quotation from William Congreve – could apply to many tragic tales from all over the world through the centuries. Here we will introduce a famous Japanese story featuring one such jilted woman, associated with the ancient temple of Dōjō-ji 道成寺 in Kii province (modern Wakayama) in Japan.
Exhibition dates: 14 Jun 2016 to 30 Oct 2016
Gallery 29 | Admission Free
2016 is the Year of the Monkey according to the traditional Chinese lunar calendar. While the lunar calendar and its twelve zodiac animals are distinct to East Asia, images of monkeys feature in the mythology, folklore, art and literature of many cultures around the globe.
This exhibition, drawn from the Ashmolean’s collections of Asian art, celebrates the Year of the Monkey by showing images of monkeys from across Asia. It includes depictions of monkeys in their natural environment and highlights two of the mythical monkey figures best known outside Asia: the Monkey King of Chinese literature and the Hindu monkey warrior Hanuman.
Monkeys in the wild
There are many different species of ape and monkey native to the forests and mountains of Asia, ranging from baboons in the Arabian Peninsula to orangutans in the rainforests of Borneo, long-armed gibbons in China and India, and many varieties of macaque across the whole region. They are widely celebrated in poetry and literature and represented in art.
The highlight of most wedding ceremonies is two people making their vows to each other by promising to be true to each other ‘for better, for worse … till death us do part’. But what happens when they die? Where does all the eternal love sworn by innumerable couples go? We first explored the subject in East Asian ghoulish images & stories last year; this year we concentrate on one particular story to investigage the possibilities of love after death. – See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2015/10/till-death-us-do-part-or-not.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29#sthash.cifY0dJa.dpuf
CHICAGO, IL.- The Art Institute is presenting an exhibition of Japanese prints by a mysterious 18th century Japanese artist whose identity is debated but whose output was remarkable for its innovation and imagination. Masterworks of Japanese Prints: Toshusai Sharaku will be on display through March 29, 2015, in Gallery 107. Toshusai Sharaku produced about 150 designs in a 10-month period between the summer of 1794 and the early spring of 1795. Before and after this period, an artist by this name is unknown, and therefore, Sharaku’s identity has been a matter of much debate. The Art Institute has one of the best museum collections of Sharaku’s work in the world thanks to the early efforts of collectors Clarence and Kate Buckingham. Most of the prints in this exhibition entered the museum between 1925 and 1934 as gifts from the Buckinghams. Sharaku’s earliest work consisted of 28 bust portraits of actors who appeared in the Kabuki plays presented at the three principal Edo (Tokyo) theaters starting in the fifth month of 1794. Each of these prints had a dark, shiny background made with a mineral silicate called mica. All of these early designs are bold portraits of actors in identifiable roles. After a few months, however, and as the peak of the Kabuki season approached, this format was abandoned and he began designing prints of two full-length figures. In many of these prints, white mica rather than dark mica is used. The technique of using mica became quite popular in the early 1790s but was later abandoned, perhaps due to governmental edicts. In his later prints, Sharaku turned to a yellow ground, smaller format for bust portraits. This exhibition, organized by Janice Katz, Roger L. Weston Associate Curator of Japanese Art, contains examples of all of the types of prints mentioned above. Also on view in a different gallery will be Blue Phoenix, a stunning pair of folding screens by Japanese artist Omura Koyo (1891–1983). These oversized screens present Koyo’s vision of a tropical scene complete with rare birds and exotic plants. Bright orange Flame of the Forest flowers form the backdrop for flashy pheasants with highly patterned plumage and blue heads. The work glows, not only because of the bright colors, but also due to the gold leaf that was applied to the underside of the silk on which the scene is painted. This pair of screens, Koyo’s masterpiece, was exhibited at a Japanese government-sponsored exhibition in 1921, where it garnered great praise and one of the coveted prizes.
More Information: http://artdaily.com/news/75935/Prints-by-mysterious-18th-century-Japanese-artist-focus-of-new-Art-Institute-exhibition#.VMCy7GSsVtI[/url]
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