The Lure of the West European Elements in the Art of the Floating World

400 401 f 9 gift of emily crane chadbourne 1950191 or

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Unformatted text preview: ntury Japanese 'Perspective Painting,'" Calendar of The Art Institute of Chicago 65, 5 (Nov. 197I), pp. 10-13. 8. The Art Institute owns an excellent pair of Namban screens, dating to the Momoyama or early Edo period (1590/i630; Robert Allerton Purchase Fund, 1965.400-401). F 9. Gift of Emily Crane Chadbourne, 1950.191. or another impression of this print, see Masanobu Hosono, Nagasaki Prints and Early CopperPlates (Tokyo and New York, 1978),pl. 22. The accompanying inscription on the print reads, "Oranda-jin"("Dutchman") and "Sarubakurombo" ("Sarawakblack man"). The Art Institute also owns a remarkableearly print depicting a Dutch woman, entitled "Oranda- jojin" and dated to about 1760 (gift of Emily Crane Chadbourne, 1950.192); for another impression of this print, see Hosono, pl. 16. io. For another impression, see ibid., pl. 123. 11. Published in Ukiyo-e shuka (note 3), vol. 2, pl. 133. For two other rare impressions of this print, see Brussels, Musies royaux d'art et d'histoire, Estampesjaponaises ... (1989),pl. 197;and Berlin, Martin Gropius Bau,Japan und Europa, 1543-1929, exh. cat. (1993), no. 5/21. For an extensive discussion of both European and Chinese optiques, see Lee (note 3), pp. 248-82. 12. Julian Lee has suggested that Toyoharu took his inspiration from Chinese optique prints of the 175osthat depict canals in Suzhou (Jiangsuprovince); and from megane-e, copied or adapted from the Chinese prints, by such artists as Maruyama Okyo; see Lee (note 3), PP. 396ff. and fig. 177. For Toyoharu's views of the Grand Canal, Venice, and of the Roman Forum (which were clearly based on European prints), see Ann Arbor, University of Michigan Museum of Art, Through Closed Doors: WesternInfluence on Japanese Art, 1639-1853, exh. cat. by Calvin French et al. (1977),pls. 46 and 48. 13. Henri L. Joly, Legend in Japanese Art (New York and London, 1908), pp. 236-37. 14. For a discussion of this image, see Henry D. Smith II, "World Without Walls: Kuwagata Keisai's Panoramic Vision of Japan,"in Gall Lee Bernstein and Haruhiro Fukui, eds., Japan and the World:Essays on Japanese History and Politics in Honor of Ishida Takeshi (London, 1988), pp. 3-19. The only impression in North America known to this author is in the Honolulu Academy of Arts (acc. no. 22,073). For another impression, which is in the Museum fiirOstasiatische Kunst, 15. Berlin, see Lee (note 3), fig. 375 and p. 428. For another oban triptych perspective view by Toyokuni, depicting the central street (Nakanoch) of Yoshiwara, see Portland [Oregon] Art Museum, The Floating WorldRevisited, exh. cat. by Donald Jenkins et al. (1993),pl. 2/29. 19. Madison, Wis., Elvehjem Museum of Art, The Edward Burr Van Vleck Collection ofJapanese Prints (1990), p. 207 (gift of Edward Burr van Vleck, 1980.2323). 21. For an excellent discussion of the Colossus, see Reynold Higgins, "The 22. It is clear that Blaeu himself borrowed his image of the Colossus from an engraving after the sixteenth-century Dutch painter Martin van Heemskerck; see Clayton and Price (note 21), pl. 67. The possibility also exists, as pointed out by Lee (note 3), p. 657 n. 81, that these images were introduced to Japan through China, for the same Heemskerck prints were copied in Jesuit Father Ferdinand Verbiest's Chinese book, Qiji tushuo ("Seven Wonders of the World"; Beijing, 1672), itself translated into Japanese by Morishima Churyo, who included it in his Mankoku shinwa (Edo, 1789),and by Shiba Kokan, who included it in his Oranda tsuhaku (Edo, I805). 23. For another,better-preservedimpression, see Matthi Forrer and Charlotte van Rappard-Boon, The Beauty and the Actor:Japanese Printsfrom the Rijksmuseum Amsterdam and the Rijksmuseumvoor Volkenkunde,Leiden (Leiden, 1995),pl. 123.Kuninaga appearsto have created a complete set of prints of the Seven Wonders. For his image of the Colossus of Rhodes, which is similar to Kunitora's, see Tokyo, Riccar Museum, Uki-e, exh. cat. (1978), pl. 117.For Kuninaga's[The Hanging Gardens of] Babylon, see Lee (note 3), fig. 481; and Lane (note 20), fig. 513.For his Pyramids of Egypt, see Ann Arbor (note 12), pl. 5o.The Art Institute also owns a rareimpression of Kuninaga'scurious print Newly PublishedDutch PerspectiveView: The EuropeanPuppetsMade of Stone (anonymous gift, 1931.796). 24. See Forrer and van Rappard-Boon (note 23), pl. 123. The title has been trimmed off the Art Institute'simpression of the print. 25. Pozzo (note 4) and Screech (note 5), p. 59. Pozzo was the teacher of Giuseppe Castiglione, the Jesuit priest-painter who, in the eighteenth century, was one of the favorite artistsat the Qing-dynasty court. 26. For another impression, see Lane (note 20), pl. 527. 27. For a translation of the original Bunraku puppet play, see Donald Keene, trans., Chuishingura:The Treasury of Loyal Retainers (New York and London, 1971). 28. For a discussion of this print in the context of Kunisada'soeuvre, see New York, Japan Society, Kunisada's World, exh. cat. by Sebastian Izzard (1993), pl. 65/1. 29. For an excellent introduction to this famous series, see Henry Smith, Hiroshige: One Hundred Famous Views of Edo (New York, 1986). 30. Although a photographic camera is known to have first been brought to Japan with Commodore Perry on his second visit, in 1854, cameras do not appearto have been widely used in Japanuntil severaldecades later. 16. Published in London, Royal Academy,Hokusai: Prints and Drawings, exh. cat. by Matthi Forrer (1992), pl. 6. 17. An example is Hokusai's Urashima Enters the Palace of the Dragon King, published in Tokyo, Tobu Museum of Art, Dai Hokusai ten, exh. cat. (1993), pl. 33. 96 MuseumStudies This content downloaded from on Sun, 29 Sep 2013 20:18:18 PM All use subject to JSTOR Terms and Conditions...
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