"There is a long and vital tradition in East Asian art of animal painting. In Japan, pictures of animals have often been imbued with human characteristics for humorous, even satirical purposes. Kawanabe Kyosai (1831-89) was a highly individualistic painter of the late Edo and early Meiji eras, his career spanning from the end of the feudal system to the beginnings of rapid modernization. His name meant 'crazy studio' and in the 1860s he developed a new genre of 'crazy pictures' (kyoga). Kyosai's works range from painstakingly detailed painted works, to spontaneous and inspired sketches dashed off while drinking prodigious amounts of sake. Many of his designs were made into popular colour prints and illustrated books. Kyosai found an important source of inspiration for his art in the example of the medieval monk-painter Toba Sojo (Kakuyu, 1053-1140), whose comic sketches of animals were thought to satirise the pretensions of the society of his time. In a similar way, Kyosai often made animals the agents for his own light-hearted commentary on the new Meiji Japan. This book illustrates seventy-two of Kyosai's most colourful and comic pictures of animals, from cats to mice, and frogs to elephants. Beautifully designed, and with three short introductory chapters on the artist and his work, and a foreword by Israel Goldman, this is a perfect introduction to the weird and wonderful animal-inhabited world of Kyosai"--Publisher's description.

From very easy to very advanced, paper animals to create.

The large animal figures created at the Meissen manufactory between 1731 and 1736 arguably constitute the eighteenth century's supreme artistic and technical achievement in the field of porcelain-making. The animals were commissioned by the elector-king Augustus the Strong for the palace that of all his seats was probably the one closest to his heart: the Japanese Palace in Dresden. Samuel Wittwer's research has revealed a profusion of inter-relations between this fragile porcelain menagerie and the various other animal collections at the Dresden court. This book does not consider the animal figures in art historical terms alone. On the contrary, it presents them in their historical and topographical context and traces the manifold relations between the figures and the world in which they came into being. In so doing it also offers the reader a wealth of insights into the relationships between art, society, and politics at the Dresden court in the second quarter of the eighteenth century.

"A menagerie of mascots and characters inhabit the islands of Japan, cheerfully guiding citizens through all sorts of daily activities and situations. ... The authors ... explore the cultural context of these ubiquitous, hard-working critters and their relationship to anime and manga, commercial characters like Hello Kitty, and the cult of cute, while introducting a host of adorable new best friends you never knew you had."--Book flap.

Presents the author's selection of his best short stories, as well as a new piece, in a collection that includes "The Man Who Ended History: A Documentary," "Mono No Aware" and "The Waves."

"Augustus the Strong (1670-1733) had long been a collector of Japanese and Chinese porcelain, and it was to house his collection that the Japanese Palace in Dresden was purchased. In 1729 Augustus enlarged the building to nearly double its original size in order to create a "porcelain palace." One gallery was to be entirely devoted to Meissen porcelain, including the exceptional animal figures that are the subject of this book and the exhibition it accompanies."--BOOK JACKET.

The long-overdue, definitive career retrospective of an early-20th-century gag cartoonist. From the 1880s to the Roaring 1920s, Sullivant took to the drawing board and dreamed up all manner of hilarious gag cartoons featuring animals of all stripes, perennial American "types" like hayseeds and hobos, and classic characters from myths and biblical tales. These comics haven’t seen the light of day since their initial appearance in pioneering humor magazines like Puck and Judge over a century ago. Includes essays by John Cuneo, Peter de Seve, Barry Blitt, Steve Brodner, Rick Marshall, Nancy Beiman, and R.C. Harvey, with a foreword by cartoonist Jim Woodring.