Early years - Introduction of Buddhism - The zenith of court culture - The court and the Shogunante - Aesthetics of warrior rule - The gilded road to unification - Tokagawa control and the rise of the bourgeoisie - Eyes to the West: the Meiji restoration.

In Parting the Mists, Aida Yuen Wong makes a convincing argument that the forging of a national tradition in modern China was frequently pursued in association with rather than in rejection of Japan. The focus of her book is on Japan’s integral role in the invention of "national-style painting," or guohua, in early-twentieth-century China. Guohua, referring to brush paintings on traditional formats, is often misconstrued as a residual conservatism from the dynastic age that barricaded itself within classical traditions. Wong places this art form at the forefront of cross-cultural exchange. Notable proponents of guohua (e.g., Chen Hengke, Jin Cheng, Fu Baoshi, and Gao Jianfu) are discussed in connection with Japan, where they discovered stylistic and ideological paradigms consonant with the empowering of "Asian/Oriental" cultural practices against the backdrop of encroaching westernization. Not just a "window on the West," Japan stood as an informant of China modernism in its own right. The first book in English devoted to Sino-Japanese dialogues in modern art, Parting the Mists explores the sensitive phenomenon of Japanism in the practice and theory of Chinese painting. Wong carries out a methodologically agile study that sheds light on multiple spheres: stylistic and iconographic innovations, history writing, art theory, patronage and the market, geopolitics, the creation of artists’ societies, and exhibitions. Without avoiding the dark history of Japanese imperialism, she provides a nuanced reading of Chinese views about Japan and the two countries’ convergent, and often colliding, courses of nationalism.

Conveying the impressive range and beauty of art associated with the tradition of kami veneration in Japan, 'Shinto: Discovery of the Divine in Japanese Art' presents works in various media--calligraphy, painting, sculpture, costume, and decorative arts--assembled from religious institutions and museums in Japan, and from collections in the United States. Kami veneration, a practice often referred to as Shinto in modern sources, is unique to Japan, although a number of its components stem from court and religious rituals in neighboring countries. 'Shinto' accompanies an exhibition at the Cleveland Museum of Art, presented with the special cooperation of the Nara National Museum in Japan, and is written by top scholars from the United States and Japan. It is the first catalogue in any language to bring together significant works from both U.S. and Japanese collections related to kami veneration, documenting these rare and fragile works.

A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.

Created specifically for fans of Japanese "cool culture," A Geek in Japan is one of the most iconic, hip, and concise cultural guides available. This new edition has been thoroughly revised and expanded with new chapters on Japanese video games, architecture, and a special section on visiting Kyoto. Reinvented for the internet age, it's packed with personal essays and hundreds of photographs, presenting all the touchstones of both traditional and contemporary culture in an entirely new way. The expansive range of topics include: Bushido, Geisha, Samurai, Shintoism, and Buddhism Traditional arts and disciplines like Ukiyo-e, Ikebana, Zen meditation, calligraphy, martial arts, and the tea ceremony Insightful essays on code words and social mores; dating and drinking rituals; working and living conditions and symbols and practices that are peculiarly Japanese Japanese pop culture genres and their subcultures, like otaku, gals, visual kei, and cosplay For visitors, the author includes a mini guide to his favorite neighborhoods in Tokyo as well as tips on special places of interest in other parts of Japan. Garcia has written an irreverent, insightful, and highly informative guide for the growing ranks of Japanophiles around the world.

Beskrivelse: Wabi-sabi is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional.

Explores how spiritual values are learned and mind and body developed through the practice of the Japanese arts.