Kuniyoshi was a master of the warrior woodblock print — and these 18th-century illustrations represent the pinnacle of his craft. Full-color portraits of renowned Japanese samurais pulse with movement, passion, and remarkably fine detail.

This is an insightful and intelligent re-thinking of Japanese art history & its Western influences. This broad-ranging and profoundly influential analysis describes how Western art institutions and vocabulary were transplanted to Japan in the late nineteenth century. In the 1870-80s, artists and government administrators in Japan encountered the Western 'system of the arts' for the first time. Under pressure to exhibit and sell its artistic products abroad, Japan's new Meiji government came face-to-face with the need to create European-style art schools and museums - and even to establish Japanese words for art, painting, artist, and sculpture. "Modern Japanese Art" is a full re-conceptualization of the field of Japanese art history, exposing the politics through which the words, categories, and values that structure our understanding of the field came to be while revealing the historicity of Western and non-Western art history.

Minamoto Yoshitsune should not have been a samurai. But his story is legend in this real-life saga. This epic warrior tale reads like a novel, but this is the true story of the greatest samurai in Japanese history. When Yoshitsune was just a baby, his father went to war with a rival samurai family—and lost. His father was killed, his mother captured, and his surviving half-brother banished. Yoshitsune was sent away to live in a monastery. Skinny, small, and unskilled in the warrior arts, he nevertheless escaped and learned the ways of the samurai. When the time came for the Minamoto clan to rise up against their enemies, Yoshitsune answered the call. His daring feats and impossible bravery earned him immortality.

Samurai tells the story of the courageous and highly disciplined fighting men of this time, showing how they evolved from the primitive fighters of the seventh century into an invincible military caste with a fearsome reputation. In the early seventh century, the samurai rose to prominence during the struggles between the emperor and the military leaders (shogun). They took part in the invasion of Korea, as well as helping to keep Japan free from foreign influence. From the Heian period through to the Onin wars, the history of the samurai is replete with tales of heroism and bloodshed. Although the samurai is most famous for his use of the sword, he also used a wide variety of other weapons, such as the crossbow, the dagger and the spear. Samurai armour and costume were constantly evolving, and by the twelfth century most samurai were wearing the box-like yoroi armour. Samurai examines samurai fighting tactics, as well as acts such as ritual suicide (hari-kiri) and the taking of enemy heads as trophies.

This Ukiyo-e Master Special edition of Kunisada's 47 Ronin contains not only Kunisada's complete set of 48 samurai prints, reproduced in full-size and full-colour, but also reference prints from Kuniyoshi's classic series of 1847, complimenting each image. The book also features A.B. Mitford's definitive Legend of the 47 Ronin, the first English-languge version of the story from 1871. This text is illustrated with 47 Ronin prints by varoius other classic ukiyo-e artists, including Yoshitora, Yoshitoshi, and Kunichika, bringing the total number of colour prints in the book to over 100.

This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.