Japan Themes Variations

[SHIBA, Kokan.]. TENCHI RIDAN: LITERARY WORKS BY SHIBA KOKAN..
BY JAPAN'S RENAISSANCE MAN THE LEONARDO DA VINCIA OF JAPAN Shiba Kokan [1747-1818] was one of Japan's leading Rangaku- sha or Dutch learning scholars. He lived and worked in Naga- saki, where he studied European methods of drawing, includ- ing perspective & copper-plate engraving. This is a copy of one of his rarer books & studies, including pictures & notes on foreign animals, Western astronomy, foreign languages: Korean Hangul, Sanscrit, Western alphabet & numbers. * An important work, by Shiba [1747-1818], the great and most celebrated artist, scholar, geographer, innovator, artist, and pioneer in the Westernization of Japan, and august Rena- issiance man of Japan. He was also a celebrated Rangakusha or scholar of Dutch learning. He is responsible for explain- ing the workings of the sun, earth & moon, and is considered the "father of Japanese cartography." He also learned from the Dutch in Nagasaki the principles of Western perspective, until then unknown to the Japanese. He acquired knowledge of copper-engraving, oil-painting. * Shiba Kokan [1747-1818], also known as Suzuki Harushige was a Japanese painter and printmaker of the Edo period, famous both for his Western-style yoga paintings, in imitation of Dutch oil painting styles, methods, and themes, which he painted as Kokan, and his ukiyo-e prints, primarily forgeries of the works of Suzuki Harunobu, which he created under the name Harushige. Kokan did not seek to hide or disguise his forgeries, and in fact is said to have boasted of his ability to forge the great master so well. Shiba was also important and great artist, scholar, geographer, a celebrated innovator and pioneer in the Westernization of Japan & august Renaissance man of Japan. He was responsible for explaining the workings of the sun, earth & moon, and is considered the "father of Japanese cartography." He also learned from the Dutch in Nagasaki the principles of Western perspective, until then unknown to the Japanese. He acquired knowledge of copper-engraving, oil-painting. * Shiba was a student of Suzuki Harunobu, So Shiseki, and Hiraga Gennai, and mastered a number of very different styles, and was also a great innovator, exploring new methods and styles on his own. He became the first Japanese artist, in 1783, to use copperplate engraving to successful effect. Following Harunobu's death in 1770, Kokan placed Harunobu's signature on a number of his own prints, which were supposedly accepted as true works of Harunobu at the time. Today, art historians have noted the distinctive calligraphic style of the faked Harunobu signature, the use of Western-style perspective, and the somewhat less delicate figures in works by "Harushige" [Kokan]. * Like many other Edo period artists, Kokan used a great variety of other names at various points in his career, though "Shiba Kokan", "Suzuki Harushige", and close variations on those appear far more often. Variations include Shiba Shun and Suzuki Shun [Shun being an alternate reading of the same character that forms the Haru of Harunobu or Harushige], while his other names include Ando, Kichijiro, Katsusaburo, Fugen-dojin, Kungaku, Rantei, and Shunparo. * Kokan lived in Nagasaki, and studied under Dutch physicians and scholars [Rangaku Dutch studies] in addition to his pursuits as an artist. Interested in astronomy in particular, he wrote and illustrated a book on Copernicus' theories, entitled Kopperu Temmon Zukai, Illustrated Explanation of Copernicus' Astronomy. * BIBLIOGRAPHY: C. French: SHIBA KOKAN for much more information. Nicely illustrated, with several hemispheric views of the earth. * L. Brown: BLOCK-PRINTING AND BOOK-ILLUSTRATION IN JAPAN FROM THE EARLIEST PERIOD TO THE TWENTIETH CENTURY, p.147 for more information on Shiba. * L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.88. * E. Papinot: HISTORICAL AND GEOGRAPHICAL DICTIONARY OF JAPAN, p.562. * M. Hosono: NAGASAKI PRINTS AND EARLY COPPERPLATES * Kokan was known as Japan's Leonardo da Vince, a renaissance man, a prolific author & writer publishing some 33 works in all. A most fascinating work and superbly illustrated resource on early Japan by an astute and most scholarly intellectual observer. * Color scans can be sent by email. !! WARNING: The above description is COPYRIGHT protected material under United States & International Copyright & Intellectual property laws. Unauthorized copying or use of ANY PART is a felony and will be PROSECUTED TO THE FULL EXTENT OF THE LAW !!! * * * * SHIPPING: WE SHIP WORLD WIDE * * * * * The shipping costs displayed for our books on ZVAB are ONLY AN ESTIMATE !!! * ACTUAL costs are based book weight, destination and value. * We will inform you of shipping costs and options once you select the book. **FOREIGN: We usually ship by registered/insured airmail to customers abroad. **DOMESTIC: We ship to USA customers by UPS/FEDEX or U.S. MAIL, appropriate insurance/registry and signature required will appply. ***** Please inquire if you have any questions regarding shipping or payments .

[Tokyo 1930, Oka Shoin. Brown cloth, very good, compiled by Muraoka Noritsugu, 91p., Japanese text, 25 b.w. photos from the original text, top gilt, head, tail of spine bit worn, covers bit scuffed, contents clean, tissue guards. SCARCE

Details

Rathbun, William Jay (editor): BEYOND THE TANABATA BRIDGE: TRADITIONAL JAPANESE TEXTILES, New York Thames and Hudson in association with The Seattle Art Museum 1993
0500015864

Navy cloth. Dust jacket protected in mylar. Book plate and sticker residue from removed book plate on front free endpaper. Well illustrated in color. "This opulent and authoratative guide to the folk textiles of Japan, based on the collection of the Seattle Art Museum -- one of the most comprehensive and significant in America -- journeys beyond the Tanabata Bridge on a tour of national and regional cloth-making from the eighteenth to the twentieth century, taking in major weaving, dyeing, and stitchery techniques as well as general themes and local variations in the traditions. Essays from distinguished contributors show how these clothes provide an insight into Japanese culture, and how color, motif, shape and material reflected the wearer's age, occupation and rank. Specially commissioned color photographs of the often spectacular and remarkable garments are accompanied by drawings showing how they were worn and used." ; 4to ; 199 pages

Details