Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design (Volumes 1 and 2) (v. 1)

Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design (Volumes 1 and 2) (v. 1)

Language: English

Pages: 676

ISBN: 1933330260

Format: PDF / Kindle (mobi) / ePub


Still regarded as a monumental survey of Eastern art, this comprehensive volume was intended for art collectors and general readers as well as travelers and scholars. It covers China and Korea in addition to Japan, and places a special emphasis on Buddhist influences.

Ernest F. Fenollosa (1853–1908) was an educator who helped introduce Westerners to traditional Japanese art forms.

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Old Man Goya

From Margin to Center: The Spaces of Installation Art

 

 

 

 

 

 

 

 

 

 

shown in this book. But the real culmination of this romantic Southern illumination did not appear till the Rio (Liang) dynasty in 502, and especially the long reign of Butei (Wu-ti), its founder, who had been the chief general of the waning Sei; and who, the namesake of the Han Emperor celebrated for opening intercourse with Western Asia six centuries 52 EPOCHS OF CHINESE AND JAPANESE ART before, is the first great picturesque figure on the Chinese throne since that famed Han (Kan) reign.

ART is only a refinement upon the savage fragments found in the primitive shell heaps, only that was more blue in tone, whereas this tends toward cream-yellow. The human figures are rude, mostly like those of wood and stone found throughout Pacific lands, hardly inferior to the best of Mexico and Peru, and at their best rising to a vigour of action, as in the clay bowmen, which foreshadows the civilized Buddhist art of the seventh and eighth centuries. The metal work is bronze and iron, showing a

Yakushiji temple in Nara, of which we shall speak more fully in the next chapter. It is beautifully proportioned, the face round and sweet, with small nose and delicate mouth; the hair, like that of the Chuguji Kwannon, being only a smooth raised surface. The hands and feet, too, are small. But the most interesting feature of all is the drapery, which is a beautiful translation into bronze designing of the cross concentric folds of the Buddha’s mantle, as exemplified in the colossal stone images

beauty of the features, the mouth and chin especially. Early Corean and Japanese Buddhist Art 89 This is the first Japanese profile which compares in beauty with the Corean Yumedono Kwannon of the sixth century. But to realize the full beauty of the head and face, and to recognize that, after all, it is not Greek, it should be seen enlarged in a two-thirds pose. It was thus that I specially photographed it in 883. The little standing Buddha in the crown is a new type with free drapery. The

this effort his chief inspirer and fellow-worker was the artist Kano Hogai, already well into middle age, a splendid and rebellious spirit, and the last of the really great artists of old Japan. This man, proud of his name and traditions, for he was a direct descendant of the long line of Kano painters, had been one of the very few to hold scornfully aloof from the invasion of foreign ideas. But in spite of this, Foreword Preface xxi the genius, earnestness and purpose of the young American

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