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    Japanese Colour-Prints and Their Designers
    Japanese Colour-Prints and Their Designers
    Japanese Colour-Prints and Their Designers
    Ebook225 pages59 minutes

    Japanese Colour-Prints and Their Designers

    By Frederick Gookin

    2/5

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013
    Japanese Colour-Prints and Their Designers

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    Book preview

    Japanese Colour-Prints and Their Designers - Frederick Gookin

    The Project Gutenberg EBook of Japanese Colour-Prints and Their Designers by Frederick Gookin

    This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license

    Title: Japanese Colour-Prints and Their Designers

    Author: Frederick Gookin

    Release Date: May 25, 2013 [Ebook #42811]

    Language: English

    ***START OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS***

    HARUNOBU. Lovers walking in Snow.

    Japanese Colour-Prints and Their Designers

    A Lecture Delivered Before the Japan Society of New York on April 19, 1911

    By Frederick William Gookin

    New York

    The Japan Society

    1913

    Contents

    JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS

    CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS

    INTRODUCTION

    CATALOGUE

    Illustrations

    HARUNOBU. Lovers walking in Snow.

    MORONOBU. Nobleman and two Ladies at Seashore.

    KIYOMASU. Actors' Boating Party

    MASANOBU. Geisha playing Samisen.

    TOYONOBU. Actor reading Letter

    KIYOMITSU. Daimyo Procession Game.

    HARUNOBU. Young Woman before Torii.

    HARUNOBU. The Sleeping Elder Sister.

    HARUNOBU. The Sleeping Elder Sister.

    HARUNOBU. The Sleeping Elder Sister.

    HARUNOBU. Woman reading Letter.

    KORYUSAI. Musume leaping from Temple Balcony.

    SHUNSHO. Woman in Red.

    KIYONAGA. Holiday Group at Gotenyama.

    KIYONAGA. Picnic Party.

    BUNCHO. Actor as Woman talking to Men.

    KIYONAGA. Man and two Women approaching Temple.

    SHUNCHO. Women watching Girls bouncing Balls.

    EISHI. Fête in a nobleman's palace.

    SHARAKU. Two Actors.

    UTAMARO. Woman with a Musical Toy.

    TOYOKUNI. Women in Bath House.

    HOKUSAI. Fuji from Ushibori.

    HIROSHIGE. Pines at Hammamatsu.

    JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS

    [pg 3]

    In the annals of art production the colour-prints designed by the master artists of the Ukiyoé school occupy a unique place. They represent a plebeian art which was not a spontaneous upgrowth from the soil, but, so to speak, a down-growth or offshoot from an old and highly developed art of aristocratic lineage.

    This elder art had its fountain-head in ancient China. That country, during the Tang and the Sung dynasties (618-905, 960-1280), was the seat of an aesthetic movement during which painting and other arts reached an extraordinarily high development. To the works produced during this great flowering-time of art the Japanese painters of the classical schools turned for inspiration and enlightenment. These works were distinguished by singleness of purpose, rhythmic vitality, and synthetic coherence, and by a clear conception of the essential that goes far beyond anything elsewhere attained, and which, when fully apprehended, must inevitably force a revision of Western ideas and criteria.

    The art of ancient China and of the earlier Japanese schools is an art refined, poetic, and intensive to the last degree. It is based upon profound understanding of aesthetic laws. The artists were carefully grounded in the fundamental principles that govern all art, whether Oriental or Occidental. The result of this training is apparent in the homogeneity of their works. In Europe very confused notions have prevailed as to what should be done and what is permissible in art. Not even the great artists have always seen clearly; had they done so, it cannot be doubted that Western achievement would have attained a much higher level than it has ever reached.

    In the Japanese modifications of the ancient Chinese art its traditions [pg 4] and aesthetic ideals were sedulously preserved. With only rare exceptions, the artists—and under this head it is necessary to include potters, lacquerers, metal-workers, swordsmiths, and others—were drawn from the upper classes. Many of them were in the service of the daimyo, and did not sell their productions, but received from their noble patrons regular stipends in koku of rice. Seldom did any of their works find their way into the hands of the common people, who had little opportunity, therefore, to become familiar with them. Gradually, however, as the number of paintings, statues, and other art objects multiplied and the temples were filled with votive offerings, the classical art made its impress upon buildings, wearing apparel, and utensils of all sorts; its conventions and principles were laid hold of by all classes and became the heritage of the entire people.

    MORONOBU. Nobleman and two Ladies at Seashore.

    The social fabric in old Japan was one of sharp distinctions. At the upper end of the scale were the Emperor; the kuge, or court nobles; the daimyo, or lords of the two hundred and fifty-one provinces; and the samurai, or hereditary military men, from whom were recruited the officials, priests, and scholars. Between these and the lower classes was an almost immeasurable gulf. Highest among the heimen, or commoners, were the farmers. Below them were the artisans, and still lower were the merchants, innkeepers, servants, and the like; while lowest of all were the eta, or outcasts, a class comprising scavengers, butchers, leather-workers, and others engaged in what were considered degrading occupations.

    Under the peaceful regime of the Tokugawa shoguns there was

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