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| The Ligneous Aesthetic of the Postwar Sōsaku Hanga Movement and American Perspectives on the Modern Japanese Culture of Wood | ||
| 作者 | Winther-Tamaki, Bert (著) |
|---|---|
| 出處題名 | Archives of Asian Art |
| 卷期 | v.66 n.2 |
| 出版日期 | 2016 |
| 頁次 | 213 - 238 |
| 出版者 | Duke University Press |
| 出版者網址 | https://www.dukeupress.edu/ |
| 出版地 | Davis, CA, US [戴維斯, 加利福尼亞州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 附註項 | Bert Winther-Tamaki, University of California, Irvine |
| 關鍵詞 | American patronage; Azechi Umetarō; Daoism; Maekawa Senpan; James A. Michener; Munakata Shikō; Occupation; Onchi Kōshirō; rustic woody aesthetic; Saitō Kiyoshi; shibui; Sōsaku Hanga; Oliver Statler; woodblock prints |
| 摘要 | The Japanese movement of printmaking known as Sōsaku Hanga ("Creative Prints") received a tremendous boost after World War II from the patronage of collectors associated with the US military. One appeal of Sōsaku prints by Munakata Shikō, Saitō Kiyoshi, Azechi Umetarō, and Maeda Senpan, among others, was their woody sensibility, or ligneous aesthetic. Human figures rendered like pieces of woodcraft and abstract passages of wood-grain printing intrigued American enthusiasts such as James A. Michener and Oliver Statler. The ligneous aesthetic was appreciated for evoking alluring qualities of ancient Japan as well as for its impressive sense of modernity. |
| 目次 | Abstract 213 KEYWORDS 213 Prewar Beginnings of Sōsaku Wood 214 Images and Qualities of Wood in Sōsaku Prints 215 James A. Michener and Oliver Statler: The Interplay of Old and New 220 Saitō Kiyoshi and Munakata Shikō: Ingrained Japanese Values 222 American Perspectives on the Uncarved Block 226 Bringing the Ligneous Aesthetic Home to Japan 232 Notes 235 |
| ISSN | 00666637 (P); 19446497 (E) |
| 點閱次數 | 26 |
| 建檔日期 | 2023.10.27 |
| 更新日期 | 2023.10.27 |
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