lamdha books -
Catalogue of books on Japanese art, architecture and craft

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Addiss, Stephen
The Art of Zen Paintings and Calligraphy by Japanese Monks, 1600-1925
Harry N. Abrams Inc., New York NY, 1989.
Quarto; hardcover, with a blind-stamped upper board decoration and black endpapers; 223pp., with many colour and monochrome illustrations. Minor wear. Dustwrapper now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film spine panel lightly faded. Near fine. Zen, the practice of seeking and achieving enlightenment, is embodied in art forms as diverse as sand gardens and tea ceremonies. However, the attempt to artistically express the inexpressible finds one of its clearest manifestations in painting. Especially after 1600, more and more Japanese Zen masters began depicting their individual paths to enlightenment with bold, inked brushstrokes of images and calligraphy of Zen subjects and sayings. The result was a visual expression of Zen called Zenga (literally 'Zen picture'), the purest possible communication of Zen principles, and often used as an aid in meditation. As practised by Zen masters, who were expert in calligraphy but not professional artists, the subject matter was often simple, suggestive, and abstract, though sometimes the artists depicted humorous portraits of Zen masters and their followers. With this stunning collection of Zenga masterpieces from the seventeenth to twentieth centuries, prolific author and Professor of Art, Emeritus, at the University of Richmond, Stephen Addiss showcases centuries of great works of Zen calligraphy and painting. Many of the pieces, gathered from Japanese temples, have never been widely seen before. The book also provides a comprehensive introduction to the major Zenga artists, offering extensive, engaging biographies of these awakened monks. Dr. Addiss insightfully describes the history of Japanese Zen art and culture, and includes translations of Zen prose and poems. He also explains the various styles of the fascinating monk-artists, with enriching commentary on their techniques and innovations. These are marvellous visual expressions of self-knowledge and enlightenment.
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Allen, Jeanne
The Designer's Guide to Samurai Patterns
Thames and Hudson Ltd., London, 1990.
Octavo; gatefold paperback; 132pp., with many colour and monochrome illustrations. Minor wear. Near fine.
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Briessen, Fritz van
The Way of the Brush Painting Techniques of China and Japan
Charles E. Tuttle Co., Rutland VT, 1962.
First edition: quarto; hardcover, decorated cloth with upper board titles on a red label; 329pp., with many colour and monochrome illustrations. moderate wear; cocked; spine extremities lightly softened; lightly toned and spotted text block edges; offset to the endpapers; previous owner's name in ink to the half-title page. Dustwrapper is mildly rubbed and sunned; now professionally protected by superior non-adhesive polypropylene film. Very good. The author recognises that although many Westerners are drawn to the beauties of Chinese and Japanese painting, there can exist an underlying sense of strangeness which, in the absence of a suitable guide, can leave the art inexplicable. Van Briessen seeks to provide that guide, illuminating the tradition in its own terms. He explains the elements, techniques and principles as well as dealing with various conventions and symbols employed. Technical matters are similarly addressed.
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Davis, Julie Nelson
Utamaro and the Spectacle of Beauty
University of Hawai'i Press, Honolulu, 2007.
Quarto hardcover; dustwrapper; 296pp., colour and monochrome illustrations. Remainder. New. Kitagawa Utamaro was widely appreciated for his prints of beautiful women. In images showing courtesans, geisha, housewives and others, Utamaro made the practice of distinguishing social types into a connoisseurial art. In 1804 at the height of his success, Utamaro, along with several colleagues, was manacled and put under house arrest for fifty days for making prints of the military ruler Toyotomi Hideyoshi enjoying the pleasures of the 'floating world'. The event put into stark relief the challenge that popular representation posed to political authority and according to some sources, may have precipitated Utamaro's sudden decline. In this book Julie Nelson Davis makes a close study of selected print sets, and by drawing on a wide range of period sources reinterprets the artist in the context of his times. Reconstructing the place of the ukiyo-e artist within the world of the commercial print market, she demonstrates how Utamaro's images participated in the economies of entertainment and desire in the city of Edo.
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Ficke, Arthur Davison
Chats on Japanese Prints
Charles Tuttle, Tokyo, 1966.
Third printing. Octavo hardcover; quarter bound green papered boards with navy blue cloth spine and silver gilt spine titling, pale yellow endpapers; 456pp., monochrome plates. Owner's name. Some pencil underlining. Offsetting to endpapers; mild toning and spotting to text block edges. Mildly rubbed illustrated dustwrapper with wear and scraping to edges and corners - tiny tear on head of spine. Else very good. Wrapper now professionally protected by superior non-adhesive polypropylene film. "One of the finest and most poetic books ever written on Japanese prints." - James A. Michener
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Goodall, Hollis, et al. (Acknowledgments by Frances Bushell)
The Raymond and Frances Bushell Collection of Netsuke A Legacy at the Los Angeles County Museum of Art
Art Media Resources Inc./Los Angeles County Museum of Art, Chicago IL, 2003.
Quarto; gatefold paperback; 552pp., with many full-colour and monochrome illustration. Remainder. New. Netsuke are small toggles or buckles carved from wood or ivory. The Japanese in the seventeenth century used them to fasten pouches to their kimono belt, since kimonos had no pockets. This lavishly illustrated book takes the reader on an exciting tour of the various styles and forms of these engaging objects.
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Green, Pauline (ed.)
Monet & Japan
National Gallery of Australia, Parkes ACT, 2001.
Quarto; gatefold paperback; 216pp., with many colour illustrations. Very minor wear only. Near fine. Japanese art accompanied Monet throughout his life as an artist. It affected not only his style and subject matter, but also how he saw nature and how he conceived his relationship to it. Exhibition catalogue.
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Grilli, Elise
The Art of the Japanese Screen
Weatherhill/Bijutsu Shuppan-Sha, New York NY/Tokyo Japan, 1971.
Hardcover folio, decorated cloth, xii + 276pp., 48 colour and 111 monochrome illustrations. Mauve, green and terracotta toned silk covered boards with gilt lettering and title plate with green-gold decorated endpapers; brown headband. Owner's bookplate. Minor wear; a few marks on side edge of verso of front free endpaper; toned text block edges with some spotting on upper edge. A few small chips on spine extremities of illustrated dustwrapper. Very good to near fine and professionally protected by superior non-adhesive polypropylene film. From ancient times the folding screen has played a special role in Japanese art and decor. At first almost purely utilitarian in purpose, screens came more and more to perform a decorative function as well, and eventually, during the brilliant Momoyama and early Edo periods (late 16th to early 18th century) they served as the medium for one of the most colourful and exuberant expressions of the Japanese painter's art. Beginning with this golden age of screen painting, this lavish book offers a history of the Japanese screen from its origins in antiquity down to recent manifestations in the hands of modern artists.
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Hickman, Money L.
Japan's Golden Age: Momoyama
Yale University Press, 1996.
Large quarto hardcover; black cloth boards with gilt spine titling and illustrated endpapers; 320pp., colour illustrations. Faint spotting to upper text block edge. Near fine in like dustwrapper. A time of dramatic social and political change, and of brilliant artistic innovation and achievement, the Momoyama period (1568 - 1615) was one of the most dynamic eras in Japan's history. This book displays spectacular Momoyama masterpieces in many media - paintings, sculpture, calligraphy, tea ceremony utensils, lacquerware, ceramics, metalwork, arms and armour, textiles, and Noh masks - and places each work of art into its historical and cultural context.
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Hillier, J.
Japanese Masters of the Colour Print A Great Heritage of Oriental Art
Phaidon Press Ltd., London, 1954.
Second edition: Quarto: hardcover, full decorative cloth with gilt spine-titling on a light-blue label; 140pp., with a tipped-in colour frontispiece, 19 plates likewise and many other monochrome illustrations. Mild wear; slight softening to the spine extremities; text block edges toned; retailer's bookplate to front pastedown. Price-clipped dustwrapper is lightly rubbed with some minor marks; mildly sunned along the spine panel; now backed by archival-quality white paper and professionally protected by superior non-adhesive film. Very good. Japanese prints are probably the most popular form of art from the East that has become known to the West. These images of oriental life and thought have continued to delight Europe and America since they were first seen outside Japan in the mid-nineteenth century. This book presents a succession of great masters from Moronobu in the late seventeenth century to Hokusai and Hiroshige in the nineteenth.
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Hillier, J.
Utamaro Colour Prints and Paintings
Phaidon Press Ltd., London, 1961.
First edition. Quarto printed cloth, 161pp, 110 illustrations & 17 tipped colour plates. A few spots on endpapers and pastedowns with some light toning and faint spotting to text block edges; dustwrapper chipped at spine extremities and corners. Very good to near fine and professionally protected by superior non-adhesive polypropylene film. Utamaro is one of the most significant figures in the history of Japanese art, and one who has had an incalculable influence of western artists. The author of this study for many years devoted to a study of Japanese artists, especially of Utamaro. Aided by a generous selection of typical prints, in broadsheet or album form, he traces Utamaro's development as an artist, providing at the same time an approach to the Japanese way of life in the late eighteenth century, as well as to some of the problems of Japanese art generally.
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Ito, Setsuo
Earthscapture The Art of Setsuo Ito
Hudson Hills Press, Manchester, 2007.
Large quarto hardcover, 175pp., colour illustrations. Minor scuffing to dustwrapper with scratching on rear panel. Otherwise near fine and professionally protected by superior non-adhesive polypropylene film. This book attempts to capture the exceptional physical and dramatic aesthetic qualities found in each of the individual works showcased. Strongly influenced by the natural beauty of the western regions of the United States, the philosophy of American Indians, and his own Japanese culture, Ito merges these elements into sculpture of beauty and strength. An artist of incredible vision and skillful mastery, the work of Setsuo Ito reflects an undeniable connection to nature.
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Itoh, Teiji (Yukio Futagawa, illus.)
The Elegant Japanese House Traditional Sukiya Architecture
Weathermark Editions/Walker/Weatherhill Inc./Tankosha, New York NY, 1969.
Quarto; hardcover, full cloth with gilt spine titles and upper board decoration; 220pp., with many plans and full-colour and monochrome illustrations. Minor wear. Price-clipped dustwrapper rubbed and edgeworn with a small tear to the spine panel head; now professionally protected by superior non-adhesive archival film. Very good. The Sukiya style, originating in the ceremonial teahouse under minka influence, was expanded to include private residences, restaurants and inns. It is beyond doubt the most sophisticated style developed throughout the long history of Japanese architecture. Through its extremely functional planning, its sensitive use of materials, and its aesthetic consciousness, it has exerted a strong influence on modern architecture and has extended this influence to Western architecture as well. Since the book concerns itself as much with architectural function as with architectural design and craftsmanship, it gives considerable attention to the social environment in which the sukiya style evolved, as well as to its applicability in the rapidly changing world of today.
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Joly, Henri L.
Legend in Japanese Art A Description of Historical Episodes, Legendary Characters, Folk-Lore, Myths, Religious Symbolism, Illustrated in the Arts of Old Japan
Charles E. Tuttle Co., Rutland VT, 1968.
Reprint: quarto; hardcover, with gilt spine titles and upper board decorations, upper board titles and decorative endpapers; 623pp., with a colour frontispiece, 15 colour plates and many monochrome illustrations. Mild wear; somewhat shaken; text block edges lightly toned; mild offset to the endpapers; previous owner's name in ink and small scrape to the flyleaf. Dustwrapper is rubbed and mildly edgeworn with a few small tears to the edges; spine panel sunned; now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film. Very good. "This voluminous work might be well described as a dictionary. Its plan is to give alphabetically an account of the mythological persons who are often represented in Japanese art. The book is one to which collectors will turn to identify objects, either carvings or drawings, and to them it will be of great use with its seven hundred illustrations and eleven hundred and twenty entries from 'A to Z'. " - The Spectator
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Kidder, J. Edward
Early Japanese Art The Great Tombs and Treasures
Thames & Hudson Ltd., London, 1964.
Hardcover, square small quarto, 364pp., 15 colour plates, 76 photogravure plates, 37 line drawings, 3 maps. Upper text block edge spotted; boards clean and solid; dustwrapper discoloured at edges, but bright and intact with little creasing. Very good in good/very good dustwrapper. Professionally protected by superior non-adhesive polypropylene film. The period described in this book is 660 BC to the end of the Great Tomb Period in 671 AD. The author has collated his own and other archaeologists' work on the tombs and their treasures, and from the literature of this, the first documented period of Japanese history, he has reconstructed the art, society and some of the beliefs of Japan in its formative years. It is a reconstruction heightened by the 133 illustrations, selected from all the media of protohistoric Japanese art: clay figures, iron weapons, gold crowns, wall paintings. The appendices provide catalogued descriptions of all the period's ornamented tombs and decorated sarcophagi to be found in Japan.
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[Kokusai Bunka Shinkokai]
The Works of Tomioka Tessai An Exhibition organised by Kokusai Bunka Shinkokai (The Society for International Cultural Relations), Sept. 14 - Oct. 14, The Arts Council of Great Britain, London.
Kokusai Bunka Shinkokai/Benrido, Kyoto Japan, 1966.
Quarto; paperback, with decorative wrappers, gilt upper board titles and a tipped-on front cover illustration; unpaginated (9pp.), with a monochrome portrait frontispiece, 4 colour plates and many other monochrome plates. Minor wear; some sunning to the spine; text block edges toned. Very good.
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Kurokawa, Kisho
Intercultural Architecture: The Philosophy of Symbiosis
The American Institute of Architects Press, Washington, 1991.
Large quarto gate-fold paperback; 208pp., colour & monochrome illustrations. Mild rubbing and wear to edges. Near fine otherwise. '...architect Kurokawa gives us a further explication of his synthesist theory of architecture, called symbiosis. In his explanation he draws on aspects of human culture that are often lacking in modern architecture: the values of humanness and the use and presentation of wabi the patina of culture something develops over time and the cultural value it represents. As in many other fields, Japan continues to adopt a symbiotic stance in its architecture because of pressures of population, overconcentration of resources, a booming economy, and the "new" global consciousness of the Japanese.' - Mike Heines
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Leach, Bernard
Hamada Potter
Kodansha International Ltd., Tokyo Japan, 1975.
First edition: quarto; hardcover, handmade laid-paper board covers, with upper board titles and decoration; 305pp., with a monochrome portrait frontispiece and many full-colour and monochrome illustrations. Minor wear; mild sunning to the boards and spine; text block edges toned. Printed plastic dustwrapper mildly rubbed and worn. Very good. Laid in: a slip explaining how the paper for the covers was made. The text of this lavishly illustrated book is in the form of a dialogue between Hamada and Leach, compiled from taped interviews and incorporating translations of a number of Hamada's articles and letters. In this setting Hamada's own words relate - and his friend of more than fifty years evaluates - the development of the potter's ideas and techniques. A series of eighty full-page plates present Hamada's work from 1927 to 1971; and the book contains a selection of photographs of Hamada at work as well as extracts from his sketchbook drawings of craft objects and motifs.
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Link, Howard
The Theatrical Prints of the Torii Masters A Selection of Seventeenth and Eighteenth-century Ukiyo-e
Honolulu Academy of Arts/Riccar Art Museum, Honolulu HI, 1977.
Quarto; hardcover, with upper board titles, a lower board decoration and black endpapers; 144pp., with many colour and monochrome illustrations. Minor wear; a sticker ghost to the flyleaf. Dustwrapper is a little rubbed and edgeworn; now professionally protected by superior non-adhesive polypropylene film. Near fine.
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Loveday, Helen
The Baur Collection Japanese Buddhist Textiles
5 Continents Edtiones, Milan Italy, 2014.
Quarto; hardcover, with gilt spine-titling; 333pp., with many full-colour photographic illustrations. Very minor wear. Fine in like dustwrapper. The latest in a series documenting the world-renowned Asian art collections of Alfred Baur, this volume presents a group of 18th- and 19th-century Japanese Buddhist textiles. Previously unpublished, the collection is made up not of kimonos or monks' kesa robes, but of uchishiki, beautiful and intricate Buddhist altar covers. Like kesa, they were made from lengths of sumptuous silk, most often donated to the temple. With elaborate polychrome decoration, highlighted by gold or silver thread, uchishiki stand out as testaments to the extraordinary skill of Kyoto weavers. Superb photographs are accompanied by full scholarly notes on the history of silk weaving in Japan as well as the techniques and decorative motifs used.
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McCormick, Melissa
Tosa Mitsunobu and the Small Scroll in Medieval Japan
University of Washington Press, Seattle WA, 2009.
Quarto; hardcover; 292pp., with colour and monochrome illustrations. Dustwrapper. Remainder. New. "Tosa Mitsunobu and the Small Scroll in Medieval Japan" is the first book-length study to focus on short-story small scrolls (ko-e), one of the most complex but visually appealing forms of early Japanese painting. Small picture scrolls emerged in Japan during the fourteenth century and were unusual in constituting approximately half the height of the narrative handscrolls that had been produced and appreciated in Japan for centuries. Melissa McCormick's history of the small scroll tells the story of its emergence and highlights its unique pictorial qualities and production contexts in ways that illuminate the larger history of Japanese narrative painting.
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Menzies, Jackie (ed.)
Modern Boy Modern Girl: Modernity in Japanese Art 1910-1935
Art Gallery NSW, 1998.
Gatefold quarto paperback; 174pp., colour illustrations. Very slightly rolled binding; a few small marks on text block edges and slight scuffing to cover, creased spine and minimal wear to edges. Very good. "Modern Boy, Modern Girl" examines the dynamic urban culture of early twentieth century Japan. Through paintings, posters, magazines and photographs, a fascinating and unfamiliar period of Japanese culture is presented for the first time in English. Individualism and self-expression were the aspirations of the "mobo moga" (modern boys, modern girls) who epitomized this new culture. Mobo was the modern boy who carried Western novels and attended a Schubert concert or an Ibsen play in preference to Kabuki theatre. Moga was the Japanese flapper who wore the latest European fashion and met her friends at an Art Deco style cafe in the Ginza. This catalogue accompanied the group exhibition of Japanese art at the Art Gallery of New South Wales, Sydney, in July and August 1998. Included in the catalogue are artists' biographies, contributors' profiles, a glossary, chronology, catalogue list, and bibliography.
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Michener, James A. (Richard Lane, ed.)
Japanese Prints From the early Masters to the Modern
Charles E. Tuttle Company Inc., Rutland, VT, USA, & Tokyo, Japan, 1972.
Quarto; hardcover, with gilt spine-titling and napped silk upper board panel; 287pp., with many monochrome and full-colour illustrations (some folding). Mild offset to endpapers and preliminaries; some very minor stains to the text block top edge; a bump to the spine head mildly affecting the boards. Price-clipped dustwrapper lightly worn; now professionally protected by superior non-adhesive polypropylene. Very good Combining the finished literary style of an outstanding novelist with a mature knowledge of the subject, James A. Michener is able to bring this great art form to life in words, directly communicating his understanding, love and enthusiasm.
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Morse, Peter
Hokusai: One Hundred Poets
George Braziller, New York, 1989
Oblong quarto hardcover; red boards with gilt spine titling; 222pp., colour and monochrome illustrations. Rubbing and fading to lower board edges, corners slightly frayed; mild wear to dustwrapper edges and lower spine panel faded. Very good to near fine. In the last three decades of his life, Hokusai, produced his greatest works. Among them are the prints intended to accompany the "One Hundred Poets" a body of literature, in Japan, dating from the 13th century. In his lifetime, however, Hokusai only completed twenty-seven prints and until recently, his designs and drawings for sixty-two other images have been ignored. The Eighty-nine extant images are reproduced here.
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Munsterberg, Hugo
The Landscape Painting of China and Japan
Charles E. Tuttle Co., Rutland VT, 1960.
Reprint: royal octavo; hardcover, quarter-bound in full-cloth with an upper board decoration and decorative endpapers; 144pp., with a colour frontispiece and 101pp. of monochrome plates. Mild wear; covers a little rubbed with sunning to the spine extremities; text block edges toned; some offset to the endpapers. Price-clipped dustwrapper is rubbed and edgeworn; some large chips with associated creasing to the spine panel extremities and the bottom edge of the lower panel; now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film. Very good.
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Narazaki, Muneshige
Sharaku The Enigmatic Ukiyo-e Master
Kodansha, New York NY, 1983.
Folio hardcover, 48pp., colour and monochrome illustrations. Lightly spotted text block edges. Otherwise near fine in like dustwrapper. Rembrandt, Velazquez, and Toshusai Sharaku have been called the greatest portrait artists of all time. Of the three, Sharaku's name is undoubtedly the least widely known. This comparative obscurity may be due to the fact that Sharaku was ignored in his own country and time, Japan of the eighteenth century, and remained in obscurity until his powerful portraits of Kabuki actors were discovered over one hundred years later by Western artists and critics. Another possible reason for Sharaku's lesser reputation is that his artistic career spanned scarcely ten months, after which his critics hounded him from the art world. Added to this is the fact that virtually no records have come down to us that reveal his identity - the man himself is a mystery shrouded in a mystery. Despite these obstacles, however, many of the works of Sharaku have survived, and anyone with an eye for powerful, unflinching art will find them infinitely worthy of their attention.
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[Pie Books]
Women Japanese Portrait Tradition
Pie Books, Tokyo Japan, 2008.
Octavo; paperback; 392pp., Japanese text, with many full-colour and monochrome illustrations. Very mild wear; some light marks on the text block edges. Dustwrapper. Very good to near fine.
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Sadler, A.L.
A Short History of Japanese Architecture
Angus & Robertson Ltd, Sydney NSW, 1941.
First edition. Quarto; hardcover, with gilt spine and upper board titles; 123pp., with a colour frontispiece and many monochrome diagrams and illustrations. Mild wear; offset to the endpapers; text block edges and pages embrowned; previous owner's ink inscription to the flyleaf. Dustwrapper is a little rubbed and edgeworn with chipping to the spine panel extremities; now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film. Very good. An early study by the Professor of Oriental Studies at the University of Sydney. Considered a classic in its field, unequalled in clarity and insight, Japanese Architecture A Short History is a lucid and uncomplicated introduction to this important aspect of Japanese culture. Beginning with the earliest evidence from prehistory and ending with the Edo period, when Japan attained stature as a modern state, Japanese Architecture is as relevant today as it was in 1941.The book includes an overview of Japanese domestic architecture as it evolved through successive periods of history and perfected the forms so widely admired in the West. Of particular importance in this respect are the four concluding chapters, in which the distinctive features of the Japanese house are presented in clear detail. The architecture book also contains excellent illustrations, which show details of planning and construction.
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Sahashi, Kei (ed.) (Akihiko Tokue, illus.)
Exquisite The World of Japanese Kumihimo Braiding
Kodansha International Inc., Tokyo Japan, 1988.
Quarto; hardcover; 120pp., with many colour and monochrome illustrations. Minor wear. Dustwrapper is a little rubbed; now professionally protected by superior non-adhesive polypropylene film. Near fine. For the past hundred years, Kumihimo (a type of Asian braiding) have been associated with Japanese kimono accessories - particularly the cord that secures the woman's obi - the obijime - and the cords that fasten the fronts of both men's and women's haori overgarments. For many centuries before that, however, kumihimo found their main use as the lacings holding together the complex lacquered plates of the high-ranking Japanese warrior's suit of armour, as cords, both practical and ceremonial, used on the Japanese sword, and as equestrian trappings. Though these uses employ the strength and durability of kumihimo, they also take full advantage of the braids' decorative qualities - kumihimo have always beautiful as well as functional.
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Smith, Henry D (intro.)
Hokusai: One Hundred Views of Mount Fuji
Thames & Hudson, London, 1988.
Octavo hardcover; brown cloth boards with gilt spine titling and publisher's insignia on front; 224pp., monochrome illustrations. Minor wear; mild toning and spotting to upper text block edges; very slightly toned dustwrapper spine. Near fine otherwise and professionally protected by superior non-adhesive polypropylene film. Hokusai's Fujaku Hyakkei - or the One Hundred Views of Mount Fuji - were originally published in three volumes in the 1830s. These glimpses of Mount Fuji, by perhaps the best-known and most enthusiastically appreciated of all Japanese artists, not only draw on traditional themes and pictorial elements, but transmute the ordinary into the memorable and display Hokusai's consummate virtuosity as a graphic artist. This edition has been reproduced from mint first edition copies of the three volumes, the first two volumes of which at least represent a standard of monochrome printing that has never been excelled, even in Japan.
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Taut, Bruno
Houses and People of Japan
The Sanseido Co. Ltd., Tokyo Japan, 1937.
First edition. Quarto; hardcover, with gilt spine titles and decorative endpapers; 318pp., with a tipped-in colour frontispiece, 8 plates likewise (with tissue guards) and many monochrome illustrations. Moderate wear; somewhat shaken; spine extremities softened and sunned; text block edges lightly spotted and top edge dusted. Price-clipped dustwrapper is well rubbed and edgeworn with sunning and a few marks; large chips to the spine, flap-turns and lower board top edge; now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film. Very good. Being a noted advocate of socialist political policies, Taut was compelled to look for opportunities to emigrate from Germany when the Nazis gained power. He was promised work in the USSR in 1932 and 1933, but was obliged to return to Germany in February 1933 to a hostile political environment. Later in the same year, with an invitation from Japanese architect Isaburo Ueno, he travelled to Japan in May, 1933. Taut made his home in Takasaki, Gunma, where he produced three influential book-length appreciations of Japanese culture and architecture, comparing the historical simplicity of Japanese architecture with modernist discipline. He was noted for his appreciation of the stark, minimalist vein of Japanese architecture found at the Ise Shrine and the Katsura Imperial Villa in Kyoto. He was the first to write extensively about the architectural features of the Katsura Imperial Villa from a modernist perspective. Contrasting it with the elaborately decorated shrines of shogun Tokugawa Ieyasu at Nikko, Tochigi, he famously said that 'Japan's architectural arts could not rise higher than Katsura, nor sink lower than Nikko'. Taut's writing on the Japanese minimalist aesthetic found an appreciative audience in Japan and subsequently influenced the work of Le Corbusier and Walter Gropius. The difference between Taut and his Modernist contemporaries was never more obvious than at the 1927 Weissenhofsiedlung housing exhibition in Stuttgart. In contrast to the pure-white entries from Ludwig Mies van der Rohe and Walter Gropius, Taut's house (Number 19) was painted in primary colours. Le Corbusier is reported to have exclaimed, 'My God, Taut is colour-blind!'.
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Turk, Frank A.
The Prints of Japan
Arco Publications, London, 1966.
Octavo hardcover; brown boards with navy blue spine titling and green endpapers; 339pp., monochrome plates. Owner's name. Offsetting to endpapers and lightly spotted text block edges. Illustrated dustwrapper with old tape residue along lower rear edge and spine panel extremities, rubbing to rear panel with small mark and perforations, lightly worn edges. Very good with wrapper now professionally protected by superior non-adhesive polypropylene film.
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Veleanu, Mircea
Shiffer Publishing, Atglen, 2008.
Quarto hardcover; illustrated boards with black endpapers; 256pp., colour illustrations. Minor wear only; tiny scrape on upper front dustwrapper and mild wear to edges. Otherwise near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. Netsuke, the carved toggles used to fasten a small container to a kimono sash, made from ivory, wood, porcelain, and more, are among the most popular Asian antiques. Over 970 images of netsuke are here shown, representing Japanese life, customs, religion, professions, art, history and legends. The text introduces, defines and describes the various types of netsukes and helps identify the subjects represented.
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Vergez, Robert
Early Ukiyo-E Master - signed by author Okumura Masanobu
Kodansha, Tokyo Japan, 1983.
Folio hardcover, 48pp., colour illustrations. Inscribed in ink to previous owner on endpaper. Minor wear only; lightly toned text block edges and slight scuffing and edgewear to dustwrapper. Near fine. Ukiyo-e prints had to be forever fresh and eye-catching in order to sustain the interest of a fickle public, especially during the formative decades of the art's development. The principal animating force of the early period was Masanobu, who created a steady stream of daring compositions and ingenious formats. Masanobu was a self-taught artist who had forged his own style and was constantly in the forefront of the ukiyo-e movement.
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Warner, Langdon
Japanese Sculpture of the Tempyo Period Masterpieces of the Eighth Century
Harvard Univ Press, 1964.
Hardcover quarto, 165pp, 218 monochrome plates. Owner's name on endpaper. Light foxing to preliminaries, upper text block edge spotted; boards rubbed at edges, corners and spine ends bumped; dustwrapper creased and frayed, numerous small and some medium chips. Good only in dustwrapper now professionally protected by superior non-adhesive archival film and white paper backing). This is the one-volume edition of a work first published as a collection of plates with a separate text. It combines excellent illustrations of the treasures preserved at Nara, Japan, with the late Langdon Warner's illuminating commentary. Warner's lifetime work, published posthumously. One volume edition, previously (1959) with separate text and plates.
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Waterhouse, D.B.
Harunobu and His Age The Development of Colour Printing in Japan
The British Museum, London, 1964.
Spiral bound octavo; 326pp., colour frontispiece and monochrome illustrations. Owner's name. Rubbing and foxing to card covers and a few small marks and faint spotting on text block edges. Good to very good.
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White, Julia M., Reiko Mochinaga Brandon and Yoko Woodson (essays); Shuzo Uemoto (photos)
Hokusai and Hiroshige Great Japanese Prints from the James A. Michener Collection
Asian Art Museum of San Francisco, 2000.
Quarto hardcover; black boards with silver gilt upper board and spine titling, green endpapers; 270pp., colour illustrations. Minor wear; near fine in like dustwrapper. Exhibition catalogue.
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Yamanaka, Norio
The Book of the Kimono The Complete Guide to Style and Wear
Kodansha International, New York NY, 1982.
Royal octavo; hardcover, with decorative endpapers; 139pp., with many full-colour and monochrome illustrations. Minor wear; some mild spotting to the text block top edge and preliminaries. Price-clipped dustwrapper is lightly rubbed and edgeworn; now professionally protected by superior non-adhesive polypropylene film. Near fine. Whether for women or men, all kimono are cut and sewn essentially from a single pattern, but a number of variations must be considered, depending on the occasion. Guidelines are given to making these choices, and the way to dress in a kimono, from the preliminaries to tying the bustle sash, is described in detail and fully illustrated. For women, there are formal kimono, obi and accessories, and the lightweight summer yukata; for men, the yukata and the ceremonial ensemble of kimono, haori coat and hakama skirt. Children's kimono for festive events are also described. Kimono fashions have evolved over the centuries in response to varied influences. Today modern innovations are making the wearing of kimono at home and elsewhere an attractive alternative to Western garments. These are included here, along with a discussion of aesthetics, the history of the kimono, and the meaning that kimono culture can have for wearers and admirers throughout the world.
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