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J apan’s artistic heritage is extraordinarily rich and diverse, not to mention ancient. Though it has “borrowed” much from even earlier Chinese and Korean traditions, artistic Japan has always produced works both aesthetically and thematically distinctive. Art-lovers who cast a glance, however fleeting, toward Japanese arts of any scale invariably find themselves caught in their spell and drawn to look deeper. Aiding readers in their new exotic hobby is a reliable stream of publications over many years from the University of Hawai’i Press. Here are two recent studies offering new insight into quintessential aspects of Japanese arts, especially painting and sculpture. In Obtaining Images: Art, Production and Display in Edo Japan , Timon Screech paints on a broad canvas of art historical themes relating to the production, procurement, and perception of paintings and prints in early modern Japan, from the dawn of the “new shogunate” up to the Meiji Restoration of 1868. His big picture also includes a number of themes and questions of more specific interest to readers of this journal. Among those are features of image-function, including “the invocation of felicity” that renders certain images “auspicious”; explicitly “religious” themes especially of Buddhist origin; and the mysteriously
Religion and the Arts – Brill
Published: Jan 1, 2012
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