Edo_Arts_of_Japan_Last_Shogun_Age 190

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  • sumo wrestling became a professional sport and acquired a loyal following, which has lasted to this day. A parade of bulky wrestlers in their formal aprons can be seen here inside a large, elaborate and temporary stadium filled with fans in the foreground and in the two tiered stands on either side. Durant la periode Edo, les lutteurs sumo devinrent des sportifs professionnels et s'attacherent des partisans loyaux, ce qui est encore le cas de nos jours. Cette gravure represente un defile de lutteurs corpulents vetus de leur tablier officiel dans un immense stade recherche, temporaire, ou abondent les spectateurs � lavant-plan et dans les gradins de chaque cote. 87 Yoshiiku Utagawa (1833-1904) Hodogaya Series: Suehiro Fifty-three Stations of the Tokaido Woodblock print Purchased with Funds from Judith Patt AGGV 2008.030.004 p.108 In this image there are several foreigners, one with a long telescope looking curiously at the pageantry of a daimyo procession travelling on the Tokaido highway. On apercoit plusieurs etrangers sur cette illustration. L�un d�eux observe au moyen d'un telescope un daimyo qui defile en grande pompe sur la route Tokaido. 88 Kunisada II Utagawa (1823-80) Kabuki Actor Sanogugaemon as Kawarazaki Gonjuro I Acteur Kabuki Sanogugaemon en Kawarazaki Gonjuro Woodblock print Fred and Isabel Pollard Collection AGGV 1964.028.001 p.109 89 Yoshikazu Ichikawa (active 1850-70) The United States, 1862/ Les Etats-Unis, 1862 Woodblock print Fred and Isabel Pollard Collection AGGV 1962.013.001 p.110 90 Yoshikazu Ichikawa (active 1850-70) The English / Les Anglais Woodblock print Fred and Isabel Pollard Collection AGGV 1962.01 1.001 p.111 (left) 91 Yoshitora Ichimosai (active 1850-80) The Dutch / Les Hollandais Woodblock print Fred and Isabel Pollard Collection AGGV 1962.020.001 p.111 (right) For most of the Edo period, foreigners were banned from Japan except for Chinese and Dutch traders, who were allowed to conduct business at Deshima, a small artificial island off the port of Nagasaki. Pendant la plus grande partie de la periode Edo, il eta it interdit aux etrangers de mettre le pied au Japon, exception faite des commercants chinois et hollandais qui pouvaient faire des affaires � Deshima, une petite fie creee de toute piece au large du port de Nagasaki. 92 Yoshimori Taguchi (1830-84) Russian on Horse / Les cavaliers russes Woodblock print Purchased with Funds from Judith Patt, AGGV p.112 93 Kunichika Toyohara (1835-1900) Beauties and Foreigners / Les jolies femmes et les etrangers Woodblock print Gift of Elizabeth Marsters, AGGV 2006.015.003 p.113 Things began changing very quickly shortly after foreigners began arriving in Yokohama. Note the telegraph pole on the left; the first telegraph system through overhead lines was installed between Tokyo and Yokohama in 1869. Les choses changerent rapidement apres I�arrivee des etrangers � Yokohama. Remarquez le poteau du telegraphe � gauche. Une premiere ligne de telegraphe fut installee entre Tokyo et Yokohama en 1869. 94 Kuniyoshi Utagawa (1798-1861) Hayano Kampei Tsuneyo Series: Stories of the True Loyalty of the Faithful Retainers, the Forty-seven Ron in Woodblock print Intended gift of Chas. and Deborah Dowd AGGV p.114 95 Kuniyoshi Utagawa (1798-1861) Kurahashi Zensuke Takeyuki Series: Stories of the True Loyalty of the Faithful Retainers, the Forty-seven Ronin Woodblock print Intended gift of Chas. and Deborah Dowd, AGGV p.115 96 Unknown artist / Artiste anonyme (18th/19th century) Paintings of Samurai / Peintures de samoura'is Flanging scrolls, ink and colour on paper Gift of Ploward Roloff AGGV 1982.054.001-.003 p.116/117 97. Masayuki (18th century) Tethered Hawk / Faucon entrave Hanging scroll, ink and colours on paper Gift of Professor Arnold Frenzel AGGV 2003.013.001 p.118 The raising of fine hawks for hawking [takagari] was a status symbol among samurai. They viewed these birds of prey as an expression of their own ideals and as a form of military exercise. Several Tokugawa shoguns, including leyasu, were known to be great hawking enthusiasts. L'elevage de jeunes faucons pour la chasse � l�oiseau de proie (takagari) symbolisait le Statut chez les samourai's. Ces derniers consideraient ces oiseaux de proie comme l'expression de leurs propres ideaux et la fauconnerie comme une forme d'exercice militaire. Plusieurs shoguns Tokugawa, dont leyasu, etaient passionnes de fauconnerie. 98. KanoYuho (d. 1762) Four-fold screen, ink and colours on paper Gift of Allan Edwards AGGV 1969.151.001 p.119 Detail of a screen panel showing the home of a daimyo or samurai family. Family members can be seen viewing paintings next to a suit of armour. Detail d'un panneau de paravent illustrant le domicile d'un daimyo ou de la fa mi lie d'un samourai'. Les membres de la famille regardent des peintures pres d'une armure. 99. Taiitsu Murase (1803-81) New Year's Eve Party / Fete du Nouvel An Hanging scroll, ink on paper Gift of Mrs. Marjorie Finlayson AGGV 1981.228.003 p. 120 (left) Taiitsu was a Confucian scholar and a self-taught painter. His freely drawn ink paintings tend to have a simple child-like nature. Taiitsu fur un lettre confuceen et un peintre autodidacte. II peignait librement � I'encre avec une simplicity tout enfantine 100. Jakuchu Ito (1716-1800) Ascending Dragon / Ascension du dragon Hanging scroll, ink on paper Gift of Professor Mori, AGGV 1968.088.001 p.120 (right) 101. Kazan Watanabe (1793-1841) Bamboo / Bambou Hanging scroll, ink on silk Fred and Isabel Pollard Collection AGGV 1970.1 17.001 p.121 (left) Kazan combined Western realism with subtle Eastern brushwork to create a unique and dynamic style of painting. Kazan, a samurai and Confucian scholar, advocated studying Western weaponry, technology, economics and politics for the national good. He was subsequently arrested and persecuted by anti-foreign authorities, which eventually led him to commit suicide seppuku at the age of 48. His beliefs were eventually proven correct, and he became a historical and cultural hero. Kazan a combine le realisme occidental a la technique subtile orientale pour creer un style unique et dynamique de peinture. Kazan,
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