Yoshiaki Shimizu, one of the foremost scholars of Japanese art history, taught at Princeton University for more than twenty-five years, during which time he trained many students who have become respected professors and museum professionals. Crossing the Sea gathers original essays by thirteen of these students, in honor of Shimizu's extraordinary career at Princeton as well as his teaching at other institutions and his work as curator of Japanese art at the Freer-Sackler Gallery in Washington, D.C. Ranging in topic from premodern Buddhist, narrative, and ink painting in Japan and East Asia to modern and contemporary Japanese painting, prints, and popular visual images, these essays present innovative research that draws attention to remarkable works of Japanese art and their fascinating historical contexts and modern interpretations. Including reinterpretations of well-known works and richly developed accounts of their meaning and function in historical, religious, and cultural contexts, this volume also provides a state-of-the-field portrait of Japanese art studies today.
|Publisher:||Princeton University Press|
|Series:||Publications of the Department of Art and Archaeology, Princeton University|
|Product dimensions:||8.60(w) x 12.00(h) x 1.50(d)|
About the Author
Gregory P. A. Levine is associate professor of Japanese art and architecture and Buddhist visual cultures at the University of California, Berkeley. He is the author of Daitokuji: The Visual Cultures of a Zen Monastery. Andrew M. Watsky is professor of Japanese art history at Princeton University. He is the author of Chikubushima: Deploying the Sacred Arts in Momoyama Japan. Gennifer Weisenfeld is associate professor of modern Japanese art history and visual culture at Duke University. She is the author of Mavo: Japanese Artists and the Avant-Garde, 1905–1931.
Table of Contents
Foreword and Acknowledgments 7Preface 11Contributors 14Chronology 15Catching the Last Bus: Yoshiaki Shimizu and the Art of Creative Digression, Mimi hall Yiengpruksawan 19Bibliography of Yoshiaki Shimizu 29PART I PICTURING THE TALE OF GENJIVeiled in Shadow: Recent Discoveries and Technical Analyses of the Harvard Art Museum's Tale of Genji Album, Anne Rose Kitagawa 39A Changing Suma: Varied Illustrations for The Tale of Genji, Bruce A. Coats 55PART II VISION / PRACTICEThe Evidence of Our Eyes: The Epistemology of Vision(s) in Early Medieval Japan, Kevin Gray Carr 77A Brief Reconsideration of a Fragment of The Illustrated Collected Gleanings of the Legends of Past Virtues, Sinéad R. C. Kehoe 95Mountains, Magic, and Mothers: Envisioning the Female Ascetic in a Medieval Chigo Tale, Melissa McCormick 107PART III THE BODYPicturing Yūsai: The Poet Evoked, Andrew M. Watsky 137Shiseido Chic: The Cosmopolitan Aesthetics of Japanese Cosmetics, Gennifer Weisenfeld 159PART IV PICTURING THE WORLDWhat Is in a Place? New Initiatives in Ink Landscape Painting in Eastern Japan during the Later Muromachi Period, Eva Havlicova 183The Perfect Gift: Premodern Japanese Screens Sent Abroad, Janice Katz 203PART V COMBINATORY VISUAL CULTURESRedeeming Qualities: Absolving the Sin of Secular Art and Literature in Early Medieval Japan, Nicole Fabricand-Person 221Seer of Sounds: The Muqi Triptych, Yukio Lippit 243Innumerable Embodiments of Hotei: The Emergence of a Literati Persona, Xiaojin Wu 267PART VI VISION / HISTORYOn Return: Kano Eitoku's Flowers and Birds of the Four Seasons and the Digital World, Gregory P. A . Levine 285Selected References 309Selected Glossary 329Photo Credits 335