Wednesday 28 December 2016

cop: notes from books

These are the notes that I have made from reading these books which I have already harvard referenced:

Cawthorne, N, 1997. The Art of Japanese Prints. 1st ed. Britain: Hamlyn

Designers Network, International, 2004. Japanese Graphics: Beautiful Streamline. 1st ed. Hong Kong: Systems Design Limited.


Gisela Kozak, ED., Wiedemann J., 2003. Japanese Graphics Now!. 1st ed. Spain: Taschen.

Salter, R, 2006. Japanese Popular Prints. 1st ed. Great Britain: A & C Black Publishers Ltd.

Smith, L, 2002. Japanese Prints: During the Allied Occupation 1945-1952. 1st ed. Britain: The British Museum Press.

Looking through these books was really helpful and helped me to get a lot of good research for my project. I was looking for something that would really kickstart my project and I think this is it. There are lots of good quotes from the books which I have wrote down on these pages, and a lot of ideas from them that I can utilise within my essay. As all of the books have a similar topic it will be easy to triangulate between them.

Tuesday 27 December 2016

cop: the department of asian art

Department of Asian Art. “Art of the Edo Period (1615–1868).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/edop/hd_edop.htm (October 2003)

-Department of Asian Art. “Art of the Pleasure Quarters and the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/plea/hd_plea.htm (October 2004)

Department of Asian Art. “Woodblock Prints in the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm (October 2003)

The Department of Asian Art is a webpage that I found when researching about Japanese Woodblock art. They are really helpful and have a few webpages about the topic that I am looking at. It's from the Metropolitan Museum so I know that it is a reliable source. Some of the quotes that I picked up from these websites are:

‘each print required the collaboration of four experts: the designer, the engraver, the printer, and the publisher’

'By the late 1630s, contact with the outside world was cut off through official prohibition of foreigners'

'Ukiyo-e represents the final phase in the long evolution of Japanese genre painting. Drawing on earlier developments that had focused on human figures, ukiyo-e painters focused on enjoyable activities in landscape settings, shown close-up, with special attention to contemporary affairs and fashions. '


 

Monday 19 December 2016

cop: woodblock print videos



I found it really interesting to watch these videos and get more of an idea of what Japanese woodblock printing really is. However, watching these videos has made me realise that woodblock printing is a long process and I probably shouldn't spend too much time doing it in my sketchbook. Therefore, I think I should just capture the essence of woodblock printing by being influenced by the aesthetics, colours, linework etc. I think this will make my journal quite interesting without taking up too much space.

Tuesday 13 December 2016

cop: namazu the earthshaker

Image result for namazu the earthshaker

Image result for namazu the earthshaker

According to a popular Japanese myth the cause of earthquakes is the giant fish Namazu, often depicted as a giant catfish in woodcuts called namazu-e. He is considered one of the yo-kai, creatures of mythology and folklore causing misfortune and disasters. Only the god Kashima can immobilize namazu and with the help of a heavy capstone he will push the fish against the foundations of earth. However the god sometimes got tired or is distracted from his duty, Namazu will use these moments to wiggle his tail, causing an earthquake in the human world.

Namazu depictions are known since the fifteenth century, however only in the late eighteenth century he became associated with natural disasters. In the Tokugawa period (1603-1868) the giant catfish was as a river deity associated with floods or heavy rainfall. He acts often as a premonition for danger, warns people from an imminent catastrophe or swallows dangerous water-dragons, preventing further disasters. The dragon was a very old and powerful symbol, imported from China, and was considered the main culprit of many sorts of disasters, including earthquakes. During the 18th century the giant namazu gradually replaces the dragon in the role as mischief-maker. This change from the dragon to Namazu was minor, because dragons were also associated to water and rivers and therefore considered closely related to the catfish myth.
During the 19th century and especially after the earthquake of Edo(modern Tokyo) in 1855 the wrongdoings of Namazu were considered more a punishment of human greed, as it was believed that the catfish by causing havoc forces people to redistribute equally their accumulated wealth. Namazu became known as yonaoshi daimyojin, the "god of world rectification".

Monday 5 December 2016

cop: japanese folklore - yokai

http://mentalfloss.com/article/59737/10-horrifying-demons-and-spirits-japanese-folklore


1. Kiyohime

Kiyohime was a young woman scorned by her lover, a monk named Anchin, who grew cold and lost interest in her. Realizing he had left her, Kiyohime followed him to a river and transformed into a serpent while swimming after his boat. Terrified by her monstrous form, Anchin sought refuge in a temple, where monks hid him beneath a bell. Not to be evaded, Kiyohime found him by his scent, coiled around the bell, and banged loudly on it with her tail. She then breathed fire onto the bell, melting it and killing Anchin.

2. Yuki-onna (Snow woman)

There are many variations of this popular Japanese tale. Yuki-onna is usually described as having white skin, a white kimono, and long black hair. She appears in snowfall and glides without feet over the snow like a ghost. She feeds on human essence, and her killing method of choice is to blow on her victims to freeze them to death and then suck out their souls through their mouths.

3. Shuten Dōji

Shuten Dōji is described as more than 50 feet tall with a red body, five horns, and 15 eyes. There’s no need to fear this demon, though. In a legend from the medieval period, warriors Raikō and Hōshō infiltrated Shuten Dōji’s lair disguised as yamabushi (mountain priests) to free some kidnapped women. The oni greeted them with a banquet of human flesh and blood, and the disguised warriors offered Shuten Dōji drugged sake. After the demon passed out, the warriors cut off his head, killed the other oni, and freed the prisoners.

4. Yamauba (Mountain ogress)

Also originating in the medieval period, yamauba are generally considered to be old women who were marginalized by society and forced to live in the mountains—who also have a penchant for eating human flesh. Among many tales, there is one of a yamauba who offers shelter to a young woman about to give birth while secretly planning to eat her baby, and another of a yamauba who goes to village homes to eat children while their mothers are away. But they're not picky; they’ll eat anyone who passes by. Yamabuas also have mouths under their hair. Delightful!

5. Uji no hashihime (Woman at Uji Bridge)

In another tale of a woman scorned, Uji no hashihime prayed to a deity to turn her into an oni so she could kill her husband, the woman he fell in love with, and all of their relatives. To accomplish this, she bathed in the Uji River for 21 days, divided her hair into five horns, painted her body red with vermilion, and went on a legendary killing spree. Besides her intended victims, anyone who saw her instantly died of fear.

6. Tengu

Tengu are impish mountain goblins that play tricks on people, featured in countless folktales and considered purely evil until about the 14th century. They were originally depicted as birdlike, with wings and beaks, though now the beak is often replaced with a comically large nose. They are known to lead people away from Buddhism, tie priests to tall trees and towers, start fires in temples, and kidnap children. Many legends say the tengu were hypocritical priests who must now live the rest of their lives as mountain goblins as punishment. Locals made offerings to the tengu to avoid their mischief, and there are still festivals in Japan dedicated to them today.

7. Oiwa

A revenge story made popular by the famous kabuki drama Yotsuya kaidan, Oiwa was married to a rōnin (masterless samurai) named Iemon; he wanted to marry a rich local’s daughter who had fallen in love with him, and, in order to end their marriage, Oiwa was sent a poisoned medicine. Though the poison failed to kill her, she became horribly disfigured, causing her hair to fall out and her left eye to droop. Upon learning of her disfigurement and betrayal, she accidentally killed herself on a sword. Her ghostly, deformed face appeared everywhere to haunt Iemon. It even appeared in place of his new bride’s face, which caused Iemon to accidentally behead her. Oiwa’s spirit followed him relentlessly to the point where he welcomed death.

8. Demon at Agi Bridge

This story begins as so many horror stories do: With an overly-confident man who boasted to his friends that he didn’t fear to cross Agi Bridge or the demon rumored to reside there. As oni are known for their ability to shape-shift, the demon at Agi Bridge appeared to the man as an abandoned woman. As soon as she caught the young man’s eye, she transformed back into a 9 foot green-skinned monster and chased after him. Unable to catch the man, the demon later changed into the form of the man’s brother and knocked on his door late at night. The demon was let into the house and, after a struggle, bit off the man’s head, held it up and danced with it before his family, and then vanished.

9. Kuchisake-onna (Slit-mouthed woman)

In an urban legend from 1979 that swept through Japan, Kuchisake-onna wears a surgical mask and asks children if they think she is beautiful. If they say yes, she takes off the mask to reveal her mouth slit from ear to ear and asks the question again. The only way to escape is to give a noncommittal answer, such as "you look OK." Barring that, you can distract her with certain Japanese candies. But if the children say yes again, she will cut their mouths to make them look like her.

10. Aka Manto (Red Cloak)

With a demon for just about everything, why shouldn’t the Japanese have a few for their bathrooms? Aka Manto, one of the more popular demons, hides in women’s bathrooms. In one version of the story, Aka Manto asks women if they would like a red cloak or a blue cloak. If the woman answers “red,” Aka Manto tears the flesh from her back to make it appear she is wearing a red cloak. If she answers “blue,” then he strangles her to death. Unfortunately, if you encounter Aka Manto, there may be no escaping: Some versions of the story say if you don’t answer or if you pick a different color, he will immediately drag you to hell.

Saturday 3 December 2016

cop: the great wave merchandise

I just thought I would make a collection of all the merchandise that I have found for Hokusai's 'The Great Wave off Kanagawa' I think this will be good for me to see what is out there and how it is being re purposed. Sometimes,  they just take the image itself and put it onto something new, however sometimes they take the idea of it and redraw or redesign it. I want to ask myself is this where some of the popular art from today will be in a few hundred years? When the artist is dead does that leave the art to be grabbed by people who just want to make some money? Does this diminish the importance of traditional art?



There are some on this presentation that are quite ridiculous. There is some sort of thong (?) which i'm not sure why this beautiful artwork is appropriate. There are things that I see as having irony to them, like a tea  towel with the print on it, to mop up wetness using a wave. There is an almost humorous irony to it. 

It was interesting for me to collect these and see how I could try and incorporate them into my own drawings.

Friday 2 December 2016

cop: hokusai

Image result for ukiyo-e

Image result for the great wave off kanagawa merch

Image result for the great wave off kanagawa merch

I want to talk in my essay about the re-purposing of traditional Japanese Woodblock for example, Hokusai's 'The Great Wave' which is a really popular and famous piece. I want to relate this to Barthes and his 'ownership' and 'authorship' piece, much like what I did in the study task. I think this will really help to make my essay not just about the traditional, but how it now communicates in the modern era. Does this communicate authorship? Or is repurposing the best thing for gathering interest on our history?