4 edition of Aōdō Denzen sakuhinshū found in the catalog.
|Statement||Sukagawa Shiritsu Hakubutsukan|
|Publishers||Sukagawa Shiritsu Hakubutsukan|
|The Physical Object|
|Pagination||xvi, 117 p. :|
|Number of Pages||84|
|2||Sukagawa Shiritsu Hakubutsukan chōsa kenkyū hōkokusho -- dai 12-shū|
nodata File Size: 9MB.
It merged with the Dai-tokyu Memorial Library in 2011 and got off to a new start with its name retained but with a new official status as a public-interest incorporated foundation.
He gradually became more and more fascinated by his exposure to this culture and eventually assembled on his own the largest collection of ancient sutras in Japan. By the middle of the 1700s they were being used to view prints, particularly megane-e, specially produced to have a novel deep 3D effect when so viewed. His sketch of Farm-buildings at the Villa Farnese: the Two Poplar Trees is an example made when he was painting in the Roman Campagna in 1782-85.
Cited in: WSN; 132a Item Metadata Cover attached. In: A Dictionary of Japanese Artists. For the next two centuries, until Japan became more open in the Meiji Aōdō Denzen sakuhinshū, after 1853, those Dutch traders were the only conduit between Japan and Europe.
5 x 77 cm, Akita Museum of Modern Art, Yokote, Akita. Imagination Finally, Smits studied the imagination of the Japanese people.
This helped to form a large visual library of sketches from nature, and he recommended this practice in his influential book on landscape painting, which Aōdō Denzen sakuhinshū still in widespread use a century after his death.
The first paper-like sheets were made by the ancient Egyptians from papyrus, but it was the Chinese who discovered Aōdō Denzen sakuhinshū to break plant fibres down to form sheets of what is recognisably paper. He thus acquired many celebrated works of art which now have pride of place in the Gotoh Museum.
This interest inevitably led him to involvement in the tea ceremony. In: A Dictionary of Japanese Artists. The Dutch merchants who were allowed to remain in Japan from 1638 were crowded onto a small, artifical island in Nagasaki Bay, known as Dejima 出島. He copied three views of a female nude from a Dutch book into his sketchbook too, but does not appear to have attempted to draw his own figures from life.
These enhanced the use of advanced techniques such as wet-in-wet and wax resist. At roughly the same time, the father of Welsh landscape painting, Thomas Jones, was also in Rome, using the same practices, as seen in his tiny sketch of A Wall in Naples c 1782.
Okumura Masanobu 奥村 政信 1686-1764Kabuki theater Ichimura-za in its early days Edo, 1740sShibai uki-e. Kawahara Keiga 川原慶賀Nagasaki Edo, 1820colours on silk, 69 x 85. During the nineteenth century, the paper industry started using wood pulp to give their products additional strength, and manufacturing methods improved further to result in paper, like woven fabric, being available on long rolls as well as in large sheets.
Ishikawa Tairo and Ishikawa Moko, who were enthusiasts for rangaku, copied this from an original by Van Royen, which had apparently been imported by the Dutch traders.
His Mount Asama Screen Edo, 1804-1818 was made using perilla-based oil paints on paper.
The Tease 1911 , watercolour on paper, 40 x 52.
4 x 46 cm, The Phillips Collection, Washington, DC.
This was probably intended to be worked up into a finished painting using a more traditional support.