Papers by Frank L. Chance
Tani Buncho (1763-1841) and the Edo school of Japanese painting
Ukiyo asobi
Japan Emerging, 2018
Modern impressions : Japanese prints from the Berman and Corazza collections 1950-1980
Philip and Muriel Berman Museum of Art at Ursinus College, 2005
By any consideration, Matsudaira Sadanobu (1758-1829) falls close to the ideal patron of the arts... more By any consideration, Matsudaira Sadanobu (1758-1829) falls close to the ideal patron of the arts. Powerful and wealthy, Sadanobu was a collector, painter, and historian with a philosophical background and a personal stake in the life of the artist closest to him in the world. That artist was Tani Bunchō (1763-1841), personal retainer to Sadanobu. Bunchō was a prolific artist, skilled connoisseur, and author of works on the history and theory of painting; his works have been studied by scholars in Japan and abroad, and attempts have been made to analyze the connections between the two men. Nevertheless, their relationship is easily misunderstood, as it does not fit neatly into our expectations of the early modern Japanese hierarchy.
Japanese Literati Painting and Calligraphy
Art History, 2021
Literati painting in Japan is generally referred to as Bunjinga (literati painting; Ch. Wen ren h... more Literati painting in Japan is generally referred to as Bunjinga (literati painting; Ch. Wen ren hua) or Nanga (Southern School painting; Ch. nan zong hua), both terms borrowed from China. Wen ren hua refers to the status of artists who belonged to the scholar-gentleman class. Nan zong hua was coined by the Chinese painter and theorist Dong Qichang (b. 1555–d. 1636), who used it to describe art by literati, ostensibly amateurs, whose paintings were indebted to their mastery of calligraphy, expressed their inner feelings, and sought to capture the spiritual essence of their subjects. He deemed Nan zong hua superior to that of another so-called “school” of painters he invented, the “northern school,” professionals whose work he declared to be superficial and decorative. In relation to Japanese literati painters, however, this distinction between the southern and northern schools is largely irrelevant. The diverse and very large group of artists defined as literati painters were various...
Kō Ten’i
Oxford Art Online, 2003
Copying the master and stealing his secrets: talent and training in Japanese painting
Choice Reviews Online, 2003
... 08 07 06 05 04 03 654321 Library of Congress Cataloging-in-Publication Data Copying the maste... more ... 08 07 06 05 04 03 654321 Library of Congress Cataloging-in-Publication Data Copying the master and stealing ... Victoria Weston acknowledges the Yokoyama Taikan Kinenkan, the Tokyo University of Fine Arts and Music, the Tenshin Memorial Museum of Art Ibaraki, and ...
Watanabe Kazan
Oxford Art Online, 2003
Chapter 3. In The Studio Of Painting Study: Transmission Practices Of Tani Bunchō
Copying the Master and Stealing His Secrets
Shiba Kōkan
Oxford Art Online
Japanese Literati Painting and Calligraphy
Oxford Bibliographies in Art History, 2021
Hiroko Johnson Western Influence on Japanese Art: The Akita Ranga Art School and Foreign Books
Many things can happen when an admirable dissertation is reworked into a book. Sometimes the resu... more Many things can happen when an admirable dissertation is reworked into a book. Sometimes the result is a tour de force of details that may overwhelm the average reader; sometimes it is a piece de resistance of theoretical references and rhetorical devices blinding us to weaknesses in the factuallevel scholarship. This volume, by contrast, strives to reach past the limited scope of the original thesis and move into the realm of a broad survey of the topic; unfortunately the title outpaces the con
Waves of Renewal: Modern Japanese Prints, 1900 to 1960: Selections from the Nihon no Hanga Collection, Amsterdam ed. by Chris Uhlenbeck, Amy Reigle Newland, and Maureen de Vries
The Journal of Japanese Studies
Tani Bunchō
Oxford Art Online
Caa Reviews, 2002
The Shogun's Painted Culture: Fear and Creativity in the Japanese States 1760-1829 is the third m... more The Shogun's Painted Culture: Fear and Creativity in the Japanese States 1760-1829 is the third monograph published by Timon Screech since 1996 and completes his panorama of late nineteenth-century Japanese culture. Though the title features both Japan's military ruler and period painting, the primary topics of the book are actually Matsudaira Sadanobu (1758-1829, chief shogunal councillor 1787-92, shogunal regent 1789-92) and the cultural history of his times. Screech covers this ground with great clarity, analyzing a diversity of aspects of Japanese culture from the bicameral nature of Japanese rule to the vagaries of shogunal kite-flying to the destruction of two early modern cities by devastating fires and the divergent paths of the metropoles to recovery. Though many readers may be familiar with this period through the "floating world" of the pleasure quarters celebrated in ukiyo-e woodblock prints, this volume scarcely mentions the culture of the townsmen, concentrating instead on the ruling elites and their real and perceived difficulties. Screech's ideas are fascinating, often brilliant, and well grounded, as evidenced by ten pages of a tightly packed "select" bibliography.
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Papers by Frank L. Chance