Fine Arts 63 Fall 2004

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Fine Arts 63 Fall 2004

Samuel C. Morse

108 Fayerweather Hall


Arts of Japan

The Course
A survey of the arts of Japan, focusing on the development of the pictorial, sculptural, and architectural traditions from the fifth century A.D. to the late twentieth century. Topics to be investigated will include Buddhist painting, sculpture and architecture, narrative handscrolls, ink painting and the arts related to the Zen sect; the diverse traditions of the Edo period, as well as woodblock prints, contemporary architecture, photography and fashion design.
The class will meet Twice a week (T/TH) at 2:00 in Fayerweather 113. The course is an introductory one which assumes no previous knowledge of Japanese art. The lectures and assigned readings have been selected to provide a variety of perspectives to help you form your own understanding of the arts of Japan. Since such a wide range of material is to be covered in only one semester regular class attendance is essential. The readings should be completed before each class and you should be prepared to participate in class discussions. There will be study sheets for most lectures and time provided in some classes to permit further discussion of the material.
This semester there is an exhibition on contemporary Japanese art at the Smith College Museum of Art. We will take full advantage of that exhibition with guest lectures by three of the artists who work is on exhibition.


The following texts have been ordered from the Jeffery Amherst Bookshop on South Pleasant Street:

Mason, Penelope. History of Japanese Art. Englewood Cliffs, N.J.: Prentice Hall, 1993.

Varley, H. Paul. Japanese Culture. Honolulu: University of Hawai’i Press, 1984.

The articles listed as “COPY” on your syllabus are contained in a packet of readings for the course available at Collective Copies also on South Pleasant Street. The other readings on the syllabus can be found on reserve in Frost Library. Most of the works of art that will be covered in the course are included in Genshoku Nihon no bijutsu, a lavishly illustrated survey of Japanese art written in Japanese but with English plate captions at the end of each volume. Please use these books, which are in the Library, to review the objects covered in lecture.
In addition, Don Milliken, Curator of Visual Resources at Frost Library, has developed an image bank for the course. Images of the objects discussed in class will be available there arranged in groups that roughly follow the lecture schedule and will be available on a link with the course site in Courseinfo.


There will be three short papers, three short quizes and a final paper.

1) a comparison of two early Buddhist statues due September 28 (20%)

  1. twenty minute quizes on (15%) Oct. 5, Mar. 11, Dec. 7

  1. a comparison of two ink paintings due Nov. 2 (20%)

a final paper of 10-12 pages due on Friday, December 17 (45%)

Lecture Schedule
1) Sept. 7 (T) Introduction: The The Japanese Aesthetic from a Contemporary Perspective

Reading Assignment:

Anezaki, pp. pp. 3-49

Hendry, “The Sacred Power of Wrapping.”

Takashina, “Beauty in Japan and the West”

Tsuji, “Ornament”

Pre-Buddhist Japan

Varley, ch. 1

2) Sept. 9 (TH) The Beginnings of Japanese Art

Reading Assignment:

Kitagawa, "Prehistoric Background"

Kageyama, The Arts of Shinto, pp. 79-94

Mason, pp. 13-38

Watanabe, Shinto Art, pp. 27-84

Suggested Reading/Viewing:

de Bary, ch. 2

Shinto: Nature, Gods, and Man in Japan (BL2220 .S4)
Sept. 11 (F) Opening of Confronting Tradition–Contemporary Art from Kyoto

Smith College Museum of Art, 5:00 pm

Early Buddhist Japan

Varley, ch. 2

3) Sept. 14 (T) The Introduction of Buddhist Art to Japan: Prince ShÇtoku and HÇryã-ji

Reading Assignment:

Kurata, Temple, intro and skim entries

Mason, pp. 38-59
Suggested Reading:

de Bary, ch. 3

4) Sept. 16 (TH) State Buddhism and the Nara Capital
Reading Assignment:

Mason, pp. 59-74

Moran, "Ashura"

Sugiyama, Classic Buddhist Sculpture, pp. 37-73; 84-126
Suggested Reading:

de Bary, ch. 5

5) Sept. 21 (T) Internationalism in the Eighth Century: the Silk Road, the ShÇsÇ-in and TÇshÇdai-ji

Reading Assignment:

Hayashi, The Silk Road and the ShÇsÇ-in, pp. 11-33, 85-103

Mason, pp. 74-80

Sugiyama, Classic Buddhist Sculpture, pp. 127-157

The Arts of the Heian Period: Esoteric Buddhism and the Development of Aristocratic Taste

Varley, chs. 3, 4

6) Sept. 23 (TH) The Heian Capital: The Imperial Palace, TÇji and Early Heian Buddhist Art
Reading Assignment:

Mason, pp. 97-116

Morse, “Jingoji”

Nishikawa, The Great Age, pp. 27-30, 42-54

Paine and Soper, pp. 325-344
Suggested Reading:

de Bary, ch. 7

Ishimoto, Mandala look at plates

Kitagawa, "Master and Savior"

7) Sept. 28 (T) The Rise of the Aristocratic Tradition: the ByÇdo-in and Chãsonji

Reading Assignment:

Akiyama, "The Door Paintings"

Fukuyama, Heian Buddhist Temples, pp. 46-78; 106-128

Mason, pp. 116-135

Morris, pp. 47-63
Suggested Reading:

de Bary, ch. 10

8) Sept. 30 (TH) The Courtly Aesthetic: the Illustrated Handscroll of The Tale of Genji, Calligraphy and the Heike nÇgyÇ
Reading Assignment:

de Bary, pp. 172-176

Mason, pp. 123-141

Meech-Pekarik, "Disguised Scripts."

Seidensticker, Tale of Genji, pp. 301-317
Suggested Reading:

Morris, The Tale of Genji Scrolls (look at plates)

Mostow, “E no Gotoshi”

Seidensticker, pp. 636-722

9) Oct. 5 (T) Dynamic Narrative: Shigisan engi, Ban dainagon ekotoba, Kibi nittÇ ekotoba and ChÇju giga
Reading Assignment:

Mills, A Collection of Tales from Uji, pp. 286-291, 319-321

Miya, ChÇju giga, plates and English summary, pp. 1-12

Paine, “Kibi”

Murase, Emaki, pp, 15-28

Tanaka, Ban dainagon ekotoba, English pages 1-12

Suggested Reading:

Alpers, “Describe or Narrate”

Shimizu, "The Shigisan Engi Scrolls"
First Quiz

Trends in Kamakura Art

Varley, pp. 91-111

10) Oct. 7 (TH) The Founding of Military Rule and the Reconstruction of Nara
Reading Assignment:

Courtly Splendor, pp. 148-159

Mason, pp. 141-165

MÇri, Sculpture of the Kamakura Period, pp. 9-70.

Reischauer, pp. 271-289, pp. 345-7
Suggested Reading:

de Bary, ch. 10

Kamo no ChÇmei, An Account of My Hut, in Keene

Morse, “Style as Ideology”

11) Oct. 14 (TH) Images of Heaven and Hell: Later Kamakura Sculpture and Painting

Reading Assignment:

Akiyama, "New Buddhist Sects and Emakimono in the Kamakura Period."

Kaneko, “Priest Shinran”

Ienaga, Jigoku zÇshi, English pages 1-13

Mason, pp. 165-174

MÇri, pp. 70-122

Suggested Reading:

Kaufman, "Nature"

Ruch, “The Other Side”

Oct. 14 Lecture – Yasuki Masako, Kyoto Seika University

FAY 113, 4:30 pm

The Muromachi Period and the Introduction of Zen Buddhism

Varley, pp. 105-139

12) Oct. 19 (T) The Zen Monastic Institution and Early Ink Painting

Reading Assignment:

Colcutt, Five Mountains, pp. 1-21

Fontein and Hickman, Zen Painting and Calligraphy, pp. xiii-liv

Mason, pp. 174-201
Suggested Reading:

de Bary, pp. 226-240, 250-260

13) Oct. 21 (TH) Kitayama and the Three ShÇkoku-ji Masters–Josetsu, Shubun and Sesshã
Reading Assignment:

Mason, pp. 202-5

Tanaka, Japanese Ink Painting, pp. 65--105

Varley, "Ashikaga Yoshimitsu"

14) Oct. 26 (T) Higashiyama and The Establishment of the Kano School

Reading Assignment:

Gerhart, “HonchÇ Gashi and Painting Programs”

Kono, “The Organization of the KanÇ School of Painting”

Mason, pp. 205-207, 219-235

Tanaka, Japanese Ink Painting, pp. 105-129

Suggested Reading:

Shimizu, "Workshop Management"

Wheelright, “Kano Painters”

The Momoyama Period and the Taste of the Warlords

Varley, ch. 6

15) Oct. 28 (TH) Castles, Barbarians and the Taste of the Warlords

Reading Assignment:

Hirai, Feudal Architecture of Japan, pp. 9-67

Kosode, pp. 39-49 and entries 1-14

Mason, pp. 211-214

Spectacular Helmets, pp. 14-32 and skim entries

Tani, Namban Art, pp. 13-24 and scan entries

Wheelright, “A Visualization”
Suggested Reading:

Meech-Pekarik, Momoyama, pp. xiii-xviii; 95-113

Vlam, “Kings”

16) Nov. 2 (T) The Social Life of Objects: Japanese Screen Painting

Reading Assignment:

Appuradai, "Commodity"

Mason, pp. 235-238

Okada, Genre Screens, skim entries

Takeuchi, “The Golden Link.”
Suggested Reading:

Murase, Screen Painting, introduction and skim entries

17) Nov. 4 (TH) Temple Gardens, Tea Gardens and The Development of the Tea Ceremony

Reading Assignment:

Cort, “Looking at White Dew.”

Hayakawa, The Garden Art of Japan, pp. 58-99

Mason, pp. 209-210, 238-242

Varley, "The Culture of Tea from Its Origins to Sen no Rikyu"

Yanagi, “Kizaemon”

Suggested Reading/Viewing:

Hashimoto, Architecture in the Shoin Style, pp. 39-63

Itoh, Japanese Gardens

Tegashihara, Hiroshi. Rikyu (PL834.O4.R51)

Yanagi, "The Way of Tea"

Second Quiz
Nov. 4 Lecture – Louise Cort, Freer and Sackler Galleries, Smithsonian Institution FAY 113, 4:30 pm

The Arts of the Edo Period

Varley, ch. 7

18) Nov. 9 (T) Trends in Early Edo Architecture: Katsura Villa, NijÇ Castle and TÇshÇgã Shrine

Reading Assignment:

Hashimoto, Architecture in the Shoin Style, pp. 117-134

Mason, pp. 215-217, 243-249

Naito, Katsura: A Princely Retreat, pp. 85-112

Suggested Reading:

Okawa, Edo Architecture

Nov. 9 Lecture – Akiyama YÇ, Kyoto Municipal University of Arts

FAY 113, 4:30 pm

19) Nov. 11 (TH) Rimpa and the Revival of Yamato-e Painting

Reading Assignment:

Glum, “Layers of Meaning.”

Mason, pp. 256-278

Sano, Exquisite Visions, pp. 20-41

Yamane, “KÇrin”
Suggested Reading:

Grilli, The Art of the Japanese Screen, pp. 92-120

20) Nov. 16 (T) Variety in Edo Painting: the "Realists" and the "Eccentrics"
Reading Assignment:

Hickman and Sato, ItÇ Jakuchã, ch 1 & 2

Mason, pp. 279-283

Meadows, "Matsumura Goshun"

Sasaki, OkyÇ, pp. 23-61
Suggested Reading:

Screech, The Shogun’s Painted Culture, pp. 167-207

21) Nov. 18 (TH) Literati Painting–Early Masters, Taiga, Buson and Gyokudo
Reading Assignment:

Cahill, The Nanga School, pp. 15--85

Mason, pp. 285-304
Suggested Reading:

Addiss, Tall Mountains, pp. 86-137

French, Buson, ch. 1-3

Japanese Prints: The Fleeting Floating World
Hibbett, The Floating World in Japanese Fiction, pp. 3-35; 65-82; 154-204

Varley, ch. 8

22) Nov. 30 (T) Genre Painting and the Rise of Ukiyoe
Reading Assignment:

Kobyashi, “Mitate.”

Lane, pp. 97-111

Mason, pp. 304-308

Volker, Ukiyoe Quartet

Suggested Reading:

Hillier, Harunobu, pp. 7-21

Hillier, Japanese Colour Prints, pp. 5-27

Lillehoj, Woman in the Eyes of Man, p. 1-11

22) Dec. 2 (TH) Tsutaya JãsaburÇ and His World
Reading Assignment:

Clark, “Nakasu”

Lane, pp.122-140

Kobyashi, Utamaro’s Portraiture.

Mason, pp. 308-313
Suggested Reading/Viewing:

Clark, “Utamaro’s Portraiture.”

Mizoguchi, Kenji. Utamaro and his Five Women

(PN1997 .U77)

Naruzaki, Sharaku, pp. 33-44

23) Dec. 7 (T) Later Prints: The Landscape Artists and the “Decadents”

Reading Assignment:

Lane, pp. 156-184; 185-193

Mason, pp. 313-318

Naruzaki, Famous Views, pp. 9-26, and scan plates

Naruzaki, The 53 Stations, scan plates
Suggested Reading:

Addiss, The TokaidÇ

Clark, 100 Views of Mount Fuji

Izzard, pp. 5-40

Third quiz

Japan and the West

Varley, chs. 9, 10, 11

24) Dec. 9 (TH) The Meiji Period: Japan's Response to the West

Reading Assignment:

Conant, “Introduction,” “Tradition in Transition,” “The Tokyo School of Fine Arts and the Development of Nihonga, 1889-1906,” in Nihonga

Guth, “Japan 1868-1945"

Mason, pp. 278-279, 357-387
Suggested Reading:

Bakeland, Imperial Japan, intro. and skim entries

Meech-Pekarik, World of the Meiji Print, pp. 111-137

Rosenfield, “Nihonga”

Rosenfield, "Western Style Painting"
Dec. 10 (F) Print Viewing Session at the Mead Art Museum. 1:00-3:00

25) Dec. 14 (T) Trends in Contemporary Japanese Art--Living National Treasures, Poured Concrete Buildings, Pleated Clothes, Photos of Theaters and “Primal” Sculptures

Reading Assignment:

Colours of Light, pp. 11-22

Holborn, Issey Miyake, text and look at plates

Kelleinn, Time Exposed, pp. 9-16 and look at plates

Munroe, “Circle: Modernism and Tradition”

Ogawa, The Enduring Crafts, pp. ix-xxi, 2-35 and 44–79

Primal Spirit, pp. 9-14; and skim plates
Suggested Reading/Viewing:

Michael Blackwood, Tadao AndÇ ( NA1559.A5 A35)

Coaldrake, Architecture and Authority, pp. 251-277

Skov, “What is So Japanese”

Addiss, Stephen. Tall Mountains and Flowing Waters. Honolulu: University of Hawaii Press, 1987.
-----. Tokaido: Adventures on the Road in Old Japan. Lawrence: Spenser Museum of Art, 1980.
Akiyama Terukazu. Japanese Painting. Lausanne: Skira, 1961.
-----. "New Buddhist Sects and Emakimono in the Kamakura Period." Acta Asiatica, no. 20 (1971), pp. 58-76. COPY
-----. "The Door Paintings in the Phoenix Hall of the Byodo-in as Yamato-e." Artibus Asiae LIII 1/2 (1993), pp. 144-167. COPY
Alpers, Svetlana. "Describe or Narrate." New Literary History, vol. 8, no. 1 (Autumn 1976), pp. 15-41. XEROX
Anesaki, Masaharu. Art, Life and Nature in Japan. Boston: Marshall Jones, 1933.
Appadurai, Arjun. "Introduction: Commodoties and the Politicsof Value." In Arjun Appadurai, ed. The Social Life of Things. Cambridge: Cambridge University Press, 1986, pp. 3-63.
Cahill, James. Scholar Painters of Japan: The Nanga School. NewYork: Asia House, 1972.
Clark, Timothy. 100 Views of Mount Fuji. London: British Museum, 2001.
-----. "The Rise and Fall of the Island of Nakasu." Archives of Asian Art, XLV (1992), pp. 72-91. COPY
Coaldrake, William. Architecture and Authority in Japan. London and New York: Routledge, 1996.
Collcutt, Martin. Five Mountains. Cambridge: Harvard Univ. Press, 1981.

The Colours of Light -- Tadao Ando Architecture. London : Phaidon, 1996.
Conant, Ellen P. and Steven D. Owyoung, J. Thomas Rimer. Nihonga--Transcending the Past: Japanese Style Painting, 1868-1968. New York: Weatherhill, 1995.
Cort, Louise. “Looking at white Dew.” The Studio Potter, vol. 10, no. 2 (June, 1982), pp. 45-51. COPY
de Bary, Wm. Theodore, ed. Sources of Japanese Tradition. vol.1. New York: Columbia University Press, 1964.
Elison, George and Bardwell Smith, eds. Warlords, Artists, and Commoners. Honolulu: Univ. of Hawaii Press, 1981.
Fontein, Jan and Money Hickman. Zen Painting and Calligraphy. New York: New York Graphic Society, 1970.
French, Cal. Buson and His Followers. Ann Arbor: University of Michigan Museum of Art, 1974.
-----. Through Closed Doors--Western Influence on Japanese Art. Rochester, Michigan: Meadowbrook Art Gallery, 1977.
Fukuyama, Toshio. Heian Temples: The Byodo-in and Chuson-ji. Tokyo: Weatherhill, 1976.
Gerhart, Karen. “HonchÇ Gashi and Painting Programs,” Ars Orientalis, no. 27 (1997): 67-97. COPY
Glum, Peter. “Layers of Meaning and Lyric Echoes in a Japanese Screen Painting of the SÇtatsu School.” Oriental Art, n.s. no. 1 (1980), pp. 72-81. COPY
Guth, Christine. “Japan 1868-1945: Art, Architecture and National Identity.” Art Journal, vol. 55, no. 3 (1996), pp. 16-20. COPY
Hashimoto, Fumio. Architecture in the Shoin Style. Tokyo: Kodansha International, 1981.
Hayakawa, Masao. The Garden Art of Japan. Tokyo: Weatherhill, 1973.
Hayashi, Ryoichi. The Silk Road and the Shoso-in. Tokyo: Weatherhill, 1973.
Hendry, Joy. “The Sacred Power of Wrapping.” In Kornicki, Peter and Ian McMullin. Religion in Japan–Arrows to Heaven and Earth. Cambridge: Cambridge University Press, 1996. pp. 287-303.
Hickman, Money and Yasuhiro Sato. Ito Jakuchu. New York: Asia Society, 1989.
Hillier, Jack. Harunobu. Philadelphia: Phildelphia Museum of Art, 1972.
-----. Japanese Colour Prints. Oxford: Oxford Univ. Press, 1966.
-----. The Japanese Print. Rutland: Tuttle, 1975.
Hirai, Kiyoshi. Feudal Architecture of Japan. Tokyo: Weatherhill, 1973.
Holborn, Mark. Issey Miyake. Koln: Tsschen, 1995.
Ienaga Saburo, ed. Jigoku zoshi, Gaki zoshi, Yamai zoshi. Nihon emakimono zenshu, vol. 7. Tokyo: Kadokawa shoten, 1976.
Ishimoto, Yasuhiro. Eros and Cosmos in Mandala. Tokyo: The Seibu Museum of Art, 1978.
Itoh, Teiji. Japanese Gardens. Tokyo: Kodansha International, 1984.
Izzard, Sebastian. Kunisada’s World. New York: Japan Society, 1993.
Kageyama, Haruki. The Arts of Shinto. New york: Japan Society, 1975.
Kaneko Hiroaki. "The Priest Shinran's View of Religion and his Portraits." Aesthetics. No. 4 (March, 1990), pp. 47-63. COPY
Kellein, Thomas. Time Exposed. London: Thames and Hudson, 1995.
Kaufman, Laura. "Nature, Courtly Imagery and Sacred Meaning in the Ippen Hijiri-e." In Sanford, James, et. al. eds. Flowing Traces. Princeton: Princeton University Press, 1992, pp. 47-75.
Kawahara, Masahiko. The Ceramic Art of Kenzan. New York: Kodansha International, 1985.
Kitagawa, Joseph. “Master and Savior.” In On Understanding Japanese Religion. Princeton, N.J.: Princeton University Press, 1986, pp. 182-202.

-----. “Prehistoric Background.” In On Understanding Japanese Religion. Princeton, N.J.: Princeton University Press, 1986, pp.3-40.
Kobayashi Tadashi, “Mitate in the Art of the Ukiyo-e Artist Suzuki Harunobu.” In Donald Jenkins, ed., The Floating World Revisited. Portland: Portland Museum of Art, 1993, pp. 85-91.
------. Kobayashi Tadashi. Utamaro’s Portraits from the Floating World. New York: Kodansha International, 1993.
Kono, Motoaki. “The Organization of the KanÇ School of Painting,” Fenway Court Isabella Stewart Gardner Museum, 1992, pp. 19-29.
Kosode--When Art Became Fashion 16th-19th Century Textiles from the Nomura Collection. New York: Japan Society, 1984.
Kurata, Bunsaku. HÇryã-ji: Temple of the Exalted Law. New York: Japan Society, 1981.
Kuroda TaizÇ, et al., eds. Worlds Seen and Imagined--Japanese Screen Painting from the Idemitsu Museum of Arts. New York: Asia Society, 1995.
Lane, Richard. Images of the Floating World. Secaucus, N.J.Chartwell, 1978.
Lillehoj, Elizabeth. Woman in the Eyes of Man: Images of Women in Japanese Art. Chicago: De Paul University, 1995.
Meadows, Anne. "The Paintings of Matsumura Goshun and His Change in Style from Nanga to Shaseiga." Oriental Art n.s., vol. 23, no. 2 (1987), pp. 165-173. COPY
Meech-Pekarik, Julia. "Disguised Scripts and Hidden Poems in a Illustrated Heian Sutra: Ashide-e and Uta-e in the Heike Nogyo." Archives of Asian Art, no. 33 (1977-8), pp. 52-78. COPY
-----, ed. Momoyama. New York: Metropolitan Museum of Art, 1975.
-----. The World of the Meiji Print. New York: Weatherhill, 1986.
Mills, D.E. trans. A Collection of Tales from Uji. Cambridge: Cambridge University Press, 1970.
Miya Tsugio. ChÇju giga. Nihon emakimono zenshu, vol. 4. Tokyo: Kadokawa, 1976.
Moran, Sherwood F. "Ashura, a Dry Lacquer Statue of the Nara Period." Artibus Asiae, vol. XXVII (1966), pp. 91-133. COPY
MÇri, Hisashi. Sculpture of the Kamakura Period. Tokyo: Weatherhill, 1978.
Morris, Ivan. The Genji Scrolls. Tokyo: Kodansha International, 1971.
-----. The World of the Shining Prince. New York: Knoph, 1964.
Morse, Samuel C. "The Jingo-ji Yakushi and the Rise of the Plain-wood Style." Archives of Asian Art, XL (1987), pp. 36-55. COPY
-----"Style As Ideology--Realism and Kamakura Sculpture." Realism in Oriental Art--Proceedings of the International Symposium on Art Historical Studies 12, (1994). XEROX
Mostow, Joshua. “E no Gotoshi: the picture simile and the feminine re-guard in Japanese illustrated romances.” Word and Image, vol. 11, no. 1 (Jan.-Mar. 1995), pp. 37-54. XEROX
Munroe, Alexandra. Japanese Art After 1945–Scream Against the Sky. New York: Abrams, 1994.
Murase, Miyeko. Emaki--Narrative Scrolls from Japan. New York: Asia Society, 1983.
------. Japanese Screen Painting. New York: Braziller, 1989.
Naruzaki, Muneshige. Hiroshige--Famous Views. Tokyo: Kodansha International, 1968.
-----. Hiroshige--The 53 Stages of the Tokaido. Tokyo: Kodansha International, 1969.
-----. Sharaku: The Enigmatic Ukiyoe Master. Tokyo: Kodansha, 1983.
Nishikawa Kyotaro. The Great Age of Japanese Buddhist Sculpture. Fort Worth, Texas: Kimball Art Museum, 1982.
Ogawa Masataka. The Enduring Crafts of Japan. Tokyo: Weatherhill, 1968.
Okada JÇ. Genre Screens from the Suntory Museum. New York: Japan Society, 1975.
Okamoto, Yoshitomo. The Namban Art of Japan. Tokyo: Weatherhill, 1973.

Okawa Naomi. Edo Architecture: Katsura and Nikko. New York: Weatherhill, 1975.

Paine, Robert Treat. "The Scroll of Kibi's Adventure in China." Bulletin of the Museum of Fine Arts, vol 31, no. 2 (Feb. 1933) pp. 2-12 XEROX
A Primal Spirit. Los Angeles: Los Angeles County Museum of Art, 1990.
Reischauer, Edwin O. Translations from Early Japanese Literature. Cambridge: Harvard Univ. Press, 1951.
Rosenfield, John M. “Nihonga and its Resistance to “the Scorching Drought of Modern Vulgarity.” In Nicole Coolidge Rousmaniere, ed. Births and Rebirths in Japan. Leiden: Hotei, 2001, pp. 163-197.
-----. "Western Style Painting in the Early Meiji Period," in Donald Shively, ed. Tradition and Modernization in Japanese Culture. Stanford: Stanford University Press, 1974. pp. 181-219.
Ruch, Barbara. "The Other Side of Culture in Medieval Japan."In Kozo Yamamura, ed. The Cambridge History of Japan, vol. 3, Medieval Japan. Cambridge: Cambridge University Press, 1990, pp. 500-543.
Sano, Bunichiro and Howard Link. Exquisite Visions. Honolulu: Honolulu Academy of Arts, 1980.
Sasaki, Johei. Okyo and the Maruyama Shijo School of Japanese Painting. St. Louis: The St. Louis Art Museum, 1980.
Schaap, Robert. Heroes and Ghosts: Japanese Prints by Kuniyoshi. Leiden: Hotei, 1998.
Screech, Timon. “The Meaning of Western Perspective in Edo popular Culture.” Archives of Asian Art, no. 47 (1994), pp. 58-69. COPY
-----. The Shogun’s Painted Culture. London: Reaktion Books, 2000.
Seidensticker, Edward. Tale of Genji. New York: Knopf, 1976.
Shimizu, Yoshiaki. "The Shigisan Engi Scrolls, ca. 1175," Studies in the History of Art, no. 16 (1985), pp. 115-129. COPY
-----. "Workshop Management of the Early Kano Painters, ca. A.D.1530-1600." Archives of Asian Art, no. 34 (1981), pp.32-47. COPY

Skov, Lise. “Fashion Trends, Japonisme and Postmodernism, or ‘What is so Japanese About Comme Des Garçons?’” in John Whittier Treat, ed., Contemporary Japan and Popular Culture, Honolulu: University of Hawaii Press, 1996: 137-168.

Spectacular Helmets of Japan. New York: Japan Society, 1985
Sugiyama, JirÇ. Classic Buddhist Sculpture: The Tempyo Period. Tokyo: Kodansha International, 1982.
Takashina Shuji. “Beauty in Japan and the West.” In Gumpert, Lynn, ed. Face to Face–Shiseido and the Manufacture of Beauty 1900-2000. New York: Gray Art Gallery, 2000.
Takeda, Tsuneo. Kano Eitoku. Tokyo: Kodansha International, 1977.
Takeuchi, Melinda. “The Golden Link: Place, Poetry, and Paradise in a Medieval Japanese Design.” In Kuroda TaizÇ, eta al., eds, Worlds Seen and Imagines--Japanese Screens from the Idemitsu Museum of Art. New York: Asia Society, 1995, pp. 31-53
Tanaka Ichimatsu, ed. Ban dainagon ekotoba. Nihon emakimono zenshu. vol. 5. Tokyo: Kadokawa shoten, 1976.
-----. Japanese Ink Painting: Shubun to Sesshu. Tokyo: Weatherhill, 1974.
Tani, Shinichi. Namban Art. New York: Japan Society, 1970.
Tsuji Nobuo. “Ornament (kazari)–An Approach to Japanese Culture.” Archives of Asian Art (1994), pp. 35-45. COPY
Varley, H. Paul. "Ashikaga Yoshimitsu and the World of Kitayama." In Hall, John Whitney and Toyoda Takeshi. Japan in the Muromachi Age. Berkeley: Univ. of Cal. Press, 1977, pp.183-204.
-----. "The Culture of Tea from its Origins to Sen no Rikyu." In Elison, George and Bardwell Smith, eds. Warlords, Artists, and Commoners. Honolulu: Univ. of Hawaii Press, 1981, pp.187-222.
------. Japanese Culture. 3rd edition. Honolulu: University of Hawai’i Press, 1983.
Vlam, Grace. "Kings and Heroes: Western Style Painting in Momoyama Japan," Artibus Asiae, vol. XXXIX, 3/4 (1976), pp. 220-250. XEROX
Volker, T. Ukiyoe Quartet. Leiden: E.J. Brill, 1961. COPY
Watanabe, Yasutada. Shinto Art: Ise and Izumo Shrines. Tokyo: Heibonsha, 1974.
Wheelwright, Caroline. "Kano Painters of the Sixteenth Century A.D.: The Development of Motonobu's Style." Archives of Asian Art XXXIV (1981), pp. 6-31. XEROX
-----. “A Visualization of Eitoku’s Lost Paintings at Azuchi Castle.” In Elison, George and Bardwell Smith, eds. Warlords, Artists, and Commoners. Honolulu: Univ. of Hawaii Press, 1981, pp 87-112.
Yamane YuzÇ. "Ogata Korin and the Art of the Genroku Period." Acta Asiatica, no. 15 (1968), pp. 69-86. COPY
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