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Acknowledgments Workshop materials prepared by Deborah Clearwaters, Asian Art Museum; with contributions by Christy Bartlett and Scott McDougall of the Urasenke Foundation of San Francisco; Sherie Yazman, teacher at George Washington High School, SFUSD; Lisa Nguyen; Stephanie Kao; and U-gene Kim, San Francisco State University History Department Intern. Thanks to Asian Art Museum staff Doryun Chong, Thomas Christensen, Alina Collier, Brian Hogarth, Michael Knight, and Yoko Woodson for their comments and suggestions; and most of all to Jason Jose for design and graphics under a tight deadline. Thanks to our presenters at today’s workshop: Laura Allen, Melinda Takeuchi, Christy Bartlett, Scott McDougall, Sherie Yazman, and Docents Sally Kirby, Mabel Miyasaki, and Midori Scott. The slides are presented in roughly chronological order. Twenty Asian Art Museum object photos by Kazuhiro Tsuruta unless indicated otherwise. Asian Art Museum Education Department
A R Map of Japan Amur Q CHINA Khabarovsk Sakhalin Island Yuzhno Sakhalinsk Harbin Jixi C hung Jilin Hokkaido Vladivostok Liaoyuan F Sea F Cheng NORTH KOREA of dong Pyongyang Japan Y Sea Incheon Seoul SOUTH KOREA Taejeon Taegu Pusan Hagi Himeji JAPAN Honshu Edo (Tokyo) Sekigahara Mt. Fuji Nagoya Kyoto Kamakuka Nara Shizuoka Osaka Shikoku Nagasaki Kyushu E China Sea Pacific Ocean Asian Art Museum Education Department
Page 1: The Arts of Edo Japan A Teacher Wor
Page 5 and 6: Consonants are generally pronounced
Page 7 and 8: Generalization: During the Edo peri
Page 9 and 10: Historical Background Japan’s Edo
Page 11 and 12: tation of foreign books was lifted
Page 13 and 14: Artists and Patrons “Since the la
Page 15 and 16: Aesthetic Trends in Chanoyu (Japane
Page 17 and 18: assumed central importance. A reali
Page 19 and 20: The Edo Period (1615-1868) Tea cont
Page 21 and 22: most innovative aspect of Oribe’s
Page 23 and 24: from serving the powerful he was ne
Page 25 and 26: Sowa was highly regarded as connois
Page 27 and 28: Slide Descriptions Notes to the sli
Page 29 and 30: What is this painting about? This p
Page 31 and 32: painter in the Shogun’s court in
Page 33 and 34: Slide 6 Yuin Teahouse, Kyoto Origin
Page 35 and 36: Slide 7 Gohon Tachizuru-style Hagi
Page 37 and 38: Slide 8 Nonumura Ninsei (died 1695)
Page 39 and 40: Slide 9 left Artist unknown Tale of
Page 41 and 42: Dew-drenched purple trousers: I gri
Page 43 and 44: Slide 10 left right Yamamoto Soken
Page 45 and 46: “Flowers of Birds of the Twelve M
Page 47 and 48: Slide 11 Ike Gyokuran (1727 or 28-1
Page 49 and 50: Slide 12 detail Aoki Shukuya (died
Page 51 and 52: “A Grand View of Yueyang Tower”
Page 53 and 54:
Slide 13 Left Noro Kaiseki (1747-18
Page 55 and 56:
Slide 14 Artist unknown Fireman’s
Page 57 and 58:
Why was the mon so prominent and im
Page 59 and 60:
cise strokes, stemmed from the tech
Page 61 and 62:
were highly valued for their beauty
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shuttle cock with specially decorat
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What format is this? Hanging scroll
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often the phrases brushed upon the
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Slide 20 Signed Chikuhosai Katsura
Page 71 and 72:
flowers were placed or hung in the
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Asian Art Museum Education Departme
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3) Wrap up discussion. Summarize th
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3) Cut two crease lines on either s
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Asian Art Museum Education Departme
Page 85 and 86:
Student Handout 2 Readings on Educa
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Student Handout 3 Formats of Japane
Page 89 and 90:
Neo-Confucian: Rangaku: roji: Shint
Page 91 and 92:
Bibliography Books/Exhibition Catal
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Travel Books Fodor’s Exploring Ja
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