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Examples of Miyabi [courtliness] Taste Teabowl with dragon motif in roundel pattern, by Nonomura Ninsei, 17th c. Asian Art Museum, 1991.23. (See slide #8). The shape of the bowl was called Kanamori Sowa’s taste at the time. Koto yaki ware fresh water container with painting of reeds and descending goose in gold overglaze enamel, 19th c. Made at the personal kiln of Ii Naosuke in Hikone Castle. Exterior view of Kanden’an tearoom, at Matsudaira Fumai’s estate in Matsue. Note the exaggerated wabi quality of the roof. Interior view of Kanden’an tearoom exhibiting a modifiedwabi taste. Asian Art Museum Education Department
Slide Descriptions Notes to the slides: The slides are mostly drawn from the museum’s permanent collection of Japanese art. Some of these works will be on view on the day of the workshop, but others will come on view after April 3. Asian paintings are very fragile and prolonged exposure to even small amounts of light can fade their vegetable pigments. That is why museums are often dimly lit, and also why our paintings rotate every six months. According to museum policy, after a work has been on view it must “rest” for two years before going on view again. Teachers might like to review the Formats of Japanese Painting Student Handout 3 with students before looking at slides. The slides are presented in roughly chronological order. The descriptions contain information about the object: its use, iconography and the artist, as well as activity and discussion suggestions. The activities tie in with one or more slides. Slide descriptions by Deborah Clearwaters and photos by Kazuhiro Tsuruta unless indicated otherwise. Asian Art Museum Education Department
Page 1 and 2: The Arts of Edo Japan A Teacher Wor
Page 3 and 4: A R Map of Japan Amur Q CHINA Khaba
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: Sowa was highly regarded as connois
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
Page 63 and 64: shuttle cock with specially decorat
Page 65 and 66: What format is this? Hanging scroll
Page 67 and 68: often the phrases brushed upon the
Page 69 and 70: Slide 20 Signed Chikuhosai Katsura
Page 71 and 72: flowers were placed or hung in the
Page 73 and 74: Asian Art Museum Education Departme
Page 75 and 76: 3) Wrap up discussion. Summarize th
Page 77 and 78:
3) Cut two crease lines on either s
Page 79:
Asian Art Museum Education Departme
Page 85 and 86:
Student Handout 2 Readings on Educa
Page 87 and 88:
Student Handout 3 Formats of Japane
Page 89 and 90:
Neo-Confucian: Rangaku: roji: Shint
Page 91 and 92:
Bibliography Books/Exhibition Catal
Page 93:
Travel Books Fodor’s Exploring Ja
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