Page 211 - Designing_Nature_The_Rinpa_Aesthetic_in_Japanese_Art Metropolitan Museum PUB
P. 211
Murase, Miyeko, and Judith Smith, eds. The Arts of Japan: An ——— . Kokuhō Kakitsubata zu: Hozon shūri shunkō kinen / Irises ham, Ala.: National Museum of Modern Art, Asahi Shinbun,
International Symposium. New York: The Metropolitan Reborn: The Art of Ogata Kōrin and the Conservation Project and Birmingham Museum of Art, 2003.
Museum of Art, 2000. on the Irises Screens. Tokyo: Nezu Bijutsukan, 2012. Sanekata Yōko. “Ōhara gokō zu monogatari ga e ni naru toki.”
Murashige Yasushi. Motto shiritai Tawaraya Sōtatsu: Shōgai to ——— . Kōrin ten: Kokuhō “Kakitsubata zu” to Metoroporitan Bijutsu Fōramu 21 15 (2007).
sakuhin. Tokyo: Tokyo Bijutsu, 2008. Bijutsukan shozō “Yatsuhashi zu” / “Irises” and “Eight Bridges”: Sano Midori. “Santori Bijutsukan zō Ise monogatari shikishi
——— , ed. Rinpa, vol. 1, Kachō I. Kyoto: Shikōsha, 1989. Masterpieces by Kōrin from the Nezu Museum and The Metro- haritsuki byōbu o megutte.” Kokka, no. 1245 (1999).
——— . Rinpa no ishō: Miyabi no runessansu. Tokyo: Kōdansha, politan Museum of Art. Exh. cat. Tokyo: Nezu Bijutsukan, 2012. Schirn Kunsthalle Frankfurt. Die Kunst des alten Japan: Meister-
1982. Nihon Keizai Shinbunsha and Bunkazai Hogo Iinkai. Tawaraya werke aus der Mary and Jackson Burke Collection, New York.
——— , ed. Sōtatsu, Kōrin, Hōitsu: Rinpa. Edo meisaku gajō Sōtatsu ten. Exh. cat. Tokyo: Nihon Keizai Shinbunsha, 1961. Exh. cat. Frankfurt: Shirn Kunsthalle Frankfurt, 1990.
zenshū, 6. Tokyo: Shinshindō, 1993. Nishimoto Shūko. “Kōrin hyakuzu to Rinpa no keifu.” In Rinpa: Schneider, Fredric T. The Art of Japanese Cloisonné Enamel:
——— . Sōtatsu to sono yōshiki. Nihon no bijutsu, no. 461. Tokyo: Han to kata no tenkai. Exh. cat. Machida: Machida Shiritsu History, Techniques, and Artists,1600 to the Present. Jefferson,
Shibundō, 2004. Kokusai Hanga Bijutsukan, 1992. N.C.: McFarland & Company, 2010.
Murashige Yasushi and Kobayashi Tadashi, eds. Rinpa. Vol. 5, ———. “Kōrin no kōgei zuan.” In Rinpa kaiga zenshū, vol. 3, Screech, Timon. “Rimpa and the Space of Dreams.” In Rimpa
Sōgō. Kyoto: Shikōsha, 1992. Kōrin-ha I, edited by Yamane Yūzō. Tokyo: Nihon Keizai Arts: Transmission and Context; Conference Papers, pp. 103 – 10.
Shinbunsha, 1979. London: British Museum and School of Oriental and Afri-
Nagata Seiji. “Sōri kō: Hokusai kenkyū ni kanren shite.” Kokka, ——— . “Ogata Kenzan hitsu Teika yomi(?) jūnikagesu kachōzu can Studies, University of London, 1998.
no. 1062 (1983). ni tsuite.” Kokka 1043 (1981), pp. 19 – 31. Sen Sōoku. “Tawaraya Sōtatsu Hasuike suikinzu shiron.” In
Nagatake Takeshi. Zusetsu Nihon no aka-e. Tokyo: Tōzai Gogat- Noguchi Takeshi. “Yatsuhashi zu byōbu ni kansuru kansho / Kawai Masatomo kyōju kanreki kinen ronbunshū, Nihon bijutsu
susha, 1960. Thoughts on Eight Bridges Screens.” In Nezu Museum, no kūkan to keishiki. Tokyo: Kawai Masatomo Kyōju Kanreki
Naitō Masato. “The Art of Hōitsu,” trans. Alfred Haft. In Rimpa Kōrin ten: Kokuhō “Kakitsubata zu” to Metoroporitan Bijutsu- Kinen Ronbunshū Kankōkai, 2003.
Arts: Transmission and Context; Conference Papers, pp. 41 – 56. kan shozō “Yatsuhashi zu” / “Irises” and “Eight Bridges”: Master- Seo, Audrey Yoshiko. “Konoe Nobutada: Minimalism in an
London: British Museum and School of Oriental and Afri- pieces by Kōrin, pp. ix – xiv. Tokyo: Nezu Age of Grandeur.” Orientations 38, no. 6 (September 2007),
can Studies, University of London, 1998. Bijutsukan, 2012. pp. 84 – 93.
——— . Rinpa geijutsu no keishō to sōzō. Tokyo: Idemitsu Shimada Shūjirō, ed. Zaigai hihō: Ō-Bei shūzō Nihon kaiga
Bijutsukan, 2006. Ohki, Sadako. “Konoe Nobutada’s Waka Byōbu: Kana Calligra- shūsei. Vol. 2, Shōheiga, Rinpa, Bunjinga. Tokyo: Gakushū
——— . “Sōtatsu, Kōrin, Hōitsu: The Lineage of Rimpa Paint- phy and the Triumph of a Displaced Courtier.” Orientations. Kenkyūsha, 1969.
ing as Seen in the Wind God and Thunder God Screens.” In Forthcoming. Shimizu, Yoshiaki, and John M. Rosenfield. Masters of Japanese
Yūzō Yamane, Masato Naitō, and Timothy Clark, Rimpa Art Okano Tomoko. “Sakai Hōitsu shita-e: ‘Tsuru-umemodoki Calligraphy: 8th – 19th Century. Edited by Naomi Noble
from the Idemitsu Collection, Tokyo, pp. 50 – 67. London: mejiro maki-e jikubon’ o megutte.” Tōkyō-to Edo Tōkyō Richard. Exh. cat. New York: Asia Society Galleries, 1984.
British Museum Press, 1998. Hakubutsukan kenkyū hōkoku 1 (October 1995), pp. 103 – 31. Shirahata Yoshi and Tokuda Kōen. Rinpa kaiga senshū. 3 vols.
Nakamachi Keiko. “The Development of Kōrin’s Art and the Kyoto: Kyōto Shoin, 1975.
Irises Screens.” In Nezu Institute of Fine Arts, Kōrin ten: Priest, Alan. “Autumn Millet.” Metropolitan Museum of Art Bul- Shirane, Haruo. Japan and the Culture of the Four Seasons: Nature,
Kokuhō “Kakitsubata zu” to Metoroporitan Bijutsukan shozō letin 17, no. 4 (December 1958), pp. 101 – 7. Literature, and the Arts. New York: Columbia University
“Yatsuhashi zu.” Tokyo: Nezu Bijutsukan, 2012. ——— . “Kōrin and the Iris Screens.” Metropolitan Museum of Press, 2012.
——— , ed. Edo Rinpa no suijin Sakai Hōitsu. Special issue of Art Bulletin 13, no. 7 (March 1955), pp. 209 – 12. Simmons, Pauline. “Artist Designers of the Tokugawa Period.”
Bessatsu Taiyō Nihon no kokoro, no. 177 (2011). Metropolitan Museum of Art Bulletin 14, no. 6 (February 1956),
——— . “Genji Pictures from Momoyama Painting to Edo Rosenfield, John M., and Fumiko E. Cranston. Extraordinary pp. 133 – 48.
Ukiyo-e: Cultural Authority and New Horizons.” In Envi- Persons: Works by Eccentric, Nonconformist Japanese Artists of Stern, Harold P. Rimpa: Masterworks of the Japanese Decorative
sioning the Tale of Genji: Media, Gender, and Cultural Produc- the Early Modern Era (1580 – 1868) in the Collection of Kimiko School. Exh. cat. New York: Japan Society, 1971.
tion, ed. Haruo Shirane, pp. 171 – 210. New York: Columbia and John Powers. 3 vols. Cambridge, Mass.: Harvard Univer- Suntory Art Museum. Nichirin to getsurin: Taiyō to tsuki o meg-
University Press, 2008. sity Art Museums, 1999. uru bijutsu. Exh. cat. Tokyo: Suntory Museum of Art, 1999.
——— . Kōetsu, Sōtatsu. Shinpen Meihō Nihon no bijutsu, no. 23. Rotondo-McCord, Lisa, ed. An Enduring Vision: 17th- to 20th- ——— . Rinpa to chadōgu: Manno korekushon no meihin ikkyo
Tokyo: Shōgakkan, 1990. Century Japanese Painting from the Gitter – Yelen Collection. kōkai. Exh. cat. Tokyo: Santorī Bijutsukan, 2001.
——— . Kōetsu to Sōtatsu. Meihō Nihon no bijutsu, vol. 19. Exh. cat. New Orleans: New Orleans Museum of Art; ——— . Sakai Hōitsu to Edo Rinpa. Tokyo: Santorī Bijutsukan,
Tokyo: Shōgakkan, 1983. Seattle: University of Washington Press, 2002. 2001.
——— . “The Patrons of Tawaraya Sōtatsu and Ogata Kōrin.” Rousmaniere, Nicole Coolidge, ed. Kazari: Decoration and Dis- Suntory Art Museum, Ōsaka City Art Museum, and Nihon
In Elizabeth Lillehoj, Critical Perspectives on Classicism in play in Japan, 15th – 19th Centuries. Exh. cat. New York: Japan Keizai Shinbunsha. Byōbu, Nihon no bi. Exh. cat. Tokyo:
Japanese Painting, 1600 – 1700, pp. 92 – 111. Honolulu: Society, 2002. Nihon Keizai Shinbunsha, 2007.
University of Hawai‘i Press, 2004. Rousmaniere, Nicole Coolidge, and Arakawa Masaaki. “The Suzuki Jun. “Kōetsu Sanjūrokkasen kō.” In Kokubungaku
——— . “Shiki sōka sosai zu byōbu.” Kokka, no. 1278 (2002), Development of Rimpa Design in the Applied Arts,” trans. Kenkyū Shiryōkan, Edo no kasen’e: Ehon ni miru ōchōbi no
pp. 16 – 19. Nicole Coolidge Rousmaniere. In Rimpa Arts: Transmission hen’yō to sōi, Kokubungaku Kenkyū Shiryōkan tokubetsu tenji.
——— . “Shinshutsu no Sōtatsu ha Ise monogatari e shikishi ni and Context; Conference Papers, pp. 57 – 68. London: British Tokyo: Kokubungaku Kenkyū Shiryōkan, 2009.
tsuite.” Kokka, no. 1154 (1992), pp. 11 – 28. Museum and School of Oriental and African Studies, Uni-
——— . Sugu wakaru Rinpa no bijutsu. Tokyo: Tōkyō Bijutsu, versity of London, 1998. Taguchi Ryōichirō. Rinpa shūsakushū. Exh. cat. Tokyo: Nihon
2004. Keizai Shinbunsha, 1959.
Nakamura Tanio. “Kenzan hitsu kōbai fuyō zu byōbu.” Kobijutsu Sakai Hōitsu. Kōrin hyakuzu. 2 vols. Kyoto: Hosokawa Kaiekidō, Tajima Shiichi, ed. Masterpieces Selected from the Kōrin School
16 (1967), pp. 86 – 88. 1815. (Kōrin-ha gashū). 4 vols. Tokyo: Shimbi Shoin, 1903 – 5.
——— . Kōrin hyakuzu. Tokyo: Iwasaki Bijutsusha, 1995. Sakai Hōitsu ten kaisai jikkō iinkai, ed. Sakai Hōitsu to Edo Takashimaya Department Store. Sakai Hōitsu ten. Exh. cat.
Nakamura Tanio et al. Hōitsu-ha kachō gafu. 6 vols. Kyoto: Rinpa no zenbō. Exh. cat. Tokyo: Kyūryūdō, 2011. Tokyo: Nihon Keizai Shinbunsha, 1977.
Shikōsha, 1978. Sakakibara Yoshirō. Hakken! Kamisaka Sekka no sekai: Rinpa Takeda Tsuneo. Keibutsuga: Shiki keibutsu. Nihon byōbue shūsei,
Narazaki Muneshige, Mizuo Hiroshi, and Yoshizawa Chū. kara modan dezain e no kakehashi. Tokyo: Heibonsha, 2008. vol. 9. Tokyo: Kōdansha, 1977.
Kinsei kaiga. Tokyo: Kōdansha, 1959. ——— . Kamisaka Sekka: Kindai no Rinpa. Kyoto: Kyōto Shoin, Takeda Tsuneo, Takio Kimiko, and Minamidani Kei, eds.
Nezu Museum. Kokuhō Kakitsubata zu byōbu: Hozon shūri shunkō 1993. Byōbu-e taikan. Nihon byōbu-e shūsei bekkan. Tokyo:
kinen/Irises Reborn: The Art of Ogata Kōrin and the Conserva- ——— . “A Study of Kamisaka Sekka.” In Donald Wood et al., Kōdansha, 1982.
tion Project on the Irises Screens. Tokyo: Nezu Bijutsukan, 2005. Kamisaka Sekka: Rinpa no keishō / Kamisaka Sekka: Rimpa Taketani Chōjirō and Kitano Tayuru, eds. Edo Rinpa gajin
Master, Pioneer of Modern Design. Kyoto, Tokyo, and Birming- Suzuki Kiitsu shojō. Musashimurayama City: Seishōdō Sho-
ten, 1984.
selected bibliography
210