(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
A Special Exhibition of Ancient Chinese Buddhist Paintings, Lent (Classic Reprint)
(Dramatic incidents, tlie relief of grouped figures agains...)
Dramatic incidents, tlie relief of grouped figures against landscape backgrounds, the related idealisms of man and of nature, the imaginative suggestions of color, the atmosphere and clouding and light in transcendent aspects of the world and of heaven, all these were open to it as never to tiic meagre severities of sculpture on stone t;i9ades. VT he art of Japan, in many respects the most sensitive flower that sprang from this continental stem, combined the best traditions, both of Korean sculpture and of Chinese painting. But in painting it must be admitted that there have been few supreme forms in Japan which were not more stronglyand simply used in earlier Chinese models. In the Tosa andS hi jo schools we find the closest approximation to a purely national manner. But in Buddhist painting especially, the islanders closely followed continental influences. Thus a study of Chinese art is an essential introduction to the complete understanding of LJ apanese. The earliest form of Chinese pictorial art which we can trace, and which belongs at least to thq period from the second century before Christ to the fourth or fifth after, is secular in subject, depicting in outline or in bilhouette the lives and doings of kings and their subjects, the portraits of great sages and statesmen, much as we find it carved on Assyrian reliefs or the walls of pgyptian temples. From the fifth century onward, this secular art, bound up with the ideals of pure Confucianism, was for the most part supplanted by the A esthetic claims of the rapidly spreading Buddhist religion. The greatest Chinese masters of the sixth, seventh, and eighth centuries were painters of Buddhist altar-pieces, and decorators of the walls of large temples.
(Typographical errors above are due to OCR software and don't occur in the book.)
About the Publisher
Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science
Instigations. Together with an Essay on the Chinese Written Character
(This work has been selected by scholars as being cultural...)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Noh, Or Accomplishment: A Study Of The Classical Stage Of Japan (1916)
(This scarce antiquarian book is a facsimile reprint of th...)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
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Fifteen of the most celebrated plays of the Noh theatre...)
Fifteen of the most celebrated plays of the Noh theatre repertory are given here in their entirety and five more are presented in synopsis. The translations are grounded in a critical discussion of the Noh theatre, its history and place in the court life of Japan, a description of the stage on which it is performed, its music, costumes, and masks, and the dance which is usually the high point of the performance. Both Pound and Fenollosa discuss the special elements of Noh poetry, and Pound's poetic organization of Fenollosa's authoritative translation and notes creates a fortunate collaboration.
Epochs of Chinese & Japanese Art, An Outline History of East Asiatic Design
(Hardcover reprint of the original 1912 edition; hardbound...)
Hardcover reprint of the original 1912 edition; hardbound in brown cloth with gold stamped lettering, 8vo - 6x9''. This item is printed on demand as a collector quality facsimile, crafted to hold its own in a library of first editions. Includes the original foldouts.
Book Information: Fenollosa, Ernest Francisco. Epochs of Chinese & Japanese Art, An Outline History of East Asiatic Design. Indiana: Repressed Publishing LLC, 2012.
Original Publishing: Fenollosa, Ernest Francisco. Epochs of Chinese & Japanese Art, An Outline History of East Asiatic Design. New York: Frederick A. Stokes Company, 1912.
Subject: Art China History
Ernest Francisco Fenollosa was an American art historian of Japanese art, professor of philosophy and political economy at Tokyo Imperial University.
Background
Ernest Francisco Fenollosa was the son of Manuel Francisco Ciriaco Fenollosa, a Spanish musician, who, having as a youth enlisted in the band attached to an American frigate, came to the United States in 1838 and finally settled in Salem, Massachusetts, where he married Mary Silsbee.
Education
He prepared for college at the Hacker Grammar School and at the Salem High School, and entered Harvard with the class of 1874.
He graduated first in his class, was chosen poet, and was awarded a fellowship which he used for further study at Cambridge, first in philosophy and then in the Divinity School.
In 1878 he went to Japan where he taught political economy and philosophy at the Imperial University at Tokio for two years (1878 - 80) ; then philosophy and logic for six years (188086).
When the Tokio Fine Arts Academy and the Imperial Museum were opened in 1888, he was made manager of both institutions.
Career
In January 1877, he entered the newly founded school at the Boston Museum of Fine Arts. In 1878 he went to Japan where he taught political economy and philosophy at the Imperial University at Tokio for two years (1878 - 80); then philosophy and logic for six years (188086).
When the Tokio Fine Arts Academy and the Imperial Museum were opened in 1888, he was made manager of both institutions. Brought into intimate contact with Japanese artists and men of culture, the sensitive young esthete became a professing Buddhist and was baptized under the name of Tei-Shin.
His Japanese name in art was Kano Yeitan Masanobu, showing him to have been an apprentice accepted by the ancient and conservative academy of the Kano.
He was decorated by His Imperial Highness, the Emperor of Japan, with the fourth, later with the third, class of the order of the Rising Sun; and with the third class of the Sacred Mirror.
In 1890 he returned to the Boston Museum of Fine Arts to become curator of the department of Oriental art. There he remained until 1897 when he again went to Japan to serve as professor of English literature in the Imperial Normal School at Tokio.
After three years he returned to the United States to write and lecture on Oriental subjects. He died in London, September 21, 1908. Estimates of his contributions to the study of Oriental art vary greatly. It has been said by some that he discovered the subject; by others, that he made no important contribution to it. His most significant work Epochs of Chinese and Japanese Art (2 vols. , 2nd ed. , 1912) was compiled after his death by Mary McNeill Fenollosa, from a “rough pencil draught. ”
It is lamentably full of tentative statements and errors, which, had he lived, he would undoubtedly have corrected. Some of the errors have been corrected in bulletins of the Boston Museum of Fine Arts and in the footnotes of a critical Japanese translation. Nevertheless, though Western knowledge of Oriental art has progressed since his death, it has followed the path blazed by him. While his information was derived from his Japanese friends, his conclusions were his own and they were formed at a time when there was no background of Western appreciation.
Besides various monographs on phases of Oriental art, he published The Masters of Ukioye (1896), an historical description of Japanese paintings and color prints exhibited at the New York Fine Arts Building; and a book of poems, East and West; The Discovery of America and Other Poems (1893). The poem, “East and West, ” was delivered before the Phi Beta Kappa society at Cambridge, June 30, 1892. After his death, his literary executor, Ezra Pound, published, in part from his notes and manuscripts, Cathay (1915), translations, chiefly from the Chinese ; Certain Noble Plays of Japan ( 1916) ; and ‘Noh’ ; or, Accomplishment, a Study of the Classical Stage of Japan (1916).
Brought into intimate contact with Japanese artists and men of culture, the sensitive young esthete became a professing Buddhist and was baptized under the name of Tei-Shin.
Connections
In June 1878 he had married Lizzie Goodhue Millett. A son and a daughter were born to them.
After their divorce he married, in 1895, Mary McNeill.