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Japanese Art at Metropolitan6

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Japanese Art at Metropolitan6

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The Museum built its comprehensive collection of Japanese art beginning in the early 1880s, when it owned just a small, eclectic array of Japanese decorative arts

YOU CAN WATCH THIS PRESENTATION IN MUSIC HERE:
http://www.authorstream.com/Presentation/michaelasanda-2815786-japanese-art-metropolitan6/
YOU CAN DOWNLOAD THIS WORK AS PPSX HERE:
http://ma-planete.com/pps/websiteview/catid_26/id_443896/title_Japanese-Art-at-Metropolitan6/
PLEASE SEE ALSO:
http://www.slideshare.net/michaelasanda/japanese-art8/michaelasanda/japanese-art8
http://www.slideshare.net/michaelasanda/japanese-art7/michaelasanda/japanese-art7
http://www.slideshare.net/michaelasanda/japanese-art5/michaelasanda/japanese-art5
http://www.slideshare.net/michaelasanda/japanese-art4/michaelasanda/japanese-art4
http://www.slideshare.net/michaelasanda/japanese-art3/michaelasanda/japanese-art3
http://www.slideshare.net/michaelasanda/japanese-art2-61794610
http://www.slideshare.net/michaelasanda/japanese-art1/michaelasanda/japanese-art1

Thank you!

The Museum built its comprehensive collection of Japanese art beginning in the early 1880s, when it owned just a small, eclectic array of Japanese decorative arts

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Japanese Art at Metropolitan6

  1. 1. Bracelet Modeled on Shell Ornament Kofun period (ca. 300–710)
  2. 2. Jar Late Jōmon period (ca. 2500–1000 B.C.) Zao Gongen, Muromachi Period, XIV century
  3. 3. Kongō-hō Bosatsu (Vajrasattva) 11th century
  4. 4. Attendant Bodhisattva Kannon 12th–13th century
  5. 5. Shandao, 18th–19th century Rakan Shōun Genkei (Japanese, 1648–1710)
  6. 6. Gama Sennin Ivory by Shūzan late 18th–early 19th century
  7. 7. Eleven-Headed Kannon Nanbokuchō period (1336–92)
  8. 8. Jizō Bosatsu second half of the 13th century
  9. 9. Jizō Bosatsu (Ksitigarbha) second half of the 13th century
  10. 10. Bodhisattva Kannon 17th or 18th century
  11. 11. Bodhisattva Kannon 17th or 18th century
  12. 12. Bodhisattva Kannon 17th or 18th century
  13. 13. Bodhisattva Seishi 17th or 18th century
  14. 14. Bodhisattva Seishi 17th or 18th century
  15. 15. Portable Shrine with the Horse- Headed Kannon ca. 1620
  16. 16. Incense container 19th century
  17. 17. Incense Burner in the Shape of a Rooster 18th century
  18. 18. Incense burner (koro) late 17th century
  19. 19. Coal container 18th century
  20. 20. Coal container (support) 18th century
  21. 21. Dish with Cherry Blossoms and Textile Curtains ca. 1670–90
  22. 22. Dish with Cherry Blossoms and Textile Curtains ca. 1670–90
  23. 23. Bottle with Peony and Rock18th century
  24. 24. Dish with Hydrangeas ca. 1690–1730
  25. 25. Dish with rocks, flowers, and birds 1710–30
  26. 26. Dish with tiger and bamboo 1720 Wine bottle 19 century
  27. 27. Plate with a vase of flowers ca. 1770 Plate with Japanese court woman and birds 1710
  28. 28. Jar 19 century
  29. 29. Saucer 18 centuryEuropean set Cup 18 century
  30. 30. Cup 18 century
  31. 31. Case (Inrō) with Design of Clamshells and Fireflies Koma Yasutada (Japanese, 1775-1850)
  32. 32. Fittings for a Pair of Swords (Daishō Soroi-Mono) early 19th century Reverse
  33. 33. Detail
  34. 34. Fittings for a Pair of Swords (Daishō Soroi-Mono) early 19th century Reverse
  35. 35. Detail
  36. 36. Sword Guard (Tsuba) 17 centurySword Guard (Tsuba) ca. 1615–1868
  37. 37. Sword Guard (Tsuba) late 18th–early 19th century
  38. 38. Sword Guard (Tsuba) late 18th–early 19th century (Detail)
  39. 39. Helmet in the Shape of a Sea Conch 17th century War Hat (Jingasa) with Storage Bag late 18th–early 19th century
  40. 40. Equestrian Equipment 1700
  41. 41. Inrō with Portuguese Figures late 18th–early 19th century An inrō is a traditional Japanese case for holding small objects, suspended from the obi (with the help of a netsuke and held together with an ojime)
  42. 42. Case (Inrō) in the Shape of a House late 18th–early 19th century Inrō netsuke ojime)
  43. 43. Case (Inrō ) with Design of a Gourd Vine Koma Yasutada (Japanese 1775-1850)
  44. 44. Case (Inrō) with Design of Clamshells and Fireflies Koma Yasutada (Japanese, 1775-1850)
  45. 45. Case (Inrō) with Design of Maple Tree and Stream 19th century
  46. 46. Case (Inrō) with Design of Squid, Shells and Seaweed Hara Yōyūsai (Japanese, 1772–1845)
  47. 47. Inrō with Bird on a Blossoming Plum Tree Koma Yasutada (Japanese, 1775-1850)
  48. 48. Inrō with Captured Heron 19th century)
  49. 49. Inrō with Design of Blossoming Plum Tree Hara Yōyūsai (Japanese, 1772–1845)
  50. 50. Inrō with Peacocks and Flowers Koma Yasutada (Japanese, 1775-1850)
  51. 51. Inrō with Sparrows in Snow-covered Nandina Hara Yōyūsai (Japanese, 1772–1845)
  52. 52. Portable Picnic Set (sagejū) with Chrysanthemums, Foliage Scroll, and Tokugawa Family Crest 18th century
  53. 53. Portable Picnic Set (sagejū) with Chrysanthemums, Foliage Scroll, and Tokugawa Family Crest 18th century
  54. 54. Portable Picnic Set (sagejū) with Chrysanthemums, Foliage Scroll, and Tokugawa Family Crest 18th century (Details)
  55. 55. Noh costume (Hitatare) 19th century
  56. 56. Overrobe with Design of Peonies, Plum Blossoms, and Butterflies 18th–19th century
  57. 57. Overrobe (Uchikake) with Bamboo Gion Nankai (Japanese, 1677–1751)
  58. 58. Surcoat (Jinbaori) 17th century
  59. 59. Text & pictures: Internet Copyright: All the images belong to their authors Presentation: Sanda Foişoreanu www.slideshare.net/michaelasanda Sound: James Galway – Romantic World 2016

Hinweis der Redaktion

  • The mutual fascination with which the Japanese and Europeans regarded each other after their initial contacts in the late sixteenth century was expressed in part by Japanese art objects that incorporated images of Westerners as part of the ornamentation. This inro, which was worn suspended from the waist and used to hold medicines and other small items, is decorated with the images of three Portuguese men, dressed in their distinctive pantaloons and jackets with large, ruffled collars
  • Samurai jinbaori were frequently made from expensive and flamboyant imported textiles like this Chinese silk velvet, which has a reddish pile pattern on a once vivid yellow background. The European-style “pomegranate” design features bilateral symmetry (mirror-imaged along a vertical axis) and a single direction of orientation. Patterns of this type—rare in Japan—frequently appear in European textiles of the sixteenth to seventeenth century. An exquisite Chinese silk damask lines the jinbaori, but its pattern is asymmetrical and features multiple orientations—traits more common in East Asian textiles. Both fabrics demonstrate the versatility of Chinese textile makers and the Japanese elite’s enthusiasm for such imports.
  • Surcoat (Jinbaori)
    17th century

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