Chikubushima: Deploying the Sacred Arts in Momoyama Japan

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9780295983271: Chikubushima: Deploying the Sacred Arts in Momoyama Japan

Book by Watsky Andrew M

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"Chikubushima addresses, in refreshingly original ways, the central problems of how Momoyama art is understood and interpreted and, in so doing, raises more global issues for the discipline of art history in general. This is a superb study executed with style and verve."--Mimi Hall Yiengpruksawan, Yale University "Chikubushima significantly enhances our understanding of a major sixteenth-century monument and of the importance its Toyotomi patrons attributed to 'laying claim to the sacred realm.' It offers a richly textured and evocative picture of the leading personalities, places, and cultural developments of a pivotal era in the history of modern Japan."--Christine Guth, author of The Art of Edo Japan

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Chikubushima, a sacred island north of the ancient capital of Kyoto, attracted the attention of Japan's rulers in the Momoyama period (1568-1615) and became a repository of their art, including a lavishly decorated building dedicated to the worship of Benzaiten. In this meticulous and lucid study, Andrew Watsky keenly illustrates how private belief and political ambition influenced artistic production at the intersection of institutional Buddhism and Shinto during this tumultuous period of rapid and radical political, social, and aesthetic changes. He offers substantial conclusions not only about this specific site, but also, more broadly, about the nature of art production in Japan and how perceptions of the sacred shaped the concerns and actions of the secular rulers.The patrons of the island included the dominant political figures of the time: the late sixteenth-century ruler Toyotomi Hideyoshi (1537-1598) who supported numerous projects at the apogee of his power and his heir Hideyori (1592-1615), as well as their rival and eventual successor to national hegemony, Tokugawa Ieyasu (1543-1616). After Hideyoshi's death, the Toyotomi clan struggled to retain their power and sought new opportunities to position themselves as chief conduits of divine protection and beneficence for the realm. They enacted and signified this role by zealous, indefatigable sponsorship of sacred architecture and its ornament, icons, and rituals.In the early seventeenth century, the Toyotomi clan sponsored a major refurbishing of the Benzaiten Hall on Chikubushima, transporting a highly ornamented structure from Kyoto to be installed as its core. Enveloped in polychrome paintings by the Kano workshop (the leading painting studio of the period), black-and-gold lacquer, gilt metalwork, and pictorial relief wood carvings, this core is the most complete ensemble of ornament and architecture surviving from the Momoyama period. Watsky has had unique access to the island, and many of the images included here have not previously been published. Andrew M. Watsky is associate professor of art history at Vassar College in Poughkeepsie, New York.

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Descripción University of Washington Press, United States, 2004. Hardback. Estado de conservación: New. 254 x 183 mm. Language: English . Brand New Book. Winner of the 2006 Shimada Prize from the Smithsonian Institution, Washington, D.C., and the Metropolitan Center for Far Eastern Art Studies, Kyoto, Japan Winner of the 2006 John Whitney Hall Book Prize from the Association for Asian Studies Chikubushima, a sacred island north of the ancient capital of Kyoto, attracted the attention of Japan s rulers in the Momoyama period (1568-1615) and became a repository of their art, including a lavishly decorated building dedicated to the worship of Benzaiten. In this meticulous and lucid study, Andrew Watsky keenly illustrates how private belief and political ambition influenced artistic production at the intersection of institutional Buddhism and Shinto during this tumultuous period of rapid and radical political, social, and aesthetic changes. He offers substantial conclusions not only about this specific site, but also, more broadly, about the nature of art production in Japan and how perceptions of the sacred shaped the concerns and actions of the secular rulers.The patrons of the island included the dominant political figures of the time: the late sixteenth-century ruler Toyotomi Hideyoshi (1537-1598) who supported numerous projects at the apogee of his power and his heir Hideyori (1593-1615), as well as their rival and eventual successor to national hegemony, Tokugawa Ieyasu (1542-1616). After Hideyoshi s death, the Toyotomi clan struggled to retain their power and sought new opportunities to position themselves as chief conduits of divine protection and beneficence for the realm. They enacted and signified this role by zealous, indefatigable sponsorship of sacred architecture and its ornament, icons, and rituals. In the early seventeenth century, the Toyotomi clan sponsored a major refurbishing of the Benzaiten Hall on Chikubushima, transporting a highly ornamented structure from Kyoto to be installed as its core. Enveloped in polychrome paintings by the Kano workshop (the leading painting studio of the period), black-and-gold lacquer, gilt metalwork, and pictorial relief wood carvings, this core is the most complete ensemble of ornament and architecture surviving from the Momoyama period.Watsky has had unique access to the island, and many of the images included here have not previously been published. Nº de ref. de la librería AAJ9780295983271

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Descripción University of Washington Press, United States, 2004. Hardback. Estado de conservación: New. 254 x 183 mm. Language: English . Brand New Book. Winner of the 2006 Shimada Prize from the Smithsonian Institution, Washington, D.C., and the Metropolitan Center for Far Eastern Art Studies, Kyoto, Japan Winner of the 2006 John Whitney Hall Book Prize from the Association for Asian Studies Chikubushima, a sacred island north of the ancient capital of Kyoto, attracted the attention of Japan s rulers in the Momoyama period (1568-1615) and became a repository of their art, including a lavishly decorated building dedicated to the worship of Benzaiten. In this meticulous and lucid study, Andrew Watsky keenly illustrates how private belief and political ambition influenced artistic production at the intersection of institutional Buddhism and Shinto during this tumultuous period of rapid and radical political, social, and aesthetic changes. He offers substantial conclusions not only about this specific site, but also, more broadly, about the nature of art production in Japan and how perceptions of the sacred shaped the concerns and actions of the secular rulers.The patrons of the island included the dominant political figures of the time: the late sixteenth-century ruler Toyotomi Hideyoshi (1537-1598) who supported numerous projects at the apogee of his power and his heir Hideyori (1593-1615), as well as their rival and eventual successor to national hegemony, Tokugawa Ieyasu (1542-1616). After Hideyoshi s death, the Toyotomi clan struggled to retain their power and sought new opportunities to position themselves as chief conduits of divine protection and beneficence for the realm. They enacted and signified this role by zealous, indefatigable sponsorship of sacred architecture and its ornament, icons, and rituals. In the early seventeenth century, the Toyotomi clan sponsored a major refurbishing of the Benzaiten Hall on Chikubushima, transporting a highly ornamented structure from Kyoto to be installed as its core. Enveloped in polychrome paintings by the Kano workshop (the leading painting studio of the period), black-and-gold lacquer, gilt metalwork, and pictorial relief wood carvings, this core is the most complete ensemble of ornament and architecture surviving from the Momoyama period.Watsky has had unique access to the island, and many of the images included here have not previously been published. Nº de ref. de la librería AAJ9780295983271

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Descripción University of Washington Press. Hardback. Estado de conservación: new. BRAND NEW, Chikubushima: Deploying the Sacred Arts in Momoyama Japan, Andrew Mark Watsky, Chikubushima, a sacred island north of the ancient capital of Kyoto, attracted the attention of Japan's rulers in the Momoyama period (1568-1615) and became a repository of their art, including a lavishly decorated building dedicated to the worship of Benzaiten. In this meticulous and lucid study, Andrew Watsky keenly illustrates how private belief and political ambition influenced artistic production at the intersection of institutional Buddhism and Shinto during this tumultuous period of rapid and radical political, social, and aesthetic changes. He offers substantial conclusions not only about this specific site, but also, more broadly, about the nature of art production in Japan and how perceptions of the sacred shaped the concerns and actions of the secular rulers.The patrons of the island included the dominant political figures of the time: the late sixteenth-century ruler Toyotomi Hideyoshi (1537-1598) who supported numerous projects at the apogee of his power and his heir Hideyori (1592-1615), as well as their rival and eventual successor to national hegemony, Tokugawa Ieyasu (1543-1616). After Hideyoshi's death, the Toyotomi clan struggled to retain their power and sought new opportunities to position themselves as chief conduits of divine protection and beneficence for the realm. They enacted and signified this role by zealous, indefatigable sponsorship of sacred architecture and its ornament, icons, and rituals.In the early seventeenth century, the Toyotomi clan sponsored a major refurbishing of the Benzaiten Hall on Chikubushima, transporting a highly ornamented structure from Kyoto to be installed as its core. Enveloped in polychrome paintings by the Kano workshop (the leading painting studio of the period), black-and-gold lacquer, gilt metalwork, and pictorial relief wood carvings, this core is the most complete ensemble of ornament and architecture surviving from the Momoyama period. Watsky has had unique access to the island, and many of the images included here have not previously been published. Andrew M. Watsky is associate professor of art history at Vassar College in Poughkeepsie, New York. Nº de ref. de la librería B9780295983271

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Descripción University of Washington Press, 2003. Hardcover. Estado de conservación: New. Nº de ref. de la librería 0295983272

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