Iconology of Fuji Painting

Japanese Psyche in Perspective of Animism, Shamanism and Mountain Worship

Nonfiction, History, Asian, Japan
Cover of the book Iconology of Fuji Painting by Yoshihiko Maeno, BookBaby
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Author: Yoshihiko Maeno ISBN: 9781483506821
Publisher: BookBaby Publication: September 20, 2013
Imprint: Language: English
Author: Yoshihiko Maeno
ISBN: 9781483506821
Publisher: BookBaby
Publication: September 20, 2013
Imprint:
Language: English
The first scientific-iconological survey ever on the most traditional and most topicalized genre in Japanese arts, Fuji Painting, from its origin in antiquity in the 9th century, through the Middle Ages (Sansui-Painting in especial), to its apex in Edo Ukiyoe Painting (Hiroshige and Hokusai). It facilitates you to acquire a brilliant and concise perspective not only on the Japanese art history but above all on the Japanese psyche in most impressive features. The author’s style is sufficient both for specialists and for the friends of Japanese culture in general. As to the methodical peculiarities it is to be noted that the author’s iconological point of view, based upon its main stream from Warburg and Gombrich is quite new and innovative to the study of Japanese art history. The combination of ‘icon’, i.e. visual representations, and ‘logos’, i.e. historical documents, is quite apt especially for this particular genre of Fuji Painting, for it formed the rich tradition of kaleidoscopic-manifold arts on the one hand, and the deep strata of Japanese psyche expressing itself in animism, shamanism, which has been synthesized in the mountain worship of Fuji.
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
The first scientific-iconological survey ever on the most traditional and most topicalized genre in Japanese arts, Fuji Painting, from its origin in antiquity in the 9th century, through the Middle Ages (Sansui-Painting in especial), to its apex in Edo Ukiyoe Painting (Hiroshige and Hokusai). It facilitates you to acquire a brilliant and concise perspective not only on the Japanese art history but above all on the Japanese psyche in most impressive features. The author’s style is sufficient both for specialists and for the friends of Japanese culture in general. As to the methodical peculiarities it is to be noted that the author’s iconological point of view, based upon its main stream from Warburg and Gombrich is quite new and innovative to the study of Japanese art history. The combination of ‘icon’, i.e. visual representations, and ‘logos’, i.e. historical documents, is quite apt especially for this particular genre of Fuji Painting, for it formed the rich tradition of kaleidoscopic-manifold arts on the one hand, and the deep strata of Japanese psyche expressing itself in animism, shamanism, which has been synthesized in the mountain worship of Fuji.

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