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MIA: Japanese and Korean Art (Bot)

@miajapankorea.bsky.social

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Sharing artworks from the Minneapolis Art Institute.'s Japanese and Korean Art department. Not associated with the Minneapolis Art Institute. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 2h

Kikori https://collections.artsmia.org/art/117695/

man in worker's clothing guiding a pallet of large logs down wooden steps in a forest

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 15h

Before a Thunderstorm https://collections.artsmia.org/art/62360/

landscape; 3 plants with red and brown flowers (or seed pods?) bending in wind in foreground; grasses with brown seed pods in background; bird in grey sky
Wind-whipped grasses and a bird precariously aloft in the dark sky evoke the anxiety felt in anticipation of an imminent storm. This print shares an expressionist intensity and the experimental qualities of works by artists of the noncommercial so_saku hanga movement, who carried out all aspects of printmaking themselves. This and other works by Shinsui from his early period are clearly at odds with the general perception of shin hanga as neo-ukiyo-e expressions of the timeless Japanese sensitivity to nature and the seasons.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 17h

Toy Boat https://collections.artsmia.org/art/22771/

Toy Boat

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 20h

Things Seen at a River Village https://collections.artsmia.org/art/117261/

ten total lines, on every other panel section; last two lines written much smaller; dark border at top and bottom edges; fully mounted to jet black board; two small square relief stamps LLC; small rectangular relief stamp URC

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 22h

(Fuchi-gashira box) https://collections.artsmia.org/art/116905/

lidded oval container decorated with vignettes
A matching set of collar (fuchi) and pommel (kashira) sword fittings have been reworked here into a pill box. The layman Kitagawa Sōten (18th century) of Hikone in Omi province made the pair in the late 18th century. Sōten was originally from Kyoto and was first called Hidenori, later using the name Mogarashi (also pronounced Sōheishi). The Sōten school was well-known for employing Chinese motifs on their works that have, like this example, a background of shakudō (copper-gold alloy) with small punched dots (nanako) decorated with copper, silver, and gold high relief inlays (takazōgan). This pair was reworked in the late 19th century into a pill box where the pommel became the lid and the collar the base with a silver capsule inside.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 1d

(Rinsing Bowl with stemmed bottom) https://collections.artsmia.org/art/9734/

eighteen piece sake, porcelain in peony pattern, underglaze blue with overglaze enamels; see following card for list of objects

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 1d

Plate with pumpkins https://collections.artsmia.org/art/122403/

large plate with two purple stylized pumpkins among brilliant, jewel toned green leaves; sinuous vines; yellow background with tiny circles; stylized swirling cloud motif on underside with emerald green background
肥前 Hizen ware, 九谷 Kutani type, 青手古九谷 Aode Kokutani style The humble pumpkin takes center stage on this platter from the Kutani kilns, located in what is now the modern-day prefecture of Ishikawa. The pumpkins’ rough, deep purple rind, bright green leaves, and dark tendrils contrast with the brilliant yellow ground. Ceramics of the Kokutani (literally, “old Kutani”) style, typically large plates like this one, are characterized by bold floral and vegetal designs executed in bright, thickly applied overglaze enamels, generally in only five colors: green, yellow, red, purple, and blue. Kokutani ceramics were produced only briefly, from the 1650s until around 1730, when production stopped inexplicably, making such wares extremely rare.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 1d

Begging Monks Returning {left of a pair} https://collections.artsmia.org/art/105090/

fifteen sketchy figures in a serpentine row, with smiling faces; front figure carries a walking stick; ink and wash

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 1d

Kanagawa: View of the Embankment https://collections.artsmia.org/art/63201/

No. 04 in the series, first version; published by Hōeidō alone.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 2d

Demon Reciting Buddhist Prayers https://collections.artsmia.org/art/117573/

horned red demon with fangs dressed in priest's black robe; demon holds gong and inscribed paper in PL hand, striker in PR; bushy hair, clawed feet

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 2d

(Hanging lantern-shaped flower basket) https://collections.artsmia.org/art/118500/

open sided square lantern-shaped basket: four bamboo posts support woven structure with open sides, wide, round opening at top, decorative knots at centers; crisscross woven base; crossing supports with loop for hanging at top; decorative weaving and knots at corners; short, squat bamboo insert for flowers

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 2d

Scene with Kinshōjo from the Kabuki Play "Kakusenya Kassen" https://collections.artsmia.org/art/89283/

center sheet of a vertical ōban triptych

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 2d

Sumo Wrestler Tagonoura Tsurukichi https://collections.artsmia.org/art/22774/

The wrestler Tagonoura Tsurukichi (1829–1900) was 37 years old when he appeared in this tournament in the third month of 1866. Tsurukichi had come to Edo from the southern island of Kyushu and at that time had been a wrestler for six years. This tournament was the last one in which he fought under the name Tsurukichi; he then changed it to Kazō, which he used until his retirement five years later. Wrestlers, like kabuki actors, would change their name to indicate that they had reached a new point in their professional life.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 2d

Today's Faces of Judgement https://collections.artsmia.org/art/118311/

gallery installation piece; 550 total pieces--porcelain chopstick rests with hexagonal cross-sections and slightly tapered centers: unglazed with face drawn on one end in black marker, clear/white glazed with face in blue underglaze on one end, red glazed with white face on one end, green glazed with white face on one end, gold glazed with black face on one end, black glazed with white face (incised in black glaze) on one end; four boxes of black sand; see Notes for inventory break-down

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 2d

Covered bottle with butterflies, flowers, and vine designs https://collections.artsmia.org/art/122541/

oval bottle with very narrow foot and cap; vertical bands of colored enamel with overlapping decorations of butterflies, flowers, and vine designs; separate cap with bright floral motifs against black enamel
Historically enameling was only used in Japan for architectural fittings and the use for sword fittings, for example, did not come up until the 16th century. Operating a studio and teaching students, the former samurai Kaji Tsunekichi (1803–1883) is credited with initiating the renewed interest in enameling in the mid-19th century. The city of Nagoya became the center of cloisonné-manufacturing and one of the companies there, the Nagoya Cloisonné Company, won a first prize at the Vienna Exhibition of 1873. Namikawa Yasuyuki was one of the foremost artists and he collaborated with the German chemist Gottfried Wagener (1831–1892) to develop new techniques. Namikawa’s characteristic is the intricate wirework and exceptional attention to detail.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 3d

Cloudy Day https://collections.artsmia.org/art/62525/

landscape; figure in blue carrying a bundle on head, accompained by a dog, LRC; mountains covered in red, yellow, green and brown foliage; grey sky

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 3d

Buddhist priest's robe (kesa) https://collections.artsmia.org/art/111857/

rectangular panel of blue silk with metallic gold and silver brocade designs of birds, leaves and scrolling vines; six squares of rose-colored silk with gold brocade designs of deities; purple silk backing
Kesa are outer garments worn by Buddhist priests. Traditionally, they were pieced together in a patchwork from scraps of fabric salvaged from worn-out clothing—often donated by members of the community. In this way, the wearing of kesa recalls the historical Buddha’s renunciation of wealth. Ironically, kesa can be quite opulent—as with this example. This is because they were sometimes made from sumptuous fabrics donated by members of the ruling class or aristocracy. As Buddhist practice became more formalized in the millennia following the death of the Buddha, the arrangement of the patches became standardized and sometimes interpreted to represent an abstracted diagram, or mandala, of the Buddhist cosmos. Sewing the patches of a kesa together serves as an act of meditation as the monk or priest concentrates his attention on the creation of the garment and reverence for the Buddha’s teachings. This kesa is composed of blue silk with metallic threads in the design of birds and vines. Silk brocade squares depicting the Guardians of the Four Directions are placed at each corner. At the center of the kesa, two guardian kings on silk squares flank the center panel –the Buddha of the mandala.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 3d

Chiryū, shuka uma-ichi https://collections.artsmia.org/art/61059/

Chiryū, shuka uma-ichi

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 3d

Plate https://collections.artsmia.org/art/118082/

small dish with painted image of figure guiding boat through channel; tall cliff on either side of stream with green foliage above

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 4d

Five-pronged vajra https://collections.artsmia.org/art/6615/

small, double pointed object with five prongs converging to form each point; center decorated with petal and concentric circle motif
A Vajra (thunderbolt) is a ritual implement used in Esoteric Buddhist ceremonies. Originally a weapon carried by ancient Indian gods, it was adopted into Buddhism as a symbol of the indestructible truth of the Buddha’s teaching. Five-pronged vajras are said to represent the Five Wisdoms of the Five Cosmic Buddhas. This is an unusual example with its prongs positioned closely together and, in fact, attached to the tip of the central prong. This arrangement is said to suggest the nascent enlightened mind.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 4d

"Gathering Mushrooms in Mid-Autumn" https://collections.artsmia.org/art/27395/

vertical ōban triptych

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 4d

Netsuke [Awabi shell] https://collections.artsmia.org/art/30388/

representation of animal shell with spiral and parallel curvilinear carvings on back, seven protruding nodules on underside

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 4d

Vase https://collections.artsmia.org/art/117015/

boat-shaped ceramic vessel with zigzag and scalloped edges at top; incised lines in the sides echo shape of clouds and waves; highlighted in shades of charcoal, grey, and cream; top and interior of vessel is charcoal colored

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 4d

Actor Azuma Tōzō III as the Ghost of Sotokuin https://collections.artsmia.org/art/8207/

The play "Ise Heishi Eiga no koyomi" was performed at the Morita Theater in November, 1782.

MIA: Japanese and Korean Art (Bot) @miajapankorea.bsky.social · 4d

The Kinuta Jewel River in Settsu Province https://collections.artsmia.org/art/22545/

The Kinuta Jewel River in Settsu Province