Samuel C. Morse
	108 Fayerweather Hall
	542-2282
	scmorse@amherst.edu

Arts of Japan

The Course

A survey of the arts of Japan, focusing on the development of the pictorial, sculptural, and architectural  traditions from the fifth century A.D. to the late twentieth century. Topics to be investigated will include Buddhist painting, sculpture and architecture, narrative handscrolls, ink painting and the arts related to the Zen sect; the diverse traditions of the Edo period, as well as woodblock prints, contemporary architecture, photography and fashion design. 

The class will meet Twice a week (T/TH) at 2:00 in Fayerweather 113.  The course is an introductory one which assumes no previous knowledge of Japanese art.  The lectures and assigned readings have been selected to provide a variety of perspectives to help you form your own understanding of the arts of Japan.  Since such a wide range of material is to be covered in only one semester regular class attendance is essential.  The readings should be completed before each class and you should be prepared to participate in class discussions.  There will be study sheets for most lectures and time provided in some classes to permit further discussion of the material. 

This semester there is an exhibition on contemporary Japanese art at the Smith College Museum of Art.  We will take full advantage of that exhibition with guest lectures by three of the artists who work is on exhibition.  

Books 
 
The following texts have been ordered from the Jeffery Amherst Bookshop on South Pleasant Street: 

		Mason, Penelope.  History of Japanese Art.  Englewood Cliffs, N.J.:  Prentice Hall, 1993.
	Varley, H. Paul.  Japanese Culture.  Honolulu: University of Hawai’i Press, 1984.

The articles listed as “COPY” on your syllabus are contained in a packet of readings for the course available at Collective Copies also on South Pleasant Street.  The other readings on the syllabus can be found on reserve in Frost Library.  Most of the works of art that will be covered in the course are included in Genshoku Nihon no bijutsu, a  lavishly illustrated survey of Japanese art written in Japanese but with English plate captions at the end of each volume. Please use these books, which are in the Library, to review the objects covered in lecture. 

In addition, Don Milliken, Curator of Visual Resources at Frost Library, has developed an image bank for the course.  Images of the objects discussed in class will be available there arranged in groups that roughly follow the lecture schedule and will be available on a link with the course site in Courseinfo.

Requirements 
 
There will be three short papers, three short quizes and a final paper. 
 
	1)  	a comparison of two early Buddhist statues due September 28 (20%)

2)		twenty minute quizes on (15%) Oct. 5, Mar. 11, Dec. 7

3)		a comparison of two ink paintings due Nov. 2 (20%)  	

4)	a final paper of 10-12 pages due on Friday, December 17 (45%)

Lecture Schedule

 
1) Sept. 7 (T)  	Introduction: The The Japanese Aesthetic from a Contemporary Perspective
 
			Reading Assignment:
Anezaki, pp. pp. 3-49
Hendry, “The Sacred Power of Wrapping.”
				Takashina, “Beauty in Japan and the West”
Tsuji, “Ornament”

Pre-Buddhist Japan 
		Varley, ch. 1
 
2) Sept. 9 (TH) 	The Beginnings of Japanese Art 
 
			Reading Assignment: 
	  			Kitagawa, "Prehistoric Background"
Kageyama, The Arts of Shinto, pp. 79-94 
		Mason, pp. 13-38
 	  			Watanabe, Shinto Art, pp. 27-84
 
			Suggested Reading/Viewing:
				de Bary, ch. 2
				Shinto: Nature, Gods, and Man in Japan (BL2220 .S4) 

    Sept. 11 (F)	Opening of Confronting Tradition–Contemporary Art from Kyoto
			Smith College Museum of Art, 5:00 pm

Early Buddhist Japan 
		Varley, ch. 2
 		
3) Sept.  14 (T) 	The Introduction of Buddhist Art  to Japan:  Prince ShÇtoku and HÇryã-ji  
 
			Reading Assignment: 
Kurata, Temple, intro and skim entries
Mason, pp. 38-59

Suggested Reading:
de Bary, ch. 3 

4) Sept. 16 (TH) 	State Buddhism and the Nara Capital

	Reading Assignment:
Mason, pp. 59-74
				Moran, "Ashura"
				Sugiyama, Classic Buddhist Sculpture, pp. 37-73; 84-126

Suggested Reading:
de Bary, ch. 5

5) Sept. 21 (T) 	Internationalism in the Eighth Century:   the Silk Road, the ShÇsÇ-in and TÇshÇdai-ji 
 
			Reading Assignment: 
Hayashi, The Silk Road and the ShÇsÇ-in,  pp. 11-33, 85-103
				Mason, pp. 74-80 
	  			Sugiyama, Classic Buddhist Sculpture, pp.  127-157 

The Arts of the  Heian Period: Esoteric Buddhism and the Development of Aristocratic Taste
Varley, chs. 3, 4

6) Sept. 23 (TH)  	The Heian Capital: The Imperial Palace, TÇji and Early Heian Buddhist Art

Reading Assignment:
				Mason, pp. 97-116
				Morse, “Jingoji”
Nishikawa, The Great Age, pp. 27-30, 42-54
 				Paine and Soper, pp. 325-344

Suggested Reading:
	  			de Bary, ch. 7
Ishimoto, Mandala  look at plates
	  			Kitagawa, "Master and Savior"  

7) Sept. 28 (T)  	The Rise of the Aristocratic Tradition: the ByÇdo-in and Chãsonji
 
			Reading Assignment:
				Akiyama, "The Door Paintings" 
  	  			Fukuyama, Heian Buddhist Temples, pp. 46-78; 106-128
				Mason, pp. 116-135
Morris, pp. 47-63 

Suggested Reading:
de Bary, ch. 10

8) Sept. 30 (TH)	The Courtly Aesthetic:  the Illustrated Handscroll of The Tale of Genji, Calligraphy and the Heike nÇgyÇ

Reading Assignment:
				de Bary, pp. 172-176
Mason, pp. 123-141
				Meech-Pekarik, "Disguised Scripts." 
Seidensticker, Tale of Genji, pp. 301-317

Suggested Reading:
				Morris, The Tale of Genji Scrolls (look at plates)
Mostow, “E no Gotoshi”
				Seidensticker, pp.  636-722

9) Oct. 5 (T)		Dynamic Narrative:  Shigisan engi,  Ban dainagon ekotoba, Kibi nittÇ ekotoba and  ChÇju giga

			Reading Assignment: 
  	  			Mills, A Collection of Tales from Uji, pp. 286-291, 319-321
Miya, ChÇju giga, plates and English summary, pp. 1-12
Paine, “Kibi”
Murase, Emaki, pp, 15-28
  			Tanaka, Ban dainagon ekotoba, English pages 1-12 
 
Suggested Reading:
Alpers, “Describe or Narrate”
Shimizu,  "The Shigisan Engi Scrolls"

			First Quiz

Trends in Kamakura Art 
Varley, pp. 91-111
 
10) Oct. 7 (TH) 	The Founding of Military Rule and the Reconstruction of Nara

Reading Assignment:
				Courtly Splendor, pp. 148-159
				Mason, pp. 141-165
				MÇri, Sculpture of the Kamakura Period, pp. 9-70.
				Reischauer, pp. 271-289, pp. 345-7

Suggested Reading:
de Bary, ch. 10
Kamo no ChÇmei, An Account of My Hut, in Keene
Morse, “Style as Ideology”

11) Oct. 14 (TH) 	Images of Heaven and Hell:  Later Kamakura Sculpture and Painting 
 
			Reading Assignment: 
Akiyama, "New Buddhist Sects and Emakimono in the  Kamakura Period."
Kaneko, “Priest Shinran”
Ienaga, Jigoku zÇshi, English pages 1-13 
Mason, pp. 165-174
	  			MÇri, pp. 70-122 

Suggested Reading:
	  			Kaufman, "Nature"
Ruch, “The Other Side”
 
    Oct. 14		Lecture – Yasuki Masako, Kyoto Seika University
				     FAY 113, 4:30 pm

The Muromachi Period and the Introduction of Zen Buddhism 
 		Varley, pp. 105-139

12) Oct. 19 (T)  	The Zen Monastic Institution and Early Ink Painting
 
			Reading Assignment: 
	  			Colcutt, Five Mountains, pp. 1-21
	  			Fontein and Hickman, Zen Painting and  Calligraphy, pp. xiii-liv
Mason, pp. 174-201

Suggested Reading:
de Bary, pp. 226-240, 250-260 

13) Oct. 21 (TH) 	Kitayama and the Three ShÇkoku-ji Masters–Josetsu, Shubun and Sesshã

			Reading Assignment: 
Mason, pp. 202-5
	     			Tanaka, Japanese Ink Painting, pp. 65--105
				Varley, "Ashikaga Yoshimitsu" 

14) Oct. 26 (T) 	Higashiyama  and The Establishment of the Kano School

Reading Assignment:
Gerhart,  “HonchÇ Gashi and Painting Programs”
Kono, “The Organization of the KanÇ School of Painting”
Mason, pp.  205-207, 219-235
				Tanaka, Japanese Ink Painting, pp. 105-129

Suggested Reading:
Shimizu, "Workshop Management" 
Wheelright, “Kano Painters”

The Momoyama Period and the Taste of the Warlords 
 		Varley, ch. 6

15) Oct. 28 (TH)  	Castles, Barbarians and the Taste of  the Warlords
 
			Reading Assignment: 
  	  			Hirai, Feudal Architecture of Japan,   pp. 9-67 
Kosode, pp. 39-49 and entries 1-14
Mason, pp. 211-214
Spectacular Helmets, pp. 14-32 and skim entries
	  			Tani, Namban Art, pp. 13-24 and scan entries 
Wheelright, “A Visualization”

Suggested Reading:
Meech-Pekarik, Momoyama, pp. xiii-xviii; 95-113
Vlam, “Kings”

16) Nov. 2 (T)	The Social Life of Objects:  Japanese Screen  Painting
				
Reading Assignment:
Appuradai, "Commodity"
Mason, pp. 235-238
Okada, Genre Screens, skim entries
Takeuchi, “The Golden Link.”

Suggested Reading:
Murase, Screen Painting, introduction and skim entries

17) Nov. 4  (TH) 	Temple Gardens, Tea Gardens and The Development of the Tea Ceremony
	 
			Reading Assignment:
Cort, “Looking at White Dew.” 
Hayakawa, The Garden Art of Japan, pp. 58-99 
  			Mason, pp. 209-210, 238-242
	  			Varley, "The Culture of Tea from Its Origins to Sen no Rikyu" 
Yanagi, “Kizaemon”
	  			
Suggested Reading/Viewing:
	  			Hashimoto, Architecture in the Shoin Style, pp. 39-63
	  			Itoh, Japanese Gardens
				Tegashihara, Hiroshi.  Rikyu (PL834.O4.R51)
Yanagi, "The Way of Tea"

			Second Quiz

   Nov. 4		Lecture – Louise Cort, Freer and Sackler Galleries, Smithsonian Institution FAY 113, 4:30 pm

The Arts of the Edo Period 
 		Varley, ch.  7
 
18) Nov. 9 (T)  	Trends in Early Edo Architecture: Katsura  Villa, NijÇ Castle and TÇshÇgã Shrine 
 
			Reading Assignment:
Hashimoto, Architecture in the Shoin  Style, pp. 117-134 
Mason, pp. 215-217, 243-249
	  			Naito, Katsura:  A Princely Retreat, pp. 85-112 	

Suggested Reading:
Okawa, Edo Architecture

   Nov. 9		Lecture – Akiyama YÇ, Kyoto Municipal University of Arts
			FAY 113, 4:30 pm

19) Nov. 11 (TH)  	Rimpa and the Revival of Yamato-e Painting 
 
			Reading Assignment: 
	  			Glum, “Layers of Meaning.”
Mason, pp. 256-278
	  			Sano, Exquisite Visions, pp. 20-41
Yamane, “KÇrin”		

Suggested Reading:
Grilli, The Art of the Japanese Screen, pp. 92-120

20) Nov. 16 (T) 	Variety in Edo Painting:  the "Realists" and  the "Eccentrics"	 

			Reading Assignment:
	  			Hickman and Sato, ItÇ Jakuchã, ch 1 & 2  
Mason, pp. 279-283
				Meadows, "Matsumura Goshun"
	  			Sasaki, OkyÇ, pp. 23-61 

Suggested Reading:
Screech, The Shogun’s Painted Culture, pp. 167-207

21) Nov. 18 (TH) 	Literati Painting–Early Masters, Taiga, Buson and Gyokudo

 			Reading Assignment: 
	  			Cahill, The Nanga School, pp. 15--85
	  			Mason, pp. 285-304

Suggested Reading:
Addiss, Tall Mountains, pp. 86-137
French, Buson, ch. 1-3

Japanese Prints:  The Fleeting Floating World 

Hibbett, The Floating World in Japanese Fiction, pp. 3-35; 65-82; 154-204
Varley, ch. 8

22) Nov. 30 (T) 	Genre Painting and the Rise of Ukiyoe

Reading Assignment:
Kobyashi, “Mitate.”
Lane, pp. 97-111
Mason, pp. 304-308
Volker, Ukiyoe Quartet
 
Suggested Reading:
Hillier, Harunobu, pp. 7-21
Hillier, Japanese Colour Prints, pp. 5-27
Lillehoj, Woman in the Eyes of Man, p. 1-11

22) Dec. 2 (TH)	Tsutaya JãsaburÇ and His World

Reading Assignment: 
Clark, “Nakasu”
				Lane, pp.122-140 
Kobyashi, Utamaro’s Portraiture.
Mason, pp. 308-313

Suggested Reading/Viewing:
Clark, “Utamaro’s Portraiture.”
Mizoguchi, Kenji.  Utamaro and his Five Women 
(PN1997 .U77) 
Naruzaki, Sharaku, pp.  33-44  

23) Dec. 7 (T) 	Later Prints: The Landscape Artists and the “Decadents”  
 
			Reading Assignment: 
	  			Lane, pp. 156-184; 185-193
Mason, pp. 313-318
	  			Naruzaki, Famous Views, pp. 9-26, and scan plates 
	  			Naruzaki, The 53 Stations, scan plates 

Suggested Reading:
Addiss, The TokaidÇ
Clark, 100 Views of Mount Fuji
				Izzard, pp. 5-40

Third quiz

Japan and the West
 		Varley, chs. 9, 10, 11

24) Dec. 9 (TH)  	The Meiji Period:  Japan's Response to  the West 
 
			Reading Assignment:

				Conant, “Introduction,” “Tradition in Transition,” “The Tokyo School of Fine Arts and the Development of Nihonga, 1889-1906,” in Nihonga
				Guth, “Japan 1868-1945"
	  			Mason, pp. 278-279, 357-387

Suggested Reading:
				Bakeland, Imperial Japan, intro. and skim entries
Meech-Pekarik, World of the Meiji Print,  pp. 111-137
Rosenfield, “Nihonga”
Rosenfield, "Western Style Painting"

   Dec. 10 (F)		Print Viewing Session at the Mead Art Museum. 1:00-3:00

25) Dec. 14 (T)  	Trends in Contemporary Japanese Art--Living National Treasures, Poured Concrete Buildings, Pleated Clothes, Photos of Theaters and “Primal” Sculptures 

Reading Assignment:
Colours of Light, pp. 11-22
Holborn, Issey Miyake, text and look at plates
Kelleinn, Time Exposed, pp. 9-16 and look at plates
Munroe, “Circle: Modernism and Tradition”
Ogawa, The Enduring Crafts, pp. ix-xxi, 2-35 and 44–79
Primal Spirit, pp. 9-14; and skim plates

Suggested Reading/Viewing:
Michael Blackwood, Tadao AndÇ ( NA1559.A5 A35)
Coaldrake, Architecture and Authority, pp. 251-277
Skov, “What is So Japanese”

Bibliography 

 
Addiss, Stephen.  Tall Mountains and Flowing Waters. Honolulu: University of Hawaii Press, 1987.

-----.  Tokaido:  Adventures on the Road in Old Japan. Lawrence: 	Spenser Museum of Art, 1980.

Akiyama Terukazu. Japanese Painting.  Lausanne:  Skira, 1961. 

-----.  "New Buddhist Sects and Emakimono in the Kamakura  Period."  Acta Asiatica, no. 20 (1971), pp. 58-76. COPY

-----.  "The Door Paintings in the Phoenix Hall of the Byodo-in as Yamato-e."  Artibus Asiae LIII 1/2 (1993), pp. 144-167.  COPY

Alpers, Svetlana.  "Describe or Narrate."  New Literary History, vol. 8, no. 1 (Autumn 1976), pp. 15-41.  XEROX

Anesaki, Masaharu.  Art, Life and Nature in Japan.  Boston: Marshall Jones, 1933.

Appadurai, Arjun.  "Introduction:  Commodoties and the Politicsof Value."  In Arjun Appadurai, ed.  The Social Life of Things.  Cambridge:  Cambridge University Press, 1986, pp. 3-63.

Cahill, James.  Scholar Painters of Japan:  The Nanga School. NewYork:  Asia House, 1972. 

Clark, Timothy.  100 Views of Mount Fuji.  London: British Museum, 2001.  

-----.  "The Rise and Fall of the Island of Nakasu." Archives of Asian Art, XLV (1992), pp. 72-91.  COPY

Coaldrake, William.  Architecture and Authority in Japan.  London and New York: Routledge, 1996.

Collcutt, Martin.  Five Mountains.  Cambridge:  Harvard Univ. Press, 1981. 

The Colours of Light -- Tadao Ando Architecture.  London : Phaidon, 1996.

Conant, Ellen P. and Steven D. Owyoung, J. Thomas Rimer.  Nihonga--Transcending the Past: Japanese Style Painting, 1868-1968.   New York: Weatherhill, 1995.

Cort, Louise.  “Looking at white Dew.”  The Studio Potter, vol. 10, no. 2 (June, 1982), pp. 45-51. COPY

de Bary, Wm. Theodore, ed.  Sources of Japanese Tradition. vol.1.  New York:  Columbia University Press, 1964.

Elison, George and Bardwell Smith, eds.  Warlords, Artists, and Commoners.  Honolulu: Univ. of Hawaii Press, 1981.

Fontein, Jan and Money Hickman.  Zen Painting and Calligraphy. New York:  New York Graphic Society, 1970. 

French, Cal.  Buson and His Followers.  Ann Arbor: University of Michigan Museum of Art, 1974.

-----.  Through Closed Doors--Western Influence on Japanese Art.  Rochester, Michigan:  Meadowbrook Art Gallery, 1977.

Fukuyama, Toshio.  Heian Temples:  The Byodo-in and Chuson-ji. Tokyo:  Weatherhill, 1976. 

Gerhart, Karen. “HonchÇ Gashi and Painting Programs,” Ars Orientalis, no. 27 (1997): 67-97.  COPY

Glum, Peter.  “Layers of Meaning and Lyric Echoes in a Japanese Screen Painting of the SÇtatsu School.”  Oriental Art, n.s. no. 1 (1980), pp. 72-81. COPY

Guth, Christine.  “Japan 1868-1945: Art, Architecture and National Identity.”  Art Journal, vol. 55, no. 3 (1996), pp. 16-20.  COPY

Hashimoto, Fumio.  Architecture in the Shoin Style.  Tokyo: Kodansha International, 1981.

Hayakawa, Masao.  The Garden Art of Japan.  Tokyo: Weatherhill, 1973.

Hayashi, Ryoichi.  The Silk Road and the Shoso-in.  Tokyo:  Weatherhill, 1973.

Hendry, Joy.  “The Sacred Power of Wrapping.”  In Kornicki, Peter and Ian McMullin.  Religion in Japan–Arrows to Heaven and Earth.  Cambridge: Cambridge University Press, 1996.  pp. 287-303.

Hickman, Money and Yasuhiro Sato.  Ito Jakuchu.  New York:  Asia Society, 1989.

Hillier, Jack.  Harunobu.  Philadelphia:   Phildelphia Museum of Art, 1972.

-----.  Japanese Colour Prints.  Oxford:  Oxford Univ. Press, 1966.

-----.  The Japanese Print.  Rutland: Tuttle, 1975.

Hirai, Kiyoshi.  Feudal Architecture of Japan.  Tokyo:   Weatherhill, 1973.

Holborn, Mark.  Issey Miyake.  Koln: Tsschen, 1995.

Ienaga Saburo, ed.  Jigoku zoshi, Gaki zoshi, Yamai zoshi. Nihon emakimono zenshu, vol. 7.  Tokyo:  Kadokawa shoten, 1976.

Ishimoto, Yasuhiro.  Eros and Cosmos in Mandala.  Tokyo:  The Seibu Museum of Art, 1978.

Itoh, Teiji.  Japanese Gardens.  Tokyo:  Kodansha International, 1984.

Izzard, Sebastian.  Kunisada’s World.  New York: Japan Society, 1993.

Kageyama, Haruki.  The Arts of Shinto.  New york:  Japan Society, 1975.

Kaneko Hiroaki.  "The Priest Shinran's View of Religion and his Portraits."  Aesthetics. No. 4 (March, 1990), pp. 47-63. COPY

Kellein, Thomas.  Time Exposed.  London: Thames and Hudson, 1995.

Kaufman, Laura.  "Nature, Courtly Imagery and Sacred Meaning in the Ippen Hijiri-e."  In Sanford, James, et. al. eds.  Flowing Traces.  Princeton:  Princeton University Press, 1992,  pp. 47-75.

Kawahara, Masahiko.  The Ceramic Art of Kenzan.  New York:  Kodansha International, 1985.

Kitagawa, Joseph.  “Master and Savior.”  In On Understanding Japanese Religion.  Princeton, N.J.:  Princeton University Press, 1986, pp. 182-202.

-----.  “Prehistoric Background.”  In On Understanding Japanese Religion.  Princeton, N.J.:  Princeton University Press, 1986, pp.3-40.  

Kobayashi Tadashi, “Mitate in the Art of the Ukiyo-e Artist Suzuki Harunobu.”  In Donald Jenkins, ed., The Floating World Revisited.  Portland: Portland Museum of Art, 1993, pp. 85-91.

------.  Kobayashi Tadashi.  Utamaro’s Portraits from the Floating World.  New York: Kodansha International, 1993.

Kono, Motoaki. “The Organization of the KanÇ School of Painting,” Fenway Court Isabella Stewart Gardner Museum, 1992, pp.  19-29.

Kosode--When Art Became Fashion 16th-19th Century Textiles from the Nomura Collection.  New York: Japan Society, 1984.

Kurata, Bunsaku.  HÇryã-ji:  Temple of the Exalted Law.  New York:  Japan Society, 1981.

Kuroda TaizÇ, et al., eds.  Worlds Seen and Imagined--Japanese Screen Painting from the Idemitsu Museum of Arts.  New York: Asia Society, 1995.

Lane, Richard. Images of the Floating World.  Secaucus, N.J.Chartwell, 1978.

Lillehoj, Elizabeth.  Woman in the Eyes of Man: Images of Women in Japanese Art.  Chicago: De Paul University, 1995.

Meadows, Anne.  "The Paintings of Matsumura Goshun and His Change in Style from Nanga to Shaseiga."  Oriental Art n.s., vol. 23, no. 2 (1987), pp. 165-173. COPY

Meech-Pekarik, Julia.  "Disguised Scripts and Hidden Poems in a Illustrated Heian Sutra:  Ashide-e and Uta-e in the Heike Nogyo."  Archives of Asian Art, no. 33 (1977-8), pp.  52-78.  COPY

-----, ed.  Momoyama.  New York:  Metropolitan Museum of Art, 	1975.

-----.  The World of the Meiji Print.  New York:  Weatherhill, 1986.

Mills, D.E. trans.  A Collection of Tales from Uji. Cambridge: Cambridge University Press, 1970. 

Miya Tsugio.  ChÇju giga.  Nihon emakimono zenshu, vol. 4.  Tokyo: Kadokawa, 1976.

Moran, Sherwood F.  "Ashura, a Dry Lacquer Statue of the Nara Period."  Artibus Asiae, vol. XXVII (1966), pp. 91-133.  COPY 

MÇri, Hisashi.  Sculpture of the Kamakura Period.  Tokyo:  Weatherhill, 1978. 

Morris, Ivan.  The Genji Scrolls.  Tokyo: Kodansha International, 1971.

-----.  The World of the Shining Prince.  New York: Knoph, 1964.

Morse, Samuel C.  "The Jingo-ji Yakushi and the Rise of the Plain-wood Style."  Archives of Asian Art, XL (1987), pp. 36-55.  COPY

-----"Style As Ideology--Realism and Kamakura Sculpture."  Realism in Oriental Art--Proceedings of the International Symposium on Art Historical Studies 12, (1994). XEROX

Mostow, Joshua.  “E no Gotoshi: the picture simile and the feminine re-guard in Japanese illustrated romances.”   Word and Image, vol. 11, no. 1 (Jan.-Mar. 1995), pp. 37-54.  XEROX

Munroe, Alexandra.  Japanese Art After 1945–Scream Against the Sky.  New York: Abrams, 1994.

Murase, Miyeko.  Emaki--Narrative Scrolls from Japan.  New York: Asia Society, 1983.

------.  Japanese Screen Painting.  New York:  Braziller, 1989.

Naruzaki, Muneshige.  Hiroshige--Famous Views.  Tokyo: Kodansha International, 1968. 

-----.  Hiroshige--The 53 Stages of the Tokaido.  Tokyo: Kodansha International, 1969. 

-----.  Sharaku:  The Enigmatic Ukiyoe Master. Tokyo: Kodansha,  1983. 

Nishikawa Kyotaro.  The Great Age of Japanese Buddhist Sculpture. Fort Worth, Texas:  Kimball Art Museum, 1982. 

Ogawa Masataka.  The Enduring Crafts of Japan.  Tokyo: Weatherhill, 1968.

Okada JÇ.  Genre Screens from the Suntory Museum.  New York:  Japan Society, 1975.

Okamoto, Yoshitomo.  The Namban Art of Japan.  Tokyo:   Weatherhill, 1973.
Okawa Naomi.  Edo  Architecture:  Katsura and Nikko.  New York: Weatherhill, 1975.

Paine, Robert Treat.  "The Scroll of Kibi's Adventure in China."  Bulletin of the Museum of Fine Arts, vol 31, no. 2 (Feb. 1933) pp. 2-12  XEROX

A Primal Spirit.  Los Angeles: Los Angeles County Museum of Art, 1990.

Reischauer, Edwin O.  Translations from Early Japanese Literature.  Cambridge:  Harvard Univ. Press, 1951. 

Rosenfield, John M.  “Nihonga and its Resistance to “the Scorching Drought of Modern Vulgarity.”  In Nicole Coolidge Rousmaniere, ed.  Births and Rebirths in Japan.  Leiden: Hotei, 2001, pp. 163-197.

-----.  "Western Style Painting in the Early Meiji Period," in Donald Shively, ed. Tradition and Modernization in Japanese Culture.  Stanford:  Stanford University Press, 1974.  pp. 181-219.

Ruch, Barbara.  "The Other Side of Culture in Medieval Japan."In Kozo Yamamura, ed.  The Cambridge History of Japan, vol. 3, Medieval Japan.  Cambridge:  Cambridge University Press, 1990, pp. 500-543.

Sano, Bunichiro and Howard Link.  Exquisite Visions.  Honolulu:  Honolulu Academy of Arts, 1980. 

Sasaki, Johei.  Okyo and the Maruyama Shijo School of Japanese Painting.  St. Louis:  The St. Louis Art Museum, 1980. 

Schaap, Robert.  Heroes and Ghosts: Japanese Prints by Kuniyoshi.  Leiden: Hotei, 1998.

Screech, Timon.  “The Meaning of Western Perspective in Edo popular Culture.”  Archives of Asian Art, no. 47 (1994), pp. 58-69.  COPY

-----.  The Shogun’s Painted Culture.  London: Reaktion Books, 2000.

Seidensticker, Edward.  Tale of Genji.  New York: Knopf, 1976.

Shimizu, Yoshiaki.  "The Shigisan Engi Scrolls, ca. 1175,"    Studies in the History of Art, no. 16 (1985), pp. 115-129.  COPY

-----.  "Workshop Management of the Early Kano Painters, ca. A.D.1530-1600."   Archives of Asian Art, no. 34 (1981), pp.32-47. COPY 
Skov, Lise. “Fashion Trends, Japonisme and Postmodernism, or ‘What is so Japanese About Comme Des Garçons?’” in John Whittier Treat, ed., Contemporary Japan and Popular Culture, Honolulu: University of Hawaii Press, 1996: 137-168.

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