This page has paths:

1. 1 2021-05-12T16:07:54-07:00 Curtis Fletcher 3225f3b99ebb95ebd811595627293f68f680673e Images Used in this Exhibit Curtis Fletcher 2 plain 2021-05-17T11:59:07-07:00 Curtis Fletcher 3225f3b99ebb95ebd811595627293f68f680673e
2. 1 2021-05-12T16:08:42-07:00 Curtis Fletcher 3225f3b99ebb95ebd811595627293f68f680673e Images in the Full Collection Curtis Fletcher 6 plain 2021-05-17T11:33:42-07:00 Curtis Fletcher 3225f3b99ebb95ebd811595627293f68f680673e

This page is referenced by:

• 1 2020-04-10T14:48:03-07:00 Bijin: Posters with a Beautiful Woman 37 image_header 2020-05-07T23:02:12-07:00
  Early posters in Japan leaned toward the subject of bijin, or a beautiful woman, because she had a universal appeal. In the Taishō period, women became important consumers and producers of modern fashion and lifestyle. Thus, bijin posters often reflected newness and modern taste—through hairstyles, Western accessories, unconventional kimono designs, or dynamic actions. Simultaneously, the image of bijin provoked nostalgia as a foundation of the beautiful and conventional Japan in a rapidly modernizing society.
  
  See Posters Related to this Topic
  
  Additionally, an image of beauty is one of the established pictorial genres in East Asia. In Japan, ukiyo-e woodblock prints of famous courtesans or “poster girls” of teahouses, as seen in the works of Suzuki Harunobu, for example, popularized the genre. Technically, early bijin posters often involved preparing numerous hand-drawn color plates—as many as thirty or more in some cases—as opposed to contemporaneous posters in the West, which generally required four or five plates.[1] This was, in part, to meet viewers’ expectations of bijin pictures in richly colored kimono and accessories contrasted by flawless complexions and dark hair. Such images were attained only by the mastery of print engineers (gakō) and commissioners’ abundant budgets. The selections here represent the result: posters for large corporations that marked Japan’s industrialization, such as steamship and sugar companies, and the Nippon Sake Brewery’s poster referring to a special event, the Enthronement of the Emperor. (Rika Hiro)
   
• 1 2020-04-28T15:23:28-07:00 Ōsaka Shōsen Kabushiki Kaisha [Goddess on horseback] 8 plain 2020-05-07T15:38:02-07:00 This advertisement designed by Machida Ryūyō for the Japanese shipping company, Ōsaka Shōsen Kabushiki Kaisha, exemplifies one way in which yōga (Western-style painting) artists often honored traditional Japanese aesthetic values, by infusing their works with visual metaphors. The poster was produced during a time of increased internationalization and expansionism, during which Japan aimed to establish itself as a respected and powerful nation with a long-established and culturally rich history. This endeavor is reflected in the figure of the goddess, who is rendered with idealized Eastern features and riding five stallions into the ocean, while wearing an ornate Nara-period (710-794) dress. Her iconography recalls Japan’s cultural past, while the horses may be interpreted as representing the five continents, perhaps together symbolizing Japan as a mighty nation galloping into the global market. Enclosed at the bottom is the information of O.S.K., including its capital and the liners that the company provides. (Sophie Ceniza and Lilith Coryell Jenkins)