Foreword by keyes roger (2 Ergebnisse)
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Verlag: White Lion Publishers, 1973
- Hardcover
Anbieter: HALCYON BOOKS, LONDON, Vereinigtes KönigreichHALCYON BOOKS
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In den WarenkorbHardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Pages clean and bright, no markings. Dust jacket unclipped with light edgewear. Complete with numerous illustrations, maps, and plans. NEW EU 3 EURO CHARGE FOR IMPORTS IS INCLUDED IN OUR SHIPPING PRICE. ALL ITEMS ARE DISPATCHED FROM THE UK, ALL OVERSEAS ORDER…S SENT BY TRACKABLE AIR MAIL. IF YOU ARE LOCATED OUTSIDE THE UK PLEASE ASK US FOR A POSTAGE QUOTE FOR MULTI VOLUME SETS BEFORE ORDERING.
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- Hardcover
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Anbieter: Jorge Welsh Books, Lisboa, PortugalJorge Welsh Books
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Hardcover. Zustand: Good. Dust Jacket Included. 1st Edition. English text.; Hardcover (cloth in slipcase); 25.5 x 35 cm; 2.4 Kg.; 389 pages with mainly black and white illustrations throughout and a few in colour.; LIMITED EDITION OF 1000 COPIES OF WHICH THIS IS NUMBER 445.; Used with signs of wear on the exterior and interior.…The slipcase shows wear marks, edge wear, scuffs and scratches; bumped edges; tear at the top right side; small chip near the bottom of the spine; some peeling of the laminated layer on the top of the spine.; and previous owner pen written name on the top right side. The hardcover cloth shows signs of wear, namely a wear mark near the top left side of the front cover. Interior with signs of wear, namely: the hinge is slightly loose but the binding remains firm; signed by author with dedication to previous owner on title page. Remaining interior with minor signs of wear. Good condition overall.; "This is the first book in any language devoted to those miracles of grace and ingenuity, the hashira-e, or Japanese pillar prints. The pillar print is an improbable shape, half a person's height, yet narrower than the palm of a hand. No culture has developed a print format that looks, to a western eye, so extremely odd and exaggerated, and none of the eccentric European formats ever enjoyed as great and lasting popularity as the Japanese pillar print. There is a tradition in Japan of mounting pictures as long hanging scrolls and displaying them in special alcoves. There is another Japanese tradition of hanging long decorated strips of wood, bamboo, textile, ceramic or paper on hashira buildings, free standing columns or support pillars partially exposed along interior walls. So it was natural and even inevitable perhaps, that woodblock prints would eventually be designed and used as pillar coverings. Yet this idea did not occur to anyone during the first half century of ukiyo-e. In fact, as Jacob Pins shows, the first long narrow prints appeared by accident. Pillar prints were discovered by accident, but htey flourished because they satisfied a hunger for the incomplete, a need for the imagination to dance with the printed images. Most of the books on Japanese woodblock prints provide beautiful illustrations that are an insight into the culture that lies outside their boundaries. But ukiyo-e has been a strangely odd and narrow field of study because many of the specialists who have written about Japanese prints have been sadly limited in their outlook and interests. Jacob Pins, the author of this book, is no narrow expert, although he has chosen to write a study which is strictly limited to a group of very narrow prints. A collector, a fine woodblock artist in his own right, a passionate enthusiast, a lover of his subject, an amateur in the fine, old sense, Mr. Pins was attracted to pillar prints by their beauty, their boundless ingenuity, their inexhaustible interest, their grace, and by great respect for the fellow artists who designed them. This respect broadened into curiosity, then pursuit, and finally into determination to compile an illustrated handbook of the scattered and neglected pillar prints." excerpt from the foreword by Roger Keyes. Signed by Author(s).
