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	<title>The Japan Times &#187; Rhiannon Paget</title>
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		<title>Seeing the wood for Enku&#8217;s Buddhas</title>
		<link>http://www.japantimes.co.jp/culture/2013/01/31/arts/seeing-the-wood-for-enkus-buddhas/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=seeing-the-wood-for-enkus-buddhas</link>
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		<pubDate>Wed, 30 Jan 2013 16:04:49 +0000</pubDate>
		<dc:creator>Rhiannon Paget</dc:creator>
				<category><![CDATA[Buddha]]></category>
		<category><![CDATA[Buddhist]]></category>
		<category><![CDATA[Enku]]></category>
		<category><![CDATA[sculpture]]></category>
		<category><![CDATA[Tokyo National Museum]]></category>

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		<description><![CDATA[While a golden age for secular arts, Japan's Edo Period (1603-1867) is broadly dismissed by art historians as a period of stagnation for Buddhist sculpture. ]]></description>
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		<title>Harnessing the spirit of Kuniyoshi</title>
		<link>http://www.japantimes.co.jp/culture/2012/12/20/arts/harnessing-the-spirit-of-kuniyoshi/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=harnessing-the-spirit-of-kuniyoshi</link>
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		<pubDate>Thu, 20 Dec 2012 00:00:17 +0000</pubDate>
		<dc:creator>Rhiannon Paget</dc:creator>
		
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		<description><![CDATA[Utagawa Kuniyoshi (1798-1861) belongs to a category of ukiyo-e print artists that have long polarized art historians and connoisseurs for their jarring colors and compositions, cynical depictions of sex and violence, and use of Western pictorial techniques. These so-called &#8220;Decadents&#8221; were seen to represent the deterioration of Edo Period (1603-1867) bourgeois society as well as [...]]]></description>
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		<title>The lacquered layers of master Shibata Zeshin</title>
		<link>http://www.japantimes.co.jp/culture/2012/11/22/arts/the-lacquered-layers-of-master-shibata-zeshin/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-lacquered-layers-of-master-shibata-zeshin</link>
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		<pubDate>Thu, 22 Nov 2012 00:00:05 +0000</pubDate>
		<dc:creator>Rhiannon Paget</dc:creator>
		
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		<description><![CDATA[With a career spanning Japan&#8217;s transition from disintegrating feudal regime to modern nation, Shibata Zeshin (1807-1891) was an exceptional artist, reaching the zenith of both painting and lacquer. Nezu Museum&#8217;s exhibition &#8220;Shibata Zeshin: From Lacquer Arts to Painting&#8221; presents 139 objects from arguably the most broadly gifted artist of 19th-century Japan. Born in Edo (now [...]]]></description>
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		<title>Exploring what makes the fabric of a nation</title>
		<link>http://www.japantimes.co.jp/culture/2012/06/28/arts/exploring-what-makes-the-fabric-of-a-nation/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=exploring-what-makes-the-fabric-of-a-nation</link>
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		<pubDate>Thu, 28 Jun 2012 00:01:11 +0000</pubDate>
		<dc:creator>Rhiannon Paget</dc:creator>
		
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		<description><![CDATA[Held in celebration of the 40th anniversary of the reversion of Okinawa from U.S. to Japanese control, &#8220;Bingata: Colors and Shapes of the Ryukyu Dynasty&#8221; presents 245 examples of vibrantly colored textiles and stencils produced in the Ryukyu Kingdom, which between the 14th and 19th centuries ruled over the area now known as Okinawa Prefecture. [...]]]></description>
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		<title>Japanese art history, through the eye of the collector</title>
		<link>http://www.japantimes.co.jp/culture/2012/05/31/arts/japanese-art-history-through-the-eye-of-the-collector/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=japanese-art-history-through-the-eye-of-the-collector</link>
		<comments>http://www.japantimes.co.jp/culture/2012/05/31/arts/japanese-art-history-through-the-eye-of-the-collector/#comments</comments>
		<pubDate>Thu, 31 May 2012 00:00:22 +0000</pubDate>
		<dc:creator>Rhiannon Paget</dc:creator>
		
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		<description><![CDATA[&#8220;Japanese Masterpieces from the Museum of Fine Arts, Boston&#8221; is not a survey of Japanese art, nor is it representative of the vast holdings of the institution. Rather, it is an exhibition that tells of an understanding of Japanese art formulated in the late 19th century by the collectors and scholars Ernest Fenollosa (1853-1908), William [...]]]></description>
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