The Museum of Kyoto's latest exhibition presents a promising cast of 45 emerging local artists working in miscellaneous mediums from lacquer to small-scale mixed-media installations.
Despite being among the least popular, revered or symbolically loaded of zodiac animals, the boar still holds an aesthetic presence.
M.C. Escher's preoccupation with perspective was like that of the Renaissance, his early intricate stone topographies were in the vein of Andrea Mantegna and his mesmerizing architectures recall Giovanni Battista Piranesi — yet his fans were mostly from outside the art world.
While nothing so much as an epochal rupture occurred, 1980s' artists in Japan were reactive to the lingering concerns of the '70s — in that decade, oil painting and sculpture were mostly passe, while modernism appeared exhausted.
Kichizaemon Raku, the eldest son of Kakunyu XIV, succeeded to the role as the 15th head of the revered Raku family of tea bowl craftsmen in 1981, a tradition founded in the Momoyama Period (1573-1603) by Tanaka Chojiro (d. 1592). His latest exhibition, "Raku ...
Showcasing 170 blades, 19 of which are National Treasures and 61 are Important Cultural Properties, "Swords of Kyoto: Master Craftsmanship from an Elegant Culture" is the largest sword exhibition in the Kyoto National Museum's 120-year history.
Sometimes innocent, sometimes pornographic, influences percolated, exploded and re-formed in multiple and mutant ways during Keiichi Tanaami's career, which took off in the 1960s and is still going strong.
Kaii Higashiyama's best-known works are often called "quintessentially Japanese landscapes," but they were also examples of the artist's conservative dialogue with European and American abstraction.
The Museum of Modern Art, Kyoto surveys German, Japanese and Indian Bauhaus developments as part of a wider collation of international exhibitions and research in preparation for next year's Bauhaus centenary anniversary in Berlin.
Limited success in Tokyo led Tanaka Isson (1908-77) to burn his sketchbooks, sell his house, and move to Oshima, where he lived in near poverty painting in a vibrant style that posthumously captured the nation's heart.