{"id":901,"date":"2021-03-25T19:50:29","date_gmt":"2021-03-26T00:50:29","guid":{"rendered":"http:\/\/diluo.digital.conncoll.edu\/Asianart\/?p=901"},"modified":"2021-12-21T11:09:34","modified_gmt":"2021-12-21T16:09:34","slug":"japanese-prints-1868-2008","status":"publish","type":"post","link":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/bibliography\/japanese-prints-1868-2008\/","title":{"rendered":"&#8220;Japanese Prints 1868\u20132008&#8221;"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Smith, Lawrence. \u201cJapanese Prints 1868\u20132008.\u201d\u00a0<em>Since Meiji: Perspectives on the Japanese Visual Arts, 1868-2000<\/em>, edited by J. Thomas Rimer, by Toshiko McCallum, University of Hawai&#8217;i Press, Honolulu, 2012, pp. 361\u2013407.\u00a0<em>JSTOR<\/em>, www.jstor.org\/stable\/j.ctt6wqh84.20. Accessed 26 Mar. 2021.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Japanese woodblock prints have been around since the eighth century, however, they gained new popularity for artists in the seventeenth century. From then on, the daily life of Geishas, landscapes, and animals was most often printed showing a beautiful and almost perfect Japan. However, political and social events were often not depicted in Japanese Woodblock Prints from the mid-Meiji era onwards. In the 1990s that all changed; artists began drawing modern events onto their prints making statements about the current state of Japanese society.\u00a0Geishas were now used to represent real-world events and landscapes were shown with decaying plants to call on global warming the effect of the bombs on Hiroshima and Nagasaki.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/large.jpg\" alt=\"\" class=\"wp-image-902\" width=\"835\" height=\"1194\" srcset=\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/large.jpg 447w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/large-210x300.jpg 210w\" sizes=\"auto, (max-width: 835px) 100vw, 835px\" \/><figcaption>Masami Teraoka, is a contemporary Japanese painter who did a series on the AIDS crisis. The piece to the right is titled\u00a0 \u201cGeisha in Bath\u201d (2008) and shows a modern day Geisha in a bathtub opening condoms with her teeth.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Artist:<\/strong> Masami Teraoka (b.1936) <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Title: <\/strong>Geisha in Bath<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Medium:<\/strong> Washi on Woodblock with Ink and Color <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Date Created:<\/strong> 2008 <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Dimensions:<\/strong> 46.5 cm by 32.0 cm<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Credit:<\/strong> Asian Collection Benefactors&#8217; Fund 2012<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Accession number: <\/strong>139.2012<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Copyright: <\/strong>Masami Teraoka<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Location:<\/strong> Japan<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">References<\/h2>\n\n\n\n<ol class=\"wp-block-list\"><li>https:\/\/www.artgallery.nsw.gov.au\/collection\/works\/139.2012\/?tab=details<\/li><\/ol>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Smith, Lawrence. \u201cJapanese Prints 1868\u20132008.\u201d\u00a0Since Meiji: Perspectives on the Japanese Visual Arts, 1868-2000, edited by J. Thomas Rimer, by Toshiko&#8230;<\/p>\n","protected":false},"author":5,"featured_media":902,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[38],"tags":[3,2],"class_list":["post-901","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bibliography","tag-japan","tag-print","wpcat-38-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/901","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=901"}],"version-history":[{"count":3,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/901\/revisions"}],"predecessor-version":[{"id":1059,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/901\/revisions\/1059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media\/902"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=901"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=901"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=901"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}