| |
| |
| Acknowledgments | |
| |
| |
| Introduction | |
| |
| |
| Notes | |
| |
| |
| |
| Influence of Portugal and the Netherlands | |
| |
| |
| |
| The First Phase of Western Style Painting | |
| |
| |
| Introduction of Christianity to Japan | |
| |
| |
| Nanban-e' (Nanban Painting) | |
| |
| |
| Artists of the First Phase | |
| |
| |
| Arrival of the Dutch and the British and the Suppression of Catholicism | |
| |
| |
| Missionaries in Japan | |
| |
| |
| |
| The Second Phase of Western Style Painting | |
| |
| |
| The Dutch on Dejima | |
| |
| |
| Tojin yashiki (Mansions for the Chinese) | |
| |
| |
| Honzogaku (Study of Herbal Medicine) | |
| |
| |
| Interpreters | |
| |
| |
| Dutch learning (Rangaku) | |
| |
| |
| Hiraga Gennai and his Involvement with Akita Ranga | |
| |
| |
| Brief History of Hiraga Gennai | |
| |
| |
| Notes | |
| |
| |
| |
| Japan's First Translated Anatomy Book and Akita Ranga | |
| |
| |
| |
| Introduction of Western Medicine | |
| |
| |
| History of Medicine | |
| |
| |
| The First Autopsy | |
| |
| |
| Sugita Genpaku's First Autopsy | |
| |
| |
| Translation of Ontleedkundige Tafelen | |
| |
| |
| |
| Kaitai shinsho (New Book of Anatomy) | |
| |
| |
| Illustrations for the Kaitai shinsho | |
| |
| |
| Techniques | |
| |
| |
| Compositional Rearrangements | |
| |
| |
| Concept of Nudity | |
| |
| |
| Bidloo's Illustrations | |
| |
| |
| Notes | |
| |
| |
| |
| Three Elements, Signatures and Seals | |
| |
| |
| |
| Odano Naotake | |
| |
| |
| Naotake's pre-1774 work | |
| |
| |
| Three Compositional Elements in Naotake's work after 1774 | |
| |
| |
| |
| Horizon Line | |
| |
| |
| |
| Reflections on Water | |
| |
| |
| |
| Emphasis on the Foreground: Placement of a Large Object in the Foreground (Repoussoir) | |
| |
| |
| Naotake's New Techniques | |
| |
| |
| |
| Satake Shozan | |
| |
| |
| Shozan's Dutch Seals | |
| |
| |
| Naotake's Influence on Shozan's Art | |
| |
| |
| |
| Satake Yoshimi | |
| |
| |
| Naotake's Influence on Yoshimi's Art | |
| |
| |
| Evolution in Naotake's Formulation of the Three Elements | |
| |
| |
| |
| Comparison of Signatures and Seals | |
| |
| |
| Odano Naotake | |
| |
| |
| Naotake's Art in Relation to his Signatures and Seals | |
| |
| |
| Satake Shozan | |
| |
| |
| Shozan's Art in Relation to his Signatures and Seals | |
| |
| |
| Satake Yoshimi | |
| |
| |
| Yoshimi's Art in Relation to his Signatures and Seals | |
| |
| |
| Summary | |
| |
| |
| Notes | |
| |
| |
| |
| Shozan's Sketchbooks and the Schouwtoneel der Natuur | |
| |
| |
| |
| Foreign Books in Japan | |
| |
| |
| Gennai and his Collection of Foreign Books | |
| |
| |
| Bussan shomoku (List of Books) | |
| |
| |
| |
| Shozan and the Schouwtoneel der Natuur | |
| |
| |
| Contents of the Schouwtoneel der Natuur | |
| |
| |
| Contents of Shozan's Sketchbooks and Comparison with the Schouwtoneel der Natuur | |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| Comparison with Honzo komoku, Butsurui hinshitsu and So Shiseki gafu | |
| |
| |
| Comparison with Naotake's Sketchbooks | |
| |
| |
| Conclusion | |
| |
| |
| Notes | |
| |
| |
| |
| Akita Ranga and New Trends | |
| |
| |
| |
| "Cultural Middle Class" | |
| |
| |
| |
| Thematic Influences | |
| |
| |
| Stones and Rocks | |
| |
| |
| Shen Nanpin and his Influence | |
| |
| |
| So Shiseki's Influence on Akita Ranga Artists | |
| |
| |
| Potted Flowers and Flower Arrangements | |
| |
| |
| |
| European Influences | |
| |
| |
| European Books | |
| |
| |
| Megane-e or Perspective Views | |
| |
| |
| Landscape Painting | |
| |
| |
| Notes | |
| |
| |
| Conclusion | |
| |
| |
| Appendix | |
| |
| |
| Gaho koryo (Summary of the Laws of Painting) | |
| |
| |
| Gazu rikai (Understanding Painting) | |
| |
| |
| Tansei bu (Colours) | |
| |
| |
| Notes | |
| |
| |
| Bibliography | |
| |
| |
| Primary Sources | |
| |
| |
| Secondary Sources | |
| |
| |
| Journals and Magazines | |
| |
| |
| Index | |