The last and perhaps most radical teachings of the late Zen master Taisen Deshimaru.

    But as for the man himself, we know almost nothing. The little there is-gleaned from contemporary books, miscellaneous writings, temple registers-is brought together in this book to present as clear a picture of Utamaro's life as modem researchers are capable of. Utamaro is placed in his cultural setting-the pleasure-loving urban culture of eighteenth-century Tokyo, the shogun's capital and the de facto center of JapanUtamaro's world was that of teahouse girls and courtesans whose fame and popularity can only be compared, in modern terms, to those of a movie actress whose name is on every man's lips. His was a world of popular literature and art, of publishers competing for the work of the most talked-about writers and artists. This world, however, was under the constant scrutiny of the authorities, and near the end of his career, Utamaro fell afoul of the government's proscription of certain subject matter, and he was sentenced to three days in prison and fifty days in hand chains.But Utamaro's life is only one theme of this book. The other is the development of his art, the perfection of his depictions of women that enabled him to capture subtle moods and differences of character. The prints of women produced by the ukiyo-e artists preceding Utamaro showed expressionless beauties of little individuality. It was against this that Utamaro rebelled, creating such prints as that of the kashi, one of the lowest ranking of courtesans-in fact, a mere prostitute. Recognizing within himself the power to see and depict the individual behind the outward appearance, Utamaro added to some of his prints the notation "Studies in Physiognomic Judgment of Character by Utamaro." Modem opinion tends to agree with Utamaro's assessment of himself, and his reputation as an artist of the inner woman has firmly established him in the top ranks of the ukiyo-e world.

    

    

    It is a fascinating story of a spiritual journey that shows the many sides of Japan.

    . . will prove of great assistance to a student of Japanese literature and thought from the eleventh century onwards."--Times Literary Supplement "A major contribution to the fields of Japanese studies, comparative literature, and history of religions . . . a book that begs for classroom use."--The Eastern Buddhist "Innovative and provocative . . . will be of interest not only to specialists in Japanese religion and Japanese culture, but also to literary critics and cultural historians."--Religious Studies Review "Rich and stimulating material . . . an important help and influence to all concerned with understanding the tradition that has shaped Japanese culture and religion."--History of Religions "Thought provoking, finely written . . . one of the more original and creative contributions to the study of medieval culture and religion to be produced by a Western scholar. . . . Can be read with profit by all Western students of Japanese culture . . . one of those rare books that has something to offer Japanese specialists in medieval studies."--Journal of Japanese Studies "A very important contribution to Japanese studies . . . a paradigm of the genre."--Pacific Affairs "This is an exciting, ground-breaking book."--Chanoyu Quarterly "I have been most impressed and even excited by what I have read."--Donald Keene, Professor Emeritus and Shincho Professor Emeritus of Japanese Literature at Columbia University "This is one of the most important books in Japanese studies in a long time and will influence the entire field."--Robert Bellah, former Elliott Professor of Sociology, Professor Emeritus at the University of California, Berkeley

    Humanlike and sexy illustrations show Sorayama's excellent techniques in the expression of metallic surfaces.80 pages in total, 16 of them black and white and the rest are full colour.

    

    The work presents 19 common types of wooden furniture, with an easy-to-follow restoration procedure in 23 steps. Advice is provided for caring for your antiques subsequent to restoration, along with a checklist of evaluation points and appendices listing antique shops, fairs and flea markets in the Tokyo area.

    The dangers need no emphasizing, and have already been starkly portrayed in his From Hiroshima to Harrisburg. Here the foCus shifts from scientific and political questions to the theological dimension. God, Dr Garrison argues, is in Hiroshima as he is in other saving events in history. The development symbolized by Hiroshima directs our attention beyond narrow sectional interest to the source of life which creates and sustains us all. God is at work even in the atom bomb, calling us to a transformation of consciousness and understanding. Hiroshima confronts us as never before with the demand that we should take the wrath of God seriously. God is the Go, d of all possibilities. And at the same time, we have taken upon ourselves that which the traditional view left in God's hands alone: the determination of apocalyptic judgment. This means that we must internalize theologically both the terror and the salvation of the traditional Judaeo-Christian concept of apocalypse as something that will not be done to us by divine fiat alone, but as something that might well be done by us through our own decision, God working divine wrath through our arrogance. How Hiroshima, apocalyptic, and the darkness of God at work in Christ crucified are related together form the theme of one of the most powerful pieces of theology of our time.

    

    

    

    Giving readers concise insights into Japan's most interesting contemporary folk art, it is easy to read for pleasure but also serves as a guide for travelers and collectors. Includes 116 entries with 130 illustrations and photographs.

    JAPAN COLOR explores the relationship between color and feeling and shows its manifestation in all aspects of Japanese design, from the most traditional object to contemporary graphic design.

    The 50,000-item index is cross-referenced for easy location of facts.