Open - Living Room
Inspiration for a large, timeless, open-concept living room remodel with a brown floor and dark wood trim but no fireplace
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Japan's craftsmen achieve intricate textile patterns with sturdy paper stencils for katazome (paste-resist dyeing). These hand-cut designs, now collectors' items, had a large influence on European decorative art in the early 1900s.
At Home With Japanese Design: Accents, Structure and Spirit, 1990
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~ Dragon Head.
Place of origin: Japan
Period: Heian period (794-1185)
Date: A.D. 12th century
Metal: Bronze
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Bronze Tomb in the Tōshō-gū Shinto shrine in Nikkō, Japan
Japanese vintage postcard
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Deep Bronze Japanese Laurel (#4c4d04 to #318806)
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Fabulous find for #FishyFriday:
Oshima Joun (Japanese, 1858-1940)
Ornament of Fish in Waves (Okimono), c. 1900
bronze, silver, gilt, shibuichi and shakudo
13.1 x 48.7 cm
Khalili Collections M159
"An okimono of stylized bronze waves among which swim two shubunkin, one cast in richly patinated copper, the other in oxidized silver with partially gilt areas, the eyes of shibuichi, shakudo, and gilt. The fish naturalistically modelled, supported by the highly stylized waves.
Oshima Joun (1858-1940), given name Yasutaro, was the son of the cast-metal worker Oshima Takajiro, whose father Yasubei had started the family business. He succeeded to the business in 1877 and took the name Joun. He used the go Shokaken.
He rapidly built up his business, and in 1879 had eleven assistants, selling mainly through Murakami Heishichi and a French client. Later he worked through the commissioner Honda. He first exhibited in Paris in 1878. In 1879 he was working with the Sanseisha Company of Tokyo, specifically on the great bronze figure of the Dragon King of the Sea, made for the Second National Industrial Exposition of 1881, that is so markedly similar to the figure M 17 in the Collection by Otake Norikuni (see Impey and Fairley, The Dragon King of the Sea, No. 11). He taught at the Tokyo Art School from 1887 until 1932.
A similar but slightly larger group of five carp was exhibited in the Paris Exposition of 1900, illustrated in the Fine Arts Magazine catalogue. Another similar silver group of carp was exhibited in the Japan-British Exhibition of 1910, illustrated on p. 184 of the English version of the catalogue, where it is listed under the name of the exhibitor Yezawa Kingoro, whereas in the (unpaginated) Japanese edition it is under the name of Oshima Joun. He was praised for his renditions of carp by Harada in ‘Metal-work’ p. 101.
O. Impey, M. Fairley (eds.), Meiji No Takara: Treasures Of Imperial Japan: Metalwork Vol II, London 1995, cat. 102. J. Earle, Splendors of Imperial Japan: Arts of the Meiji period from the Khalili Collection, London 2002, cat. 198, pp. 284–5."
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Kiyoshi Nakagawa Dog Statue Bronze Relief Framed Participation in the Japanese Exhibition Chairman of the Japan Sculpture and Plasticity Society Borzoi
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ough trying to decide how much japanese terminology i can feasibly use in this fic when it’s like. only LOOSELY based in tokugawa japan…………..
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National Treasure 2.3-Meter Sword and Mirror Discovered in Japan
The largest bronze mirror and the largest “dako” iron sword in Japan were discovered at the Tomio Maruyama burial mound in Nara.
Experts say the twin discoveries from the Tomio Maruyama Tumulus last November can be classified as national treasures, with the shield-shaped mirror being the first of its kind.
The Nara Municipal Buried Cultural Properties Research Center, which excavates and researches Tomiomaruyama kofun, and the Nara Prefectural Archaeological Institute of Kashihara, which assists in the excavation, announced the discoveries on Jan. 25.
The 2.3-meter sword with a meandering blade is also the largest iron sword made in that period in East Asia.
The patterned surface of the mirror carries the designs of two more common “daryu” mirrors, distinctive with its designs based on imaginative creatures, which have been found mainly in western Japan.
The shield-shaped mirror is 64 cm in length, 31 cm in width at most, and weighs 5.7 kilograms. Typically, bronze mirrors that are found at archaeological sites are rounded, but this one is shield-shaped.
The sword is the oldest of the dako swords, distinguished by their wavy, snake-like shapes, which give rise to their name. As burial goods, more than 80 other dako swords have been discovered throughout Japan.
The latest sword has markings of a sheath and handle, and together, its length measures 2.6 meters, more than dominating the last longest dako sword discovered at around 85 cm.
“(These discoveries) indicate that the technology of the Kofun period (300-710 AD) are beyond what had been imagined, and they are masterpieces in metalwork from that period,” said Kosaku Okabayashi, the deputy director for Nara Prefecture’s Archaeological Institute of Kashihara.
Mirror and shields are considered to be tools to protect the dead from evil spirits. The sword is thought to have been enlarged to increase its power, and the possibility of its use as a battle tool is low, researchers said.
The 109-m-diameter Tomio Maruyama burial mound, the largest in Japan and dating to the late 4th century, is believed to have belonged to a significant person who supported the Yamato rulers at the time.
The burial chamber where the discoveries were made is thought to have belonged to someone close to that person, according to Naohiro Toyoshima, an archaeology professor at Nara University. He also said that the ritualistic sword and the shield-shaped mirror may indicate that the individual was involved in military and ritualistic matters.
By Leman Altuntaş.
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The unusual basket, almost a yard wide, is a kaiko-zaru (silkworm basket) and dates to the turn of the century when handspun silk was still a cottage industry... Mr. Saint-Gilles uses it to display his collection of omamori, protective talismans still sold at temples and shrines.
At Home with Japanese Design, 1990
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A gilt bronze sculpted image of Yakushi Nyorai (薬師如来), the buddha of healing & medicine, enshrined in the main hall of Hōryūji Temple (法隆寺) in Ikaruga, Nara Prefecture, completed in 607 after having been commissioned by Empress Suiko (推古天皇) and the regent Shōtoku Taishi (聖徳太子) for the postmortem well-being of Emperor Yōmei (用明天皇), i.e. her brother and his father
Image from page 10 of a booklet acquired at the temple February 26, 1994
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Buddha
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Jar
“When rice cultivation and bronze and iron metallurgy were introduced, probably through Korea, the isolated and self-sufficient life of the Jomon gave way to a communal society organized to carry out the demanding agricultural cycle...
The social and aesthetic character of the transformed culture of Yayoi is vividly reflected in its ceramic vessels.” - MET
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