Isbn: 9780804743556 - The Artist as Professional in Japan (25 results)

Hardcover. Condition: Very Good. 1st Edition. hardcover, fine, clean, unmarked pages, good binding, good covers.

Hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 262 pages, 4to. Shelfwear to DJ: scuffing along edges and covers, a few small tears along edges and spine. DJ in mylar. Tight binding, no marks. Volume is in Very Good condition.

Hard cover. Condition: Good. Dust Jacket Condition: Good. Minor shelf wear on jacket, covers clean otherwise. Crisp pages. Some pencil notes and underlining on a few pages.

Hardcover. Condition: Near Fine. No Jacket. Dust jacket missing. Pages clean, bright, and unmarked. Green cloth cover is very lightly rubbed.

Condition: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.…

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Hardback. Condition: New. Through individual case studies involving the professions of sculptor, painter, potter, printmaker, and architect, this book addresses the question about what it meant to be an artist in Japan from the seventh century to the twentieth. How did artists go about their business? What degree of control did they exercise over their metier? How were they viewed by society? How was the image of the artist fashioned in various periods? Throughout much of Japan's past, artists' thoughts about their activities have remained unrecorded. Some of the essays in this volume reveal how the machine of political discourse worked to invent different views of the same artist over time. Others explore cases of later artists manipulating the names of earlier ones for professional or cultural gain, while still other essays reconstruct some of the forces brought to bear on artistic reception by the makers' contemporaries. The activities of artists whose stories are told here required the collaboration of numerous skilled colleagues, often deployed in the hierarchical structure of the hereditary workshop; they had to fight hard to gain social and economic recognition. The book also addresses issues of canon formation: by what complex process are some artists and objects singled out to communicate rhetorical or aesthetic meaning while others lapse into the background? Contributors include Karen L. Brock, Louise Allison Cort, Julie Nelson Davis, Christine M. E. Guth, Donald F. McCallum, Jonathan M. Reynolds, and Melinda Takeuchi.…

Condition: As New. Unread book in perfect condition.

Condition: new.

Hardback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New. pp. 280.

Condition: New. In English.

Condition: New. 2004. Illustrated. Hardcover. . . . . .

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New. pp. 280.

Condition: New. Through individual case studies involving the professions of sculptor, painter, potter, printmaker, and architect, this book addresses the question about what it meant to be an artist in Japan from the seventh century to the twentieth.&Uumlber den .

Condition: New. 2004. Illustrated. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condition: Brand New. 1st edition. 288 pages. 10.00x7.00x1.00 inches. In Stock.

Hardback. Condition: New. Through individual case studies involving the professions of sculptor, painter, potter, printmaker, and architect, this book addresses the question about what it meant to be an artist in Japan from the seventh century to the twentieth. How did artists go about their business? What degree of control did they exercise over their metier? How were they viewed by society? How was the image of the artist fashioned in various periods? Throughout much of Japan's past, artists' thoughts about their activities have remained unrecorded. Some of the essays in this volume reveal how the machine of political discourse worked to invent different views of the same artist over time. Others explore cases of later artists manipulating the names of earlier ones for professional or cultural gain, while still other essays reconstruct some of the forces brought to bear on artistic reception by the makers' contemporaries. The activities of artists whose stories are told here required the collaboration of numerous skilled colleagues, often deployed in the hierarchical structure of the hereditary workshop; they had to fight hard to gain social and economic recognition. The book also addresses issues of canon formation: by what complex process are some artists and objects singled out to communicate rhetorical or aesthetic meaning while others lapse into the background? Contributors include Karen L. Brock, Louise Allison Cort, Julie Nelson Davis, Christine M. E. Guth, Donald F. McCallum, Jonathan M. Reynolds, and Melinda Takeuchi.…

Buch. Condition: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Through individual case studies involving the professions of sculptor, painter, potter, printmaker, and architect, this book addresses the question about what it meant to be an artist in Japan from the seventh century to the twentieth. How did artists go about their business What degree of control did they exercise over their metier How were they viewed by society How was the image of the artist fashioned in various periods Throughout much of Japan's past, artists' thoughts about their activities have remained unrecorded. Some of the essays in this volume reveal how the machine of political discourse worked to invent different views of the same artist over time. Others explore cases of later artists manipulating the names of earlier ones for professional or cultural gain, while still other essays reconstruct some of the forces brought to bear on artistic reception by the makers' contemporaries. The activities of artists whose stories are told here required the collaboration of numerous skilled colleagues, often deployed in the hierarchical structure of the hereditary workshop; they had to fight hard to gain social and economic recognition. The book also addresses issues of canon formation: by what complex process are some artists and objects singled out to communicate rhetorical or aesthetic meaning while others lapse into the background Contributors include Karen L. Brock, Louise Allison Cort, Julie Nelson Davis, Christine M. E. Guth, Donald F. McCallum, Jonathan M. Reynolds, and Melinda Takeuchi. 280 pp. Englisch.…

Hardcover. Condition: Brand New. 1st edition. 288 pages. 10.00x7.00x1.00 inches. In Stock. This item is printed on demand.

Buch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Through individual case studies involving the professions of sculptor, painter, potter, printmaker, and architect, this book addresses the question about what it meant to be an artist in Japan from the seventh century to the twentieth. How did artists go about their business What degree of control did they exercise over their metier How were they viewed by society How was the image of the artist fashioned in various periods Throughout much of Japan's past, artists' thoughts about their activities have remained unrecorded. Some of the essays in this volume reveal how the machine of political discourse worked to invent different views of the same artist over time. Others explore cases of later artists manipulating the names of earlier ones for professional or cultural gain, while still other essays reconstruct some of the forces brought to bear on artistic reception by the makers' contemporaries. The activities of artists whose stories are told here required the collaboration of numerous skilled colleagues, often deployed in the hierarchical structure of the hereditary workshop; they had to fight hard to gain social and economic recognition. The book also addresses issues of canon formation: by what complex process are some artists and objects singled out to communicate rhetorical or aesthetic meaning while others lapse into the background Contributors include Karen L. Brock, Louise Allison Cort, Julie Nelson Davis, Christine M. E. Guth, Donald F. McCallum, Jonathan M. Reynolds, and Melinda Takeuchi.…