Obtaining Images
Timon Screech
The Edo period (1603-1868) witnessed one of the great flowerings of Japanese art. Towards the mid-seventeenth century, the Japanese states were largely at peace, and rapid urbanization, a rise in literacy and an increase in international contact ensued. The number of those able to purchase luxury goods, or who felt their social position necessitated owning them, soared. Painters and artists flourished and the late seventeenth century also saw a rise in the importance of printmaking. There were dominant styles and trends throughout Japan, but also those peculiar to specific regions, such as the Kanto (Edo) and the Kamigata (Osaka and Kyoto) and, more remotely, Nagasaki.
Obtaining Images introduces the reader to important artists and their work, but also to the intellectual issues and concepts surrounding the production, consumption and display of art in Japan in the Edo period. Rather than looking at these through the lens of European art, the book contextualizes the making and use of paintings and prints, elucidating how and why works were commissioned, where they were displayed and what special properties were attributed to them.
Different imperatives are at work in the art of different traditions, and Obtaining Images firmly anchors the art of Japan of this period in its contemporary context, offering a highly engaging and comprehensive introduction for the student and general reader alike.
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About Timon Screech
Reviews for Obtaining Images
Literary Review
Obtaining Images is a wide-ranging synthetic analysis of Edo-period art. Few authors have offered as much integrated commentary on Edo images and engaged with as many significant issues as Timon Screech has in this volume . . . Reading this book is a bit like seeing a familiar landscape in a fresh, new light . . . Pages are peppered with intriguing tales . . . packed with piquant detail and novel perspectives . . . Screechs aim is also to make his reader question received thought on Edo-period art and appreciate its great complexity . . . not only has he accomplished this, but he has accomplished something perhaps even more difficult: he has written a synthesis of the Edo-period pictorial world complete enough to satisfy the specialists expectation yet engaging enough to hold the non-specialists attention.
Monumenta Nipponica
For those with an interest in the marketplace of production, the book includes fascinating details on the interactions between consumers and patrons, on one side, and the artists and producers, on the other . . . I strongly recommend this book to all scholars and students (especially literary specialists) with an interest in Edo-period culture.
Japan Review