| Description |
xvi, 231 pages : illustrations (some color) ; 25 cm |
| Contents |
Machine derived contents note: Table of contents for Art, tea, and industry : Masuda Takashi and the Mitsui circle / Christine M.E. Guth. -- Bibliographic record and links to related information available from the Library of Congress catalog -- Information from electronic data provided by the publisher. May be incomplete or contain other coding. -- List of Illustrations Acknowledgments Introduction 3 Ch. 1 The Lacquer Writing Box 14 A Cosmopolitan Education 15 Career in Foreign Trade 20 Art Collector Kido Takayoshi 30 The Lacquer Writing Box 35 Ch. 2 Art Collecting and Chanoyu 41 The Artistic Requirements of Chanoyu 41 The Taste for Karamono 46 Wabi Taste 54 Courtly Taste 60 Tori Awase 64 Grand Tea Gatherings 68 Ch. 3 A Taste for Tea 72 Chanoyu in the Early Meiji Era 73 Masuda Kokutoku and Kashiwagi Ken'ichiro 75 Yasuda Zenjiro and Inoue Kaoru 83 Masuda and the Enshu Tradition 95 Ch. 4 From Temple to Tearoom 100 Traditional Attitudes toward Buddhist Art Collecting 100 Emile Guimet and Machida Hisanari 104 Ernest Fenollosa 109 Inoue Kaoru and Dan Takuma 114 The Daishi Kai (I) 117 Ch. 5 The New Daimyo 129 The Battle for Art 131 Art, Tea, and Company 143 The Daishi Kai (II) 151 Ch. 6 National Treasures 161 Art Collecting and Cultural Nationalism 162 The Threat of Foreign Collectors 167 Ernest Fenollosa and Charles Freer 173 Contributions to Cultural Causes 183 Conclusion 192 Appendix A: Acquisition and Distribution of Japanese Art Abroad 197 Appendix B: Major Collectors 198 Notes 203 Select Bibliography 221 Index 227 ] -- Library of Congress subject headings for this publication: Art, Japanese, Masuda, Takashi, 1848-1938 Art collections, Art Private collections Japan |
| Summary |
In this illustrated book Christine Guth examines the intimate relationship between art collecting, the tea ceremony, and business through the activities of Masuda Takashi (1848-1938), the highly charismatic director of the Mitsui conglomerate whose opulent life and passionate pursuit of art continue to influence new generations of aspiring business magnates in Japan. An elaborate social ritual in which the worlds of business and art collecting intersected, the tea ceremony guided Masuda in amassing the finest collection of Sino-Japanese art in the early Japanese industrial era. Guth's exploration of his aesthetic ideas deepens our understanding of not only the formation of the canon of Japanese art but also the role of art in the ideology of early modern Japan. At a time when there were few art museums in Japan and Japanese art was becoming internationally known, Masuda's tea gatherings functioned as a salon where his colleagues, other collectors, and art dealers could view, discuss, and handle works of art. Under his influence, art collecting and mastery of the tea ceremony became integral parts of the business training and activities of Mitsui executives. Masuda's collection was rich in calligraphy, ink painting, lacquer, and ceramics, but it was especially noted for its Buddhist painting and sculpture. These works, which were dispersed after World War II, are now in museums and private collections throughout Japan and the United States |
| Bibliography |
Includes bibliographical references (pages [221]-225) and index |
| Subject |
Masuda, Takashi, 1848-1938 -- Art collections.
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Art -- Private collections -- Japan.
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Art, Japanese.
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| LC no. |
92016173 |
| ISBN |
0691032068 (acid-free paper) |
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