Thirty-Six Views of Mount Fuji: A Deluxe New Art Book Presents Hokusai’s Masterpiece, Including “The Great Wave Off Kanagawa”

in Art, Books, History | July 16th, 2021

Like most Japanese masters of ukiyo‑e woodblock art, Katsushika Hokusai is best known mononymously. But he’s even better known by his work — and by one piece of work in particular, The Great Wave off Kanagawa. Even those who’ve never heard the name Hokusai have seen that print, arresting in its somehow calm turbulence, or at least they’ve seen one of its countless modern parodies and tributes (most recently, a large-scale homage in the medium of LEGO). But when he died in 1849, the prolific and long-lived artist left behind a body of work amounting to more than 30,000 paintings, sketches, prints, and illustrations (as well as a how-to-draw book).

None of those 30,000 works are quite as famous as his Great Wave off Kanagawa, but very few indeed are as ambitions as the series to which it belongs, Thirty-Six Views of Mount Fuji. It is that two-year project, the artistic fruit of an obsession with Fuji and its environs, that Taschen has taken as the material for their new book Hokusai: Thirty-six Views of Mount Fuji.

Produced in a 224-page “XXL edition,” it gathers “the finest impressions from institutions and collections worldwide in the complete set of 46 plates alongside 114 color variations” — all sewn together, appropriately, with “Japanese binding.”

Not only does the book reproduce Thirty-six Views of Mount Fuji with Taschen’s signature attention to image quality, it presents The Great Wave off Kanagawa in a way few actually see it: in context. For that most widely published of all Hokusai prints launched the series, which continued on to Fine Wind, Clear Morning, Thunderstorm Beneath the Summit, and Kajikazawa in Kai Province, that last being an image held in especially high esteem by ukiyo‑e enthusiasts. One such enthusiast, east Asian art historian Andreas Marks, has performed this book’s editing and writing, as he did with Taschen’s previous Japanese Woodblock Prints (1680–1938). Experiencing the whole of Thirty-six Views of Mount Fuji, more than one reader will no doubt become as transfixed by Hokusai as Hokusai was by his homeland’s most beloved mountain. You can pick up a copy of Hokusai: Thirty-six Views of Mount Fuji here.

The Evolution of The Great Wave off Kanazawa: See Four Versions That Hokusai Painted Over Nearly 40 Years

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A Beautiful New Book of Japanese Woodblock Prints: A Visual History of 200 Japanese Masterpieces Created Between 1680 and 1938

See Classic Japanese Woodblocks Brought Surreally to Life as Animated GIFs

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Discover Japan’s Oldest Surviving Cookbook Ryori Monogatari (1643)

in Books, Food & Drink, History | July 15th, 2021

Maybe your interest in Japan was first stoked by the story of the seventeenth-century shōgun Tokugawa Ieyasu and his campaign to unify the country. Or maybe it was Japanese food. Either way, culinary and historical subjects have a way of intertwining in every land — not to mention making countless possible literary and cultural connections along the way. For the curious mind, enjoying a Japanese meal may well lead, sooner or later, to reading Japan’s oldest cookbook. Published in 1643, the surviving edition of Ryori Monogatari (variously translated as “Narrative of Actual Food Preparation” or, more simply, “A Tale of Food”) resides at the Tokyo National Museum, but you can read a facsimile at the Tokyo Metropolitan Library.

Translator Joshua L. Badgley did just that in order to produce an online English version of the venerable recipe collection. In an introductory essay, he describes his translation process and offers some historical context as well. Ryori Monogatari was written early in the era of the Tokugawa shogunate, which had been founded by the aforementioned Ieyasu.

“For the previous 120 years, the country had been engulfed in civil wars,” but this “Age of Warring States” also “saw the first major contact with Europeans through the Portuguese, who landed in 1542, and later saw the invasion of Korea.” The foreigners “brought with them new ideas, and access to a new world of food, which continues to this day in the form of things like tempura and kasutera (castella).”

Consolidated by Ieyasu, Japan’s subsequent 250-year-long peace “saw an increased emphasis on scholarship, and many books on the history of Japan were written in this time. In addition, travel journals were becoming popular, indicating various specialties and delicacies in each village.” The now-unknown author of Ryori Monogatari seems to have gone around collecting recipes that had been passed down orally for generations — hence the sometimes vague and approximate instructions. But unusually, note publishers Red Circle, the book also “includes recipes for game at a time when eating meat was viewed by most as a taboo.” In it one finds instructions for preparing venison, hare, boar, and even raccoon dog.

Your fascination with Japan might not have begun with a meal of raccoon dog. But Ryori Monogatari also includes recipes for sashimi, sushi, udon and yakitori, all eaten so widely around the world today that their names no longer merit italics. Taken together, the book’s explanations of its dishes open a window on how the Japanese ate during the Edo period, named for the capital city we now know as Tokyo, which lasted from 1603 to 1863. (In the video just above, Tasting History vlogger Max Miller makes a typical bowl of Edo noodles, based on a recipe from the 1643 cookbook.) “From the mid-Edo period,” says the Tokyo National Museum, “restaurants began to emerge across Japan, reflecting a new trend toward enjoying food as recreation.” By the late Edo period, an era captured by ukiyo‑e master Hiroshige, eating out had become a national pastime. And not so long thereafter, going for Japanese food would become a culinary, historical, and cultural treat savored the world over.

Cookpad, the Largest Recipe Site in Japan, Launches New Site in English

1,000+ Historic Japanese Illustrated Books Digitized & Put Online by the Smithsonian: From the Edo & Meji Eras (1600–1912)

Tasting History: A Hit YouTube Series Shows How to Cook the Foods of Ancient Greece & Rome, Medieval Europe, and Other Places & Periods

The New York Times Makes 17,000 Tasty Recipes Available Online: Japanese, Italian, Thai & Much More

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Behold the Astronomicum Caesareum, “Perhaps the Most Beautiful Scientific Book Ever Printed” (1540)

in Art, Books, Science | May 27th, 2021

Art, science, and magic seem to have been rarely far apart during the Renaissance, as evidenced by the elaborate 1540 Astronomicum Caesareum — or “Emperor’s Astronomy” — seen here. “The most sumptuous of all Renaissance instructive manuals, ” the Metropolitan Museum of Art notes, the book was created over a period of 8 years by Petrus Apianus, also known as Apian, an astronomy professor at the University of Ingolstadt. Modern-day astronomer Owen Gingerich, professor emeritus at Harvard University, calls it “the most spectacular contribution of the book-maker’s art to sixteenth-century science.”

Apian’s book was mainly designed for what is now considered pseudoscience. “The main contemporary use of the book would have been to cast horoscopes,” Robert Batteridge writes at the National Library of Scotland. Apian used as examples the birthdays of his patrons: Holy Roman Emperor Charles V and his brother Ferdinand I. But the Astronomicum Caesareum did more than calculate the future.

Despite the fact that the geocentric model on which Apian based his system “would begin to be overtaken just 3 years after the book’s publication,” he accurately described five comets, including what would come to be called Halley’s Comet.

Apian also “observed that a comet’s tail always points away from the sun,” Fine Books and Collections writes, “a discovery for which he is credited.” He used his book “to calculate eclipses,” notes Gingerich in an introduction, including a partial lunar eclipse in the year of Charles’ birth. And, “in a pioneering use of astronomical chronology, he takes up the circumstances of several historical eclipses.” These discussions are accompanied by “several movable devices” called volvelles, designed “for an assortment of chronological and astrological inquiries.”

Medieval volvelles were first introduced by artist and writer Ramón Llull in 1274. A “cousin of the astrolabe,” Getty writes, the devices consist of “layered circles of parchment… held together at the center by a tie.” They were considered “a form of ‘artificial memory,’” called by Lund University’s Lars Gislén “a kind of paper computer.” Apian was a specialist of the form, publishing several books containing volvelles from his own Ingolstadt printing press. The Astronomicum Caesareum became the pinnacle of such scientific art, using its hand-colored paper devices to simulate the movements of the astrolabe. “The great volume grew and changed in the course of the printing,” Gingerich writes, “eventually comprising fifty-five leaves, of which twenty-one contain moving parts.”

Apian was rewarded handsomely for his work. “Emperor Charles V granted the professor a new coat of arms,” and “the right to appoint poets laureate and to pronounce as legitimate children born out of wedlock.” He was also appointed court mathematician, and copies of his extraordinary book lived on in the collections of European aristocrats for centuries, “a triumph of the printer’s art,” writes Gingerich, and an astronomy, and astrology, “fit for an emperor.”

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160,000+ Medieval Manuscripts Online: Where to Find Them

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

Who Decides What Words Get Into the Dictionary?

in Books, English Language, Language | May 26th, 2021

DICTIONARY, n. A malevolent literary device for cramping the growth of a language and making it hard and inelastic. — Ambrose Bierce, The Devil’s Dictionary

Once upon a time, we were made to believe that words could never acquire sticks and stones’ capacity to wound.

Talk about a maxim no longer worth the paper it was printed on!

Language is organic. Definitions, usage, and our response to particular words evolve over time.

Lexicographer Ilan Stavans’ TED-Ed lesson, Who Decides What’s in the Dictionary?, rolls the clock back to 1604, when schoolmaster Robert Cawdrey assembled the first English language dictionary “for the benefit of Ladies, Gentlewomen, and other unskilled folk.”

Other English dictionaries soon followed, expanding on the 2,543 words Cawdrey had seen fit to include. His fellow authors shared Cawdrey’s prescriptive goal of educating the rabble, to keep them from butchering the high-minded tongue the self-appointed guardian considered it his duty to protect.

Wordsmith Samuel Johnson, the primary author of 1775’s massive A Dictionary of the English Language, described his mission as one in which “the pronunciation of our language may be fixed, and its attainment facilitated; by which its purity may be preserved, its use ascertained, and its duration lengthened.”

Lest we think Johnson overly impressed with the importance of his lofty mission, he submitted the following gently self-mocking definition of Lexicographer:

A writer of dictionaries; a harmless drudge that busies himself in tracing the original, and detailing the signification of words.

150 years later, Ambrose Bierce offered an opposing view in his delightfully wicked dictionary:

LEXICOGRAPHER, n. A pestilent fellow who, under the pretense of recording some particular stage in the development of a language, does what he can to arrest its growth, stiffen its flexibility and mechanize its methods.

Stavans points to brothers George and Charles Merriam’s acquisition of the rights to Noah Webster’s An American Dictionary of the English Language (1828) as a moment when our concept of what a dictionary should be began to shift.

Webster, working by himself, set out to collect and document English as it was used on these shores.

The Merriams engaged a group of language experts to curate subsequent editions, striking a blow for the idiom by including slang and regional variants.

A good start, though they excluded anything they found unfit for the general consumption at the time, including expressions born in the Black community.

Their editorializing was of a piece with prevailing views — see “wife.”

But humans, like language, evolve.

These days, lexicographers monitor the Internet for new words to be considered for upcoming editions, including profanity and racial slurs.

If a word’s use is judged to be widespread, sustained and meaningful, in it goes… even though some might find it objectionable, or even, yes, hurtful.

Stavans wraps his lesson up by drawing our attention to Merriam-Webster’s tradition of anointing one entry to Word of the Year, drawn from statistical analysis of the words people look up in extremely high numbers.

“They” got the nod in 2019, a testament to how deeply non-binary gender expression has permeated the collective consciousness and national conversation.

The runner up?

Impeach.

Care to guess which word 2020 placed in the dictionary’s path?

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

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Watch Accurate Recreations of Medieval Italian Longsword Fighting Techniques, All Based on a Manuscript from 1404

in Books, History | May 17th, 2021

Given recent events, the prospect of hundreds of young men meeting on Facebook, then traveling from around the country to a central U.S. location might sound like reasonable cause for alarm. Yet a recent convention fitting that description had nothing to do with political violence but, rather, a celebration and appreciation of the name “Josh” (full disclosure: this writer did not attend). The gathering of the Joshes this past April in Nebraska could not have been more peaceful, including its finishing battle royale, conducted with pool noodles. (Winner: adorable 4‑year-old Josh Vinson, Jr., or “Little Josh,” from Lincoln, NE).

The Joshes had no concern for proper pool-noodle-wielding technique, if there is such a thing. But groups of people who gather around the country to stage medieval-style battles in live-action role playing (LARP) games with weapons both real and fake might benefit from pointers.

So, too, might those who choreograph sword fights on stage and screen. Where can serious historical re-creators learn how to wield a real blade in historically accurate combat? One resource can be found at Wiktenauer, a wiki devoted to collecting “all of the primary and secondary source literature that makes up the text of historical European Martial arts (HEMA) research.”

The Fior di Battaglia (“Flower of Battle”) — an Italian fencing manual by Fiore de’i Liberi dating from circa 1404 — offers richly- and copiously-illustrated demonstrations of medieval Italian longsword fighting techniques. In the original manuscript, seen here and at The Getty, “the illustrations are inked sketches with gold leafing on the crowns and garters,” notes the Wiktenauer entry. They dominate the text, which “takes the form of descriptive paragraphs set in poor Italian verse, which are nevertheless fairly clear and informative.” So clear, indeed, the brooding young men of Akademia Szermierzy — a Polish group that recreates medieval sword-fighting techniques — can more than convincingly mimic the moves in the video at the top.

Once they get going, after some requisite pre-fight rigamarole, it’s impressive stuff, maybe already familiar to modern fencers and certain members of the Society for Creative Anachronism, the LARP-ing organization of amateurs recreating everything from the Middle Ages and the Renaissance. But for those who think all live-action role-playing is the equivalent of the Battle of the Joshes (or off-brand Nazis running through the streets in homemade armor), the sheer ballet of historical sword-fighting may come as a surprise — and maybe inspire a few more people to pull on the doublet and hose. See more medieval sword-fighting recreations from Akademia Szermierzy here, and the full text of the Fior di Battaglia here.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 2 ) |

Beautiful 19th-Century Indian Drawings Show Hatha Yoga Poses Before They Reached the West

in Art, Books, Health, Religion | May 6th, 2021

Yoga as an athletic series of postures for physical health came into being only about 100 years ago, part of a wave of gymnastics and calisthenics that spread around the Western world in the 1920s and made its way to India, combining with classical Indian spirituality and asanas, a word which translates to “seat.” Yoga, of course, had existed as a classical spiritual discipline in India for thousands of years. (The word is first found in the Rig Veda), but it had little to do with fitness, as yoga scholar Mark Singleton found when he delved into the roots of yoga as we know it.

Asana practice was often marginal, even scorned by some 19th century Indian teachers of high caste as the domain of “fakirs” and mendicant beggars. “The first wave of ‘export yogis,’” writes Singleton, “headed by Swami Vivekananda, largely ignored asana and tended to focus instead on pranayama [breath practice], meditation, and positive thinking…. Vivekananda publicly rejected hatha yoga in general and asana in particular.”

In the 20th century, yoga became associated with Indian nationalism and anti-colonial resistance, and imported Western poses were combined with asanas for a program of intense physical training.

Westernized yoga has obscured other traditions around the world that developed over hundreds or thousands of years. For his book with James Mallinson, Roots of Yoga, Singleton consulted “yogic texts from Tibetan, Arabic, Persian, Bengali, Tamil, Pali, Kashmiri, Old Marathi, Avadhi, Braj Bhasha, and English,” notes the Public Domain Review, who bring our attention to this early 19th-century series of images from a text called the Joga Pradīpikā, made before classical yoga became known in the west by adventurous thinkers like Henry David Thoreau.

A few millennia before it was the provenance of lycra-clad teachers in boutique studios, asana practice combined rigorous, often quite painful-looking, meditative postures with mudras (“seals”), hand gestures whose origins “remain obscure,” though yoga historian Georg Feuerstein argues “they are undoubtedly the products of intensive meditation practice during [which] the body spontaneously assumes certain static as well as dynamic poses.” The collection of drawings in the 118-page book depicts 84 asanas and 24 mudras, “with explanatory notes in Braja-Bhasha verse,” notes the British Library, and one image (top) related to Kundalini yoga.

Whatever the various practices of yogic schools in both the Eastern and Western world, “the methods and lifestyles developed by the Indian philosophical and spiritual geniuses over a period of at least five millennia all have one and the same purpose,” writes Feuerstein in his seminal study, The Yoga Tradition: “to help us break through the habit patterns of our ordinary consciousness and to realize our identity (or at least union) with the perennial Reality. India’s great traditions of psychospiritual growth understand themselves as paths of liberation. Their goal is to liberate us from our conventional conditioning and hence also free us from suffering.”

Under a broad umbrella, yoga has flourished as an incredible wealth of traditions, philosophies, religious practices, and scholarship whose strands weave loosely together in what most of us know as yoga in a synthesis of East and West. Learn more at the Public Domain Review, and have a look at their new book of historic images, Affinities, here, a curated journey through visual culture.

via Public Domain Review

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by Josh Jones | Permalink | Make a Comment ( 2 ) |

Affinities, a Book of Images to Celebrate 10 Years of The Public Domain Review

in Art, Books | April 29th, 2021

In a similar way to how Open Culture aims to distill in one place the web’s high-quality free cultural and educational media, so The Public Domain Review aims to help readers explore the vast (and sometimes overwhelming!) sea of public domain works available online — like a small exhibition gallery at the entrance to an immense network of archives and storage rooms that lie beyond. Celebrating curious and beautiful public domain images is at the very heart of what we do, and so it seemed fitting to mark our 10th anniversary with a big and beautiful book of images. Ever since the project began back in 2011, readers have implored us to do one, and so finally here it is… we are extremely excited to bring out into the world AFFINITIES.

Gathering over 500 prints, paintings, illustrations, sketches, photographs, doodles, and everything in between, the book is a carefully curated journey exploring echoes and connections across more than two millennia of visual culture. Assembled according to a dreamlike logic, the images unfurl in a single unbroken sequence, through a play of visual echoes and evolving thematic threads.

While it’s taken the best part of a year to create (a true lockdown baby), this has really been 10 years in the making — a book born from a decade of deep immersion in public domain archives.

A compelling object and experience in its own right, Affinities also acts as a launchpad for further discoveries and inventive engagements with the commons. It’s meticulous sourcing points to works, creators, and collections around the world, serving as a gateway for future forays into the digital public domain.

As for the physical book itself, we wanted to create an object as stunning as the images within. It is large format (28 x 21.5cm / 11 x 8.5”), boasts a cloth-bound hardcover, with a foil stamped title and embossed inset image, and extends across a whopping 368 pages. To help get this beauty made and assure the highest quality production, we are very happy to have teamed up with specialist art book publisher Volume, an imprint of Thames & Hudson.

It’s being sold via a crowdfunder and delivery will be early next year. In addition to the standard edition of the book, we’ve worked with Volume to create a special Collector’s Edition (in a slipcase with limited edition poster) and also a set of limited edition prints. All of the offerings are only available during the campaign.

Learn more, and order your copy, over on the crowdfunder page.

Adam Green is co-founder, creator, and main editor of The Public Domain Review and PDR Press.

by OC | Permalink | Make a Comment ( 1 ) |

Exquisite Watercolors of Demons, Magic & Signs: Behold the Compendium Of Demonology and Magic from 1775

in Books, History, Religion | April 16th, 2021

Noli me tangere, says the title page of the Compendium of Demonology and Magic: “Do not touch me.” For the book’s target audience, one suspects, this was more enticement than warning. Written in Latin (its full title is Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros) and German, the book purports to come from the year 1057. In fact it’s been dated as more than 700 years younger, though to most 21st-century beholders a book from around 1775 carries enough historical weight to be intriguing — especially if, as the Public Domain Review puts it, it depicts “a varied bestiary of grotesque demonic creatures.”

The specimens catalogued in the Compendium of Demonology and Magic are “up to all sorts of appropriately demonic activities, such as chewing down on severed legs, spitting fire and snakes from genitalia, and parading around decapitated heads on sticks.”

Grotesquely combining features of man and beast, these hideous chimeras are rendered in “more than thirty exquisite watercolors” that still look vivid today. In fact, with their punkish costumes, insouciant expressions, and often indecently exposed nether regions, these demons look ready and willing to cause a scandal even in our jaded time.

Nearly two and a half centuries ago, we might fairly assume, a greater proportion of the public believed in the existence of demons — if not these specific monstrosities, then at least the concept of the demonic in general. But we’re surely lying to ourselves if we believed that nobody in the 16th century had a sense of humor about it. Even the work of this book’s unknown illustrator evidences, beyond formidable artistic skill and wild imagination, a certain comedic instinct, serious business though demonic intentions toward humanity may be.

With its less humorous content including execution scenes and instructions for the procedures of witchcraft from divination to necromancy, the Compendium of Demonology and Magic belongs to a deeper tradition of books that elaborately catalog and depict the varieties of supernatural evil. (A much older example is the Codex Gigas, previously featured here on Open Culture, a “Devil’s Bible” that also happens to be the largest medieval manuscript in the word.)

You can behold more of these delightfully hellish illustrations at the Public Domain Review and even download the whole book free from the Wellcome Collection. (See a PDF of the entire book here.) And no matter how closely you scrutinize your digital copy, you won’t run the risk of touching it.

The Compendium of Demonology and Magic is one of the many texts featured in The Madman’s Library: The Strangest Books, Manuscripts and Other Literary Curiosities from History, a new book featured on our site earlier this week.

via Public Domain Review

1,600 Occult Books Now Digitized & Put Online, Thanks to the Ritman Library and Da Vinci Code Author Dan Brown

Help a Library Transcribe Magical Manuscripts & Recover the Charms, Potions & Witchcraft That Flourished in Early Modern Europe and America

Behold the Codex Gigas (aka “Devil’s Bible”), the Largest Medieval Manuscript in the World

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Thirty-Six Views of Mount Fuji: A Deluxe New Art Book Presents Hokusai’s Masterpiece, Including “The Great Wave Off Kanagawa”

Discover Japan’s Oldest Surviving Cookbook Ryori Monogatari (1643)

Behold the Astronomicum Caesareum, “Perhaps the Most Beautiful Scientific Book Ever Printed” (1540)

Who Decides What Words Get Into the Dictionary?

Watch Accurate Recreations of Medieval Italian Longsword Fighting Techniques, All Based on a Manuscript from 1404

Beautiful 19th-Century Indian Drawings Show Hatha Yoga Poses Before They Reached the West

Affinities, a Book of Images to Celebrate 10 Years of The Public Domain Review

Exquisite Watercolors of Demons, Magic & Signs: Behold the Compendium Of Demonology and Magic from 1775

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