藝術的故事 雨云譯，台北：聯經，1989 根據原書第13版
1952年出版即有：
But it almost goes without saying that this approach to painting also had its dangers. As time went on, nearly every type of brushstroke with which a stem of bamboo or a rugged rock could be painted was laid down and labelled by tradition and so great was the general admiration for the works of the past that artists dared less and less to rely on their own inspiration. The standards of painting remained very high throughout the subsequent centuries both in China and in Japan (which adopted the Chinese conceptions) but art became more and more like a graceful and elaborate game which has lost much of its interest as so many of its moves are known. It was only after a new contact with the achievements of Western art in the eighteenth century that Japanese artists dared to apply the Eastern methods to new subjects. We shall see how fruitful these new experiments also became for the West when it first got to know them.
99* A Japanese boy painting a branch of bamboo Coloured woodcut by hidenobUj probably early nineteenth century
Hidenobu, 108秀信？
滿藏亭 寶厚丸
p.112 圖 101
刪去圖
Hidenobu, 108
Kano Ryusetsu Hidenobu (狩野柳雪秀信) (painter/draughtsman; Japanese; Male; 1646 - 1712)
Also known as
Kano Ryusetsu Hidenobu; Ryusetsu, Kano Hidenobu
Biography
Painter; a pupil of Kano Shoei, was an artist of the Tsukiji Odawara Kano family; he succeeded his father Daigaku Fujinobu, who died in 1669, as an official painter to the shogunate, and in 1709 went with other Edo Kano painters to Kyoto, where he helped paint murals decorating the Imperial Palace.
Hidenobu (written: 秀信 or 英暢) is a masculine Japanese given name. Notable people with the name include:
- Hidenobu Kiuchi (木内 秀信, born 1969), Japanese voice actor
- Oda Hidenobu (織田 秀信, 1580–1605), Japanese samurai
- Hidenobu Takahide (高秀 秀信, 1929–2002), Japanese politician
- Hidenobu Takasu (高須 英暢, born 1991), Japanese footballer
Media in category "Kano Terunobu"
The following 6 files are in this category, out of 6 total.
https://archive.org/stream/in.ernet.dli.2015.29158/2015.29158.The-Story-Of-Art_djvu.txt
The Japanese relished every unexpected and unconventional aspect of the world. Their master, Hokusai (1760-1849), would represent the mountain Fujiyama seen as by chance behind a scaffolding (Fig. 330); Utamaro (1753-1806) would not hesitate to show some of his figures cut off by the margin of a print or a curtain (Fig. 331). It was this daring disregard of an elementary rule of European painting that struck the Impressionists. They discovered in this rule a last hide -out of the ancient domination of know- Revolution in Permanence 397 330. HOKUSAI: The Fuji seen behind a cistern. Coloured woodcut from the Hundred Views of the Fuji published in 1834 ledge over vision. Why should a painting always show the whole of a relevant part of each figure of a scene ? The painter who was most deeply impressed by these possibilities was Edgar Degas (1834-1917). Degas was a little older than Monet and Renoir. He belonged to the generation of Manet and, like him, kept somewhat aloof from the Impressionist group though he was in sympathy with most of their aims. Degas was passionately interested in design and draughtsmanship. In his portraits (Fig. 333) he wanted to bring out the impression of space and of solid forms seen from the most unexpected angles. That is also why he liked to take his 331. UTAMARO: Counting Home^ evening. Coloured woodcut about 1800 Rolling up a blind for a plum-blossom view 398 Revolution in Permanence 332. degas: 'Awaiting the Cue’. Pastel. 1879. New York, Private Collection
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