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Hokusai's print known as the Great Wave, from the series Thirty-Six Views of Mt. Fuji, is among the most recognized works of art worldwide. Prior scholarship has addressed its production, circulation, and extensive afterlife. This paper, by contrast, enquires into what the subject actually means. Why did Hokusai make a representation of vessels in heavy seas, with a sacred mountain behind them? I question what Hokusai might have wanted to impart, and where his visual conceptualization could have come from. In this iconographic investigation, the argument will be made for the Great Wave being best understood in terms of Dutch maritime disaster painting. Such works were theological, offering the terror of death averted by some external divine intervention. Several examples were brought to Japan during the Edo period. It would not have seemed odd to Japanese viewers that ships were capable of supporting symbolic meanings. At the same time, there is no previous example of an independent Japanese depiction of ships in distress. Furthermore, Mt. Fuji offered precisely the promise of safety, its name punning on "no death."

The influence of Japonisme on the paintings of Mikalojus Konstantinas Čiurlionis (1875– 1911), his contemporaries, and European Impressionist painters has been briefly researched since 2011 and has been mentioned frequently in articles by the present author. This article first reconsiders the influence of Japonisme on a series of paintings by Čiurlionis, Sonata of the Spring, which apparently derive from the Japanese ukiyo-e, woodblock prints and Nikuhitsu-ga, Japanese original paintings in the Feliks Jasieński collection, which Čiurlionis most likely saw during his stay in Poland. Next, since these paintings “Allegro”, “Andante”, “Scherzo”, and “Finale” have musical titles, the article considers why he decided to give musical titles to his paintings, and the relationship between those titles and the compo- sition of the paintings as well as the musical elements found in them.

This publication has been developed from ideas first presented at the international symposium Late Hokusai: Thought, Technique, Society, held at the British Museum in May 2017. The symposium was organised to enable specialists in a range of disciplines relating to early modern Japan to view and consider the critically acclaimed exhibition Hokusai: Beyond the Great Wave, then being presented at the British Museum. The exhibition brought together representative works by the artist Katsushika Hokusai (1760−1849) in the various media in which he worked – colour woodblock prints, woodblock-printed illustrated books, brush paintings on paper or silk, and brush drawings − that were produced between the age of 61 and his death aged 90. Building on the themes of the exhibition, authors from the UK, Europe, Japan and USA have engaged with late Hokusai from a variety of perspectives, both intrinsic and extrinsic to his life and works. Essays have been grouped within the broad categories of ‘society’ – wider cultural interaction and patronage; ‘thought’ – Hokusai’s intellectual concerns and the ways his art brought these to life; and ‘technique’ – how the artist pursued excellence in all media, within a commercialised art market. A particular focus has been the collaborative relationship between Hokusai and his artist daughter Ei (art-name Ōi, c. 1800−after 1857?). A fourth section on ‘legacy’ looks at how stories of Hokusai have been as much generated by 130 years of scholarship, as they have by his works themselves. Challengingly, faked paintings and printed works have both contaminated and supported those stories. This innovative approach provides new insights into the work of one of the world’s most celebrated artists and suggests many new avenues for Hokusai research., London, British Museum Research Publications

Rad proučava društveni i povijesni kontekst Japana za vrijeme trajanja Edo perioda, odnosno između 1603. i 1867. godine. Najveća pozornost predana je pojmu Ukiyo-e koji nastaje kao rezultat promjene socijalnog i političkog uređenja Carstva. Kroz rad se objašnjava njegov nastanak i značenje, a nadalje se prati razvoj umjetničkih tehnika i motiva. Važnost slikarstva Ukiyo-e za umjetnost Japana sumira se kroz stilove dvojice najvažnijih umjetnika Hokusaija i Hiroshigea. Nadalje se objašnjava kako i zbog čega dolazi do prijenosa raznih predmeta, a tako i umjetničkih djela iz Japana u Francusku te njihova velika uloga u formiranju novih slikarskih metoda i stila kod važnih francuskih umjetnika druge polovine 19. stoljeća. Taj utjecaj će se objasniti kroz stilsku analizu djela trojice umjetnika: Edouarda Maneta, Edgara Degasa i Vincenta Van Gogha, na čijim djelima se vidi različita interpretacija Ukiyo-e grafika. This paper studies the social and historical context of Japan during the Edo period, i.e. between 1603. and 1867. The greatest attention is given to the concept of Ukiyo-e, which arose as a result of the change in the social and political structure of the Empire. It's origin and meaning are explained through the paper, as well as the development of artistic techniques and motifs. The importance of Ukiyo-e painting for the art of Japan is summed up through the styles of the two most important artists of the period, Hokusai and Hiroshige. Furthermore, it explains how and why various objects and works of art were transferred from Japan to France and their great role in the formation of new painting methods and styles by important French artists of the second half of the 19th century. This influence will be explained through a stylistic analysis from the works of three artists: Edouard Manet, Edgar Degas and Vincent Van Gogh, whose works show different interpretations of Ukiyo-e prints.

This study explores the evolution of the manufacturing process of artificial arsenic sulfide pigments in Edo-period Japan through the analysis of three impressions of the same print dated from the 1830s and attributed to Katsushika Hokusai (1760–1849), and one from 1852 and attributed to Utagawa Kunisada (1786–1865). Colorants in the yellow and green areas of the four prints were investigated by means of non-invasive and microanalytical techniques such as optical microscopy, fiber optic reflectance spectroscopy and Raman spectroscopy. While the pigments in the green and yellow areas are similar throughout the set of prints—Prussian blue, indigo (for the Hokusai prints) and orpiment were identified—optical microscopy and Raman spectroscopy highlighted some variations in the orpiment used in the green areas of the prints. Two of the Hokusai prints present bright yellow particles of larger size and lamellar morphology, identified by Raman spectroscopy as natural orpiment. The third print presents an admixture of bright yellow natural orpiment particles with a smaller number of orange-yellow particles shown by Raman to be partially amorphous arsenic sulfide. Small bright yellow particles identified as fully amorphous arsenic sulfide pigments by Raman were found throughout the green areas of the Kunisada print. Although supported by Japanese historical sources, local production of artificial arsenic sulfide in the early nineteenth century was not previously documented. The simultaneous presence of both crystalline and amorphous domains in a single pigment particle in some of the Hokusai prints suggests that natural orpiment was used as primary source of arsenic for the production of a low grade artificial pigment. The pigment found in the Kunisada print, by contrast, was obtained from arsenic oxide (or arsenolite) and sulfur though a dry-process synthesis, as shown by the sulfur excess, signs of heat treatments and fully amorphous nature of the pigment. These findings set the earliest dates for both the ore sublimation process and the arsenolite dry process, and are of foremost importance to understand the evolution of the amorphous arsenic sulfide production in Edo-period Japan and its introduction in the palette of Japanese woodblock prints.

This study combines scientific and connoisseurship approaches to establish a production chronology of 141 woodblock prints from Katsushika Hokusai’s series Thirty-Six Views of Mount Fuji belonging to different cultural institutions in Europe and the United States. In order to create this chronology, the reflectance spectroscopy (FORS) signature of the indigo/Prussian blue mixture of the key-block printed outlines was measured and compared using multivariate data analysis. This approach yielded 9 clusters of prints, each one presenting slightly different FORS features, and therefore, different Prussian blue/indigo mixtures. The connoisseurship approach was then applied to impressions of the same print found across the 9 clusters. This allowed for arrangement of the clustered prints according to their production time, resulting in a comprehensive timeline for the 141 prints examined. To date, this work represents the only systematic study of such a large corpus of Japanese/Hokusai woodblock prints integrating chemical analysis and statistical treatment of data with careful visual examination of the prints. The result is a novel approach to creating a chronology for these objects. Our study easily differentiated between early nineteenth and early twentieth century prints as well as between various printing batches/clusters. Creating a chronology of such an important print series is also crucial to understand the evolution of artist and printing studio practices in late nineteenth-century Japan, a period of great economic and cultural changes.

The AHRC-funded research project “Late Hokusai: Thought, Technique, Society”, which took place at the British Museum and SOAS, University of London between April 2016 and March 2019, investigated the later years of Japanese artist Katsushika Hokusai (1760-1849). The project wanted to understand how Hokusai’s context influenced his artworks, and was interested in how digital methodology can support understanding implicit connections and trends between the artist and his society, faith and technological setting. Using semantic web tools, it therefore developed a knowledge graph prototype. The graph connects XML-derived bilingual source records from institutional participants with relevant data on people, events or spatio-temporal coordinates. Semantic relationships between these entities are documented as CIDOC CRM conceptual models that the research project refined as part of its activities. Issues arising when linking values from records in different source languages, and the demands of a multilingual user interface created from this source data, bring the status quo of noting and processing multilingual information in museum repositories into question. Reflecting on the learning curve of the research project, the paper revisits the implications of using Japanese-English collection databases as source records. It explains how semantic mapping challenges existing practices of noting and processing information; gives a rationale for prioritizing one language and script in a multilingual collaborative space like Hokusai ResearchSpace; and imagines how an ideal bilingual knowledge base for Hokusai research would function. By discussing the preconditions for researching and presenting content multilingually online, the paper aims to enrich a tacit knowledge base of NLS practitioners working with multilingual and multicultural environments. A detailed publication will follow.

espanolEn el presente articulo se trata el impacto de Hokusai en Espana a traves de las publica-ciones periodicas en el ultimo tercio del siglo XIX y primeras decadas del siglo XX coincidiendo con los periodos japoneses Meiji (1868-1912) y Taishō (1912-1926), epoca en la que el arte japones y el fenomeno del japonismo se encontraban en pleno auge. El impacto de Hokusai en nuestro pais a traves de las publicaciones periodicas no fue tan importante como el que se produjo en otras naciones occidentales que tuvieron en esta epoca vinculos mas estrechos con Japon y donde el coleccionismo de arte japones (en especial de grabados ukiyo-e) fue mas notorio. No obstante, tanto en revistas ilustradas como en buena parte de los periodicos nacionales y locales espanoles se hicieron eco de la importancia de este destacado artista japones proporcionando noticias sobre su vida y su obra, ademas de brindar informaciones sobre su influencia en otros artistas y sobre el coleccionismo de sus obras. De esta forma el conocimiento tanto de Hokusai como de su obra gozo de una notable difusion alcanzando todos los estratos de la sociedad y presentando un gran calado. EnglishThis article analyzes the impact of Hokusai in Spain as reflected in periodic publications du-ring the last third of the nineteenth century and the first decades of the twentieth century which coinci-ded with the Meiji (1868-1912) and Taishō (1912-1926) periods in Japan. It was the heyday of Japanese art and the phenomenon of japonism. The impact of Hokusai in Spain as seen in these periodic publica-tions was not as major as that witnessed in other western nations which had closer ties with Japan and where the collection of Japanese art (especially of ukiyo-e prints) was more important. Nevertheless, the importance of Hokusai as a prominent Japanese artist was in fact echoed in illustrated magazines, and in a great part of national and local newspapers of Spain. These published news regarding his life and his work, in addition to offering information about his influence on other artists as well as reporting the collecting of his works. In this way the knowledge of both Hokusai and his work enjoyed a remar-kable diffusion reaching all strata of Spanish society indicating the amplitude of his influence.Keywords: Japan, japonism, Spain, Hokusai, press.

This article analyzes the impact of Hokusai in Spain as reflected in periodic publications during the last third of the nineteenth century and the first decades of the twentieth century which coincided with the Meiji (1868-1912) and Taishō (1912-1926) periods in Japan. It was the heyday of Japanese art and the phenomenon of japonism. The impact of Hokusai in Spain as seen in these periodic publications was not as major as that witnessed in other western nations which had closer ties with Japan and where the collection of Japanese art (especially of ukiyo-e prints) was more important. Nevertheless, the importance of Hokusai as a prominent Japanese artist was in fact echoed in illustrated magazines, and in a great part of national and local newspapers of Spain. These published news regarding his life and his work, in addition to offering information about his influence on other artists as well as reporting the collecting of his works. In this way the knowledge of both Hokusai and his work enjoyed a remarkable diffusion reaching all strata of Spanish society indicating the amplitude of his influence. En el presente artículo se trata el impacto de Hokusai en España a través de las publicaciones periódicas en el último tercio del siglo XIX y primeras décadas del siglo XX coincidiendo con los periodos japoneses Meiji (1868-1912) y Taishō (1912-1926), época en la que el arte japonés y el fenómeno del japonismo se encontraban en pleno auge. El impacto de Hokusai en nuestro país a través de las publicaciones periódicas no fue tan importante como el que se produjo en otras naciones occidentales que tuvieron en esta época vínculos más estrechos con Japón y donde el coleccionismo de arte japonés (en especial de grabados ukiyo-e) fue más importante. No obstante, tanto en revistas ilustradas como en buena parte de los periódicos nacionales y locales de nuestro país se hicieron eco de la importancia de este destacado artista japonés proporcionando noticias sobre su vida y su obra, además de brindar informaciones sobre su influencia en otros artistas y sobre el coleccionismo de sus obras. De esta forma el conocimiento tanto de Hokusai como de su obra gozó de una notable difusión alcanzando todos los estratos de la sociedad y presentando un importante calado.

The personality of Shitao (1642-1707), Chinese painter active during the beginning of Qing dynasty, deserves to be figured out by the comparison of his own particular life, his artistic work, – above all in the phase of its full utterance, – and the philosophical thoughts that he has revealed in his Dialogues on painting. By the union of all these features, Shitao has laid down a link between the «one-brushstroke» and the holistic fusion of his Spirit with Nature., La personalità di Shitao (1642-1707), pittore cinese attivo durante l’inizio della dinastia Qing, merita di essere compresa nella comparazione della sua particolare vita, del suo lavoro artistico – soprattutto nella fase di piena espressione, – e dei pensieri filosofici che ha rivelato nei suoi Discorsi sulla pittura. A partire dall’unione di questi fattori, Shitao stesso stabilì un legame tra l’«unico tratto di pennello» e l’olistica fusione del suo spirito con la natura.

The personality of Shitao (1642-1707), Chinese painter active during the beginning of Qing dynasty, deserves to be figured out by the comparison of his own particular life, his artistic work, – above all in the phase of its full utterance, – and the philosophical thoughts that he has revealed in his Dialogues on painting. By the union of all these features, Shitao has laid down a link between the «one-brushstroke» and the holistic fusion of his Spirit with Nature.

In seinen frühesten Experimenten mit Prismen (1665) hat der junge Newton die Kantenspektren entdeckt, die er in seiner Theorie des Lichts und der Farben (1672) unter den Tisch fallen ließ, weil er sie für ein zusammengesetztes Phänomen hielt; im Rahmen seiner Theorie ist das stringent. In Goethes Newtonkritik (1791; 1810) nehmen sie eine experimentelle Schlüsselrolle ein. Ihre Farben erscheinen dem menschlichen Auge wesentlich sauberer als Newtons Vollspektrum; das fällt besonders beim Gelb auf. Dies unbestreitbare phänomenologische Faktum hat Goethes Kritik an Newtons Theorie nicht genützt. Spielen die Farben der Kantenspektren vielleicht in der Malerei eine wichtige Rolle? Trotz Goethes Prominenz unter den Künstlern – Fehlanzeige in der Europäischen Malerei. Erstaunlicherweise tauchen die Kantenspektren in den Himmelsfarben bei Hokusai und Hiroshige auf (ab 1830). In Hokusais Holzschnitten wird der sonst weiße Himmel am oberen Bildrand regelmäßig durch das blau/türkise Kantenspektrum angedeutet (und zwar farblich und geometrisch akkurat); bei Hiroshige tritt zu diesem Farbenpaar oft noch das rot/gelbe Kantenspektrum hinzu (manchmal in akkuraten Farben, manchmal farblich verzerrt – aber geometrisch wiederum akkurat). Da Japan in der fraglichen Zeit von europäischer Kultur zwar nicht perfekt, aber doch stark abgeschottet war, müssen die Japaner die Kantenspektren neu entdeckt haben – mit künstlerischen Mitteln, nicht mit wissenschaftlichen; sie hatten seinerzeit keine Prismen, und die Kantenspektren zeigen sich nicht von allein in der freien Natur. Nötigten vielleicht die Pigmente zum Holzschnittdruck den Künstler dazu, mit Kantenspektren aufzuwarten? Diese Spur führt weiter – bis in die Berliner Alchemistenszene des frühen Achtzehnten Jahrhunderts: Dort wurde das Berliner Blau entdeckt, das die Japanischen Künstler trotz der starken Abschottung in großen Quantitäten einsetzten – ein magisches Pigment. In his earliest prismatic experiments (1665), the young Newton discovered the two border spectra (black-blue-turquoise/cyan-white; white-yellow-red-black). Newton chose to ignore them in his celebrated theory of light and colours (1672), as he took them to be derivative phenomena. In Goethe's Beyträge zur Optik (1791) and in his Farbenlehre (1808/10), they regained prominent attention. To the human eye, their colours appear much cleaner than the colours of Newton's spectra – particularly in the case of yellow and turquoise. This undeniable phenomenological fact, however, has not added strength to Goethe's attack on Newton's theory. Are, then, the border spectra perhaps prominent in the art of painting? Not in European art. But they make a surprise appearance in the art of Japanese ukiyo-e. Many of Hokusai's and Hiroshige's prints have skies with the colour sequence black-blue-turquoise-white, arranged in parallel stripes. I find this remarkable, for it is a combination of colours that exactly matches one of the two border spectra. With such a precise geometrical arrangement, it occurs only in quite specific prismatic experiments and not outside the lab. At that time, Japan was isolated from European influences. Were the border spectra discovered for a second time? That is one of the questions I want to raise in my paper. I will end the paper with a few remarks on the aesthetical effects of those colours in ukiyo-e woodblock prints. Not Reviewed

The supposition that the Japanese printmaker Hokusai intended to represent a tsunami in his print of the “Great Wave at Kanagawa” is unfounded and the use of his “Great Wave” as a tsunami icon gives a false impression of the nature of tsunami waves.

Japonizmas (japonisme) buvo viena iš Europos XIX a. pab. – XX a. pr. estetikos srovių, tiesiogiai inspiruota Japonijos meno ir kultūros. Pirmą kartą japonizmo terminas panaudotas 1872 m. Prancūzijoje, ir nuo to laiko ši meno srovė yra atskiriama nuo kito termino – japoniškumo (japonaiserie), reiškiančio europiečių įsivaizdavimą apie japonų madą (aprangą) ir buitį. Japonizmas turėjo didelę įtaką Vakarų menininkams, privertęs permąstyti tradicinį pasaulio matymą. Lenkijoje japonų menas pirmą kartą buvo pristatytas Felikso Jasieńskio (1861–1929), kuris gyveno Paryžiuje nuo 1880 m. vidurio ir kur pirmą kartą pamatė ir susižavėjo Japonijos menu. Net ir grįžęs į Lenkiją apie 1890 m. jis toliau kolekcionavo Rytų šalių meną, ir galiausiai jo kolekcija pasiekė 15000 vienetų, tarp kurių buvo 6000 eksponatų iš Japonijos. Daugelis Jaunosios Lenkijos (Młoda Polska) judėjimo narių studijavo užsienyje ir žavėjosi Japonizmo estetika bei patys tapė „japoniškus“ paveikslus. 1890-ųjų pabaigoje japonizmas taip pat sužavėjo Rusijos menininkus. Panašiai kaip Jasieńskis Lenkijoje, Rusijoje taip pat buvo aistringas Japonijos meno kolekcionierius ir jūrų karininkas Sergejus Kitajevas (1864–1927). Pagal pareigas jis turėjo galimybę kelis kartus aplankyti Japoniją 1885–1896 m., kur surinko per 6000 meno eksponatų. Būtent jo kolekcijos parodų metu rusų menininkai turėjo galimybę tiesiogiai susipažinti su Japonijos menu. Dailininkai Igoris Grabaris (1871–1960) ir Mstislavas Dobužinskis (1875–1957) studijavo Miunchene ir taip pat tapo dideli Japonijos meno gerbėjai. Grįžę į Rusiją jie tapo aktyviais Meno pasaulio (Mir iskusstva) draugijos nariais, ir japonizmas čia tapo vienu ryškiausių skiriamuoju grupės meninių bruožų. Lietuvių kompozitoriui ir dailininkui M. K. Čiurlioniui (1875–1911) japonizmas taip pat nebuvo svetimas. Jis gyveno tuo metu, kai Europoje ši meno srovė pasiekė piką. Čiurlionis studijavo muziką ir dailę Varšuvoje ir taip pat kompoziciją Leipcigo konservatorijoje. 1906 m. jis aplankė Prahą, Dresdeną, Niurnbergą, Miuncheną ir Vieną, kur japonizmas vis dar buvo labai populiarus. Po kelių metų jis išvyko į Sankt Peterburgą, kur susitiko su rusų menininkais. Nors jis niekada nesilankė Londone ar Paryžiuje, tačiau jis turėjo daug progų tiesiogiai ar netiesiogiai susipažinti su Japonijos menu. Straipsnyje bus apžvelgta japonizmo įtaka Čiurlionio tapybai, ypač sąryšiai su Hiroshige ir Hokusai ukiyo-e (medžio raižiniai) stiliaus darbais. Garsusis Hokusai ukiyo-e darbas „Didžioji Kanagava banga“ paveikė daugelį Europos ir Rusijos menininkų. Kaip jie ir Čiurlionis absorbavo ukiyo-e estetiką savo darbuose ir bus stengiamasi atskleisti šiame straipsnyje. "Japonisme" was the aesthetic trend inspired by Japanese art and culture in the late 19th and early 20th century Europe. The term was used for the first time in 1872 in France, and was thenceforth often distinguished from japonaiserie, European imagery of Japanese fashion and objects. "Japonisme" had a strong impact on Western artists, challenging their traditional way of seeing. In this paper, the reception of "Japonisme" from the late 19th to the early 20th century Europe will be examined, followed by consideration of how it was imported into Poland and Russia through Polish and Russian art students absorbing the style during their studies in Paris, London, Munich and Vienna. The paper will also examine how the aesthetics of "Japonisme" were taken into art of Čiurlionis. Finally, by using Hokusai’s ukiyo-e (woodcut prints) of "The Great Wave off Kanagawa" as an example, the influence of the ukiyo-e on the works of painters throughout Europe and Russia will be considered with Čiurlionis’ painting of "Finale" from Sonata of the Sea.

International audience

The Hokusai woodcut entitled The great wave off Kanagawa has been interpreted as an unusually large storm wave, likely to be classed as a rogue wave, and possibly generated from nonlinear wave dynamics (J. H. E. Cartwright and H. Nakamura, Notes Rec. R. Soc. 63 , 119–135 (2009)). In this paper, we present a complementary discussion of this hypothesis, discussing in particular how linear and nonlinear mechanisms can both contribute to the emergence of rogue wave events. By making reference to the Great wave 's simultaneous transverse and longitudinal localization, we show that the purely linear mechanism of directional focusing also predicts characteristics consistent with those of the Great wave . In addition, we discuss the properties of a particular rogue wave photographed on the open ocean in sub-Antarctic waters, which shows two-dimensional localization and breaking dynamics remarkably similar to Hokusai's depiction in the woodcut.

International audience; The implementation of mass education in Japan during the Meiji period (1868-1912) led to the publication of a considerable amount of educational material meant to be used at school and at home. The papers concentrates on two little books by Kunitoshi and Kunioto published in 1893, that make extensive use of a technique called moji-e Moji-e amounts to creating images with a few kanji or kana, and was extremely popular through the Edo period (1603-1868). Throughout its history, it was mostly seen as playful. Yet, the paper suggests that its relationship with children's culture and the teaching of drawing may have made it easier to use it for a new educational purpose, namely the teaching of writing, during the Meiji era.; La mise en place d'un système éducatif de masse au Japon au cours de l'ère Meiji (1868-1912) suscita la multiplication de publications pédagogiques, destinées au cadre scolaire aussi bien que domestique. L'article s'intéresse à deux petits ouvrages de Kunitoshi et Kunioto publiés en 1893, qui font un usage explicitement didactique d'un procédé appelé moji-e. Le moji-e, qui permet de constuire des image (e) à l'aide de caractères d'écriture (moji), connut une fortune importante à l'époque d'Edo (1603-1868). Tout au long de son histoire, il fut essentiellement considéré comme un procédé ludique. L'article suggère toutefois que ses liens avec la culture enfantine et avec l'apprentissage du dessin ont pu faciliter son utilisation au service d'un nouveau projet éducatif, en l'occurrence l'apprentissage de l'écriture, au cours de l'ère Meiji.

Orient, Occident, érotisme ou pornographie ? La morale chrétienne de l’Europe n’y a permis qu’une production très limitée d’images érotiques et ceci dans la clandestinité. Par contre, le Japon non chrétien n’a jamais eu de barrières morales similaires. Le sexe n’y est pas associé à l’idée du péché mais plutôt à l’idée de plaisir, d’amusement . En conséquence un art érotique très sophistiqué s’y est développé avec les Shunga, gravures de style ukiyo-e . Le mot Shunga signifie littéralement : "image du printemps", un euphémisme faisant référence à l'acte sexuel. La censure n’a pourtant pas épargné les Shunga. Nous en cernerons les raisons au fil de l’histoire du Japon, images à l’appui…Intervenant(s) :. Kuniko UEMURA - Université Konan, Kobe, Japon - Professeur

Fonds audiovisuel du programme "ESCoM-AAR" (Equipe Sémiotique Cognitive et nouveaux Médias - Archives Audiovisuelles de la Recherche. Paris, France, 2000 - 2016).; Orient, Occident, érotisme ou pornographie ? La morale chrétienne de l’Europe n’y a permis qu’une production très limitée d’images érotiques et ceci dans la clandestinité. Par contre, le Japon non chrétien n’a jamais eu de barrières morales similaires. Le sexe n’y est pas associé à l’idée du péché mais plutôt à l’idée de plaisir, d’amusement . En conséquence un art érotique très sophistiqué s’y est développé avec les Shunga, gravures de style ukiyo-e . Le mot Shunga signifie littéralement : "image du printemps", un euphémisme faisant référence à l'acte sexuel. La censure n’a pourtant pas épargné les Shunga. Nous en cernerons les raisons au fil de l’histoire du Japon, images à l’appui…Intervenant(s) :. Kuniko UEMURA - Université Konan, Kobe, Japon - Professeur

The paper discusses one of the uses of the moji-e (" image made from written characters ") during the Edo period (1603-1867): their introduction as an educational method in the teaching of drawing. Focusing on a corpus of moji-e rarely studied by Hokusai and Hiroshige (graffiti, drawing textbooks and poems), it shows how the written character becomes a structural element of the drawing in the works of the two artists, and comes back to it iconic origins., L'artiste s'intéresse à l'un des usages des moji-e (" images en écriture ") à l'époque d'Edo (1603-1867) : leur introduction comme outil pédagogique dans l'apprentissage du dessin. A partir d'un corpus encore largement méconnu de moji-e de Hokusai et Hiroshige constitué de graffitis, de manuels de dessins et de poèmes, il montre comment, chez ces deux artistes, l'écriture devient un élément structurel du dessin et renoue avec ses origines iconiques.

International audience; The Hokusai (H05) quadrangle is in Mercury's northern mid-latitudes (0-90°E, 22.5-65°N) and covers almost 5 million km 2 , or 6.5%, of the planet's surface. We have used data from the MESSENGER spacecraft to make the first geological map of H05. Linework was digitized at 1:400,000-scale for final presentation at 1:3,000,000-scale, mainly using a ∼166 m/pixel monochrome basemap. Three major photogeologic units of regional extent were mapped: intercrater, intermediate, and smooth plains. Materials of craters ≥ 20 km in diameter were classified according to their degradation state. Two classification schemes were employed in parallel, one with three classes and the other with five classes, for compatibility with existing MESSENGER-era quadrangle maps and the first global geologic map. This map will provide science context and targets for the ESA-JAXA BepiColombo mission to Mercury.