Color woodblock prints vibrantly convey the popular urban culture of eighteenth- and nineteenth-century Edo, now called Tokyo. In a book that brings together two of Edo's most colorful traditions, prints and kites, John Stevenson celebrates the charm and significance of the mass-produced but often elegant broadsheets known as ukiyo-e. The term means "pictures of the floating world," a pun on a Buddhist concept of the fleeting world of desires that is, coincidentally but poetically, appropriate for a study of kites borne on the wind. Edo artists experimented with woodblock-printing techniques during the eighteenth century as kite-flying became increasingly popular. Each influenced the other: kite-makers copied woodblock-print designs to decorate their creations of bamboo, cloth, and paper, and printers used images of kites in their designs. The prints from the Skinner Collection illustrated in this book are products of Tokugawa Edo (1603-1867) and Meiji Tokyo (1868-1912). They record highlights of the Kabuki theater, brothels, and Sumo wrestling, enthusiastically presenting star actors and celebrity courtesans and vignettes of everyday life. These images capture for us the character of life as it was lived and imagined by the printmakers and kite-fliers of Old Japan. It seems that everyone thrills to the sight of a kite straining upward into the sky, and woodblock prints are perhaps the most accessible form of traditional Japanese visual culture; kite aficionados and lovers of Japanese art alike will be delighted by this study.

The first book ever to present a clear guide to making 15 traditional Japanese kites unique in color and shape. Also introduces the history and the artistry of Japanses kites.

Numata Kashû's wonderfully lifelike images of birds and flowers first appeared in a three-volume, 1883 portfolio. His woodblock prints were so popular that dealers sold them individually, destroying most complete sets. A collector's delight, this exquisite edition reprints a 1930s facsimile, alive with 150 color illustrations of the highest quality.

Taisō Yoshitoshi (1839-1892) was fascinated by the supernatural, and some of his best work concerns ghosts, monsters, and charming animal transmutations. Yoshitoshi's strange tales presents two series (with full page illustrations) that focus on his depictions of the weird and magical world of the transformed. The first series is One Hundred Tales of Japan and China (Wakan hyaku monogatari, 1865) and it is based on a game in which people told short scary ghost tales in a darkened room, extinguishing a candle as each tale ended. New Forms of Thirty-six Strange Things (Shinken sanjūrokkaisen) of 1889-92 illustrates stories from Japan's rich heritage of legends in more serene and objective ways.

In the West, Japanese woodblock printing tends to be associated with the ukiyo-e tradition and the familiar portrayals of kabuki actors or courtesan beauties. These well-known images were produced by a publisher and artist using the extraordinary skills of carvers and printers, whose identities are rarely known. The same craftsmen also produced woodblock-printed objects for use in everyday life such as decorative paper (chiyogami), votive slips (senjafuda), playing cards (karuta), and board games (sugoroku). As the market changed in the late nineteenth century, the craftsmen increasingly turned to the production of these low-value, essentially ephemeral objects. Although the prices were kept low, many were imbued with the same glorious visual sophistication that had attracted Westerners to ukiyo-e. Approaching the subject as an artist rather than a print scholar, Rebecca Salter focuses on the craftsmen and the complex visual culture within which they worked. Through information gained from interviews with some of the remaining practitioners and analysis of the objects themselves, she builds up a picture of the quiet role woodblock played in the lives of the Japanese as they moved from the isolation of the Edo period to embrace modernization in the early twentieth century. This book is a fascinating exploration of this area of cultural history and the numerous color illustrations encourage a playful investigation of the many threads of Japan’s visual culture. Rebecca Salter is a well-known British printmaker. She lived in Japan for six years and is an acknowledged authority on Japanese woodblock printing. She is the author of Japanese Woodblock Printing.

Kids will learn how to make colorful kites while exploring Asian culture and history with this easy-to-follow craft book for kids. Fun to build and exciting to fly, kites are a universal expression of joy and wonder for enthusiasts of all ages. Asian Kites for Kids features kite building projects that are beautiful and functional--ideal for teachers, camp counselors, parents, and budding young kite makers themselves. Kite making is a traditional Asian craft and an essential aspect of folklore that uses everyday materials to create beautiful works of art. In fact, kites are just as much fun to build as they are to fly! The colorful, easy-to-follow instructions will have readers building and flying fifteen different models from across Asia, including China, Japan, Malaysia, Thailand, and Korea. With Asian Kites for Kids readers will learn to build: A Butterfly kite from China A Cobra kite from Thailand A Mini kite from Malaysia A Shield kite from Korea An Octopus kite from Japan and much more! This book includes sections on safety, the anatomy of kites, troubleshooting tips, as well as an index of online retailers and resources. Spend hours of fun with your kids and friends crafting handmade Asian kites, and then watching your original creations soar.

Japanese woodblock prints, or ukiyo-e, are the most recognizable Japanese art form. Their massive popularity has spread from Japan to be embraced by a worldwide audience. Covering the period from the beginning of the Japanese woodblock print in the 1680s until the year 1900, Japanese Woodblock Prints provides a detailed survey of all the famous ukiyo-e artists, along with over 500 full-color prints. Unlike previous examinations of this art form, Japanese Woodblock Prints includes detailed histories of the publishers of woodblock prints--who were often the driving force determining which prints, and therefore which artists, would make it into mass circulation for a chance at critical and popular success. Invaluable as a guide for ukiyo-e enthusiasts looking for detailed information about their favorite Japanese woodblock print artists and prints, it is also an ideal introduction for newcomers to the world of the woodblock print. This lavishly illustrated book will be a valued addition to the libraries of scholars, as well as the general art enthusiast.

"Our camp, they tell us, is now to be called a 'relocation center' and not a 'concentration camp.' We are internees, not prisoners. Here's the truth: I am now a non-alien, stripped of my constitutional rights. I am a prisoner in a concentration camp in my own country. I sleep on a canvas cot under which is a suitcase with my life's belongings: a change of clothes, underwear, a notebook and pencil. Why?"—Kiyo Sato In 1941 Kiyo Sato and her eight younger siblings lived with their parents on a small farm near Sacramento, California, where they grew strawberries, nuts, and other crops. Kiyo had started college the year before when she was eighteen, and her eldest brother, Seiji, would soon join the US Army. The younger children attended school and worked on the farm after class and on Saturday. On Sunday, they went to church. The Satos were an ordinary American family. Until they weren't. On December 7, 1941, Japan bombed the US naval base at Pearl Harbor, Hawaii. The next day, US president Franklin Roosevelt declared war on Japan and the United States officially entered World War II. Soon after, in February and March 1942, Roosevelt signed two executive orders which paved the way for the military to round up all Japanese Americans living on the West Coast and incarcerate them in isolated internment camps for the duration of the war. Kiyo and her family were among the nearly 120,000 internees. In this moving account, Sato and Goldsmith tell the story of the internment years, describing why the internment happened and how it impacted Kiyo and her family. They also discuss the ways in which Kiyo has used her experience to educate other Americans about their history, to promote inclusion, and to fight against similar injustices. Hers is a powerful, relevant, and inspiring story to tell on the 75th anniversary of the end of World War II.

An interdisciplinary exploration into the history of kite making and flying.

A CARP FOR KIMIKO is the story of a young girl's struggle against the strong current of tradition. Every year on Children's Day in Japan a kite in the shape of a carp is flown for each boy in the family. Kimiko is a little girl who desperately wants an orange, black, and white calico carp kite of her own to fly on this holiday. Kimiko's parents remind her that there is a holiday just for girls?Doll's Festival Day, but this does not stop Kimiko from dreaming about and wishing for her very own carp. The magical ending achieves the impossible?Kimiko gets what she longs for without breaking tradition. Katherine Roundtree's beautiful illustrations evoke the wonder and excitement of childhood, which will charm readers of all cultures.