A Thousand Cranes: Treasures of Japanese Art
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The Japanese crane, a most auspicious symbol in Japan, has figured importantly in Japanese culture and art since ancient times, appearing over the centuries in almost every possible medium as a universal sign of goodwill. The title "A Thousand Cranes" is a metaphor for the spiritual grace and dignity that imbue the ninety art objects and cultural relics described in this lavishly illustrated book.
Based on the Seattle Art Museum's world-renowned collection of Japanese art, this volume will enhance the reader's understanding of the cultural milieu in which these beautiful paintings, ceramics, lacquer ware, and screens were created. The engaging text discusses Japan's prehistoric period, highlights the classical taste of the Heian period, recapitulates the turbulent medieval and dynamic early modern periods, and educidates Buddhism's influence on Japanese art and culture.
pomegranate tree. “We’ll have to have that repaired,” he said to the maid. “Yes, sir.” Kikuji remembered that for some time the sound of falling water had bothered him on rainy nights. “But once we start making repairs, there’ll be no end to them. I ought to sell the place before it falls apart.” “People with big houses all seem to be saying that. The young lady yesterday was very surprised at the size of this house. She spoke as if she might live here some day.” The maid was telling him
seen quite so far myself, but a person who actually has a birthmark thinks of these things. From the day it was born it would drink there; and from the day it began to see, it would see that ugly mark on its mother’s breast. Its first impression of the world, its first impression of its mother, would be that ugly birthmark, and there the impression would be, through the child’s whole life.” “Oh? But isn’t that inventing worries?” “You could nurse it on cow’s milk, I suppose, or hire a wet
States by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published in Japan in hardcover as Sembazuru. First published in the United States in hardcover by Alfred A. Knopf, Inc., New York, in 1958. The Library of Congress has cataloged the Knopf edition as follows: Library of Congress Catalog Card Number: 59–6220 eISBN: 978-0-307-83366-2 Random House Web address: http://www.randomhouse.com/
handleless cup—here translated “bowl” because it is considerably larger than an ordinary teacup—adds powdered tea, and stirs with a bamboo whisk until an appropriate layer of foam has accumulated. The guest drinks according to a prescribed form and returns the bowl. That, on the surface, is all; but to the initiated the details of the cottage, the utensils, and the performance have given something more—perhaps only an impression of affluence, perhaps a sense of timelessness. THOUSAND CRANES
feel that he had been seduced. There had been no suggestion of resistance, on his part or the woman’s. There had been no qualms, he might have said. They had gone to an inn on the hill opposite the Engakuji, and they had had dinner, because she was still talking of Kikuji’s father. Kikuji did not have to listen. Indeed it was in a sense strange that he listened so quietly; but Mrs. Ota, evidently with no thought for the strangeness, seemed to plead her yearning for the past. Listening, Kikuji