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These modifications set the foundation of Japanese-style calligraphy (Wayō 和様, as opposed to Chinese-style calligraphy or Karayō 唐様), which was later refined by other two masters, Fujiwara no Sukemasa and Fujiwara no Yukinari. Wayō was accredited and practiced, as a pure Japanese art form, until the mid-19th century.
Fumio Asakura (朝倉 文夫, Asakura Fumio, March 1, 1883 – April 18, 1964) was a Western-style Japanese sculptor, known as the father of modern Japanese sculpture and referred to as the "Rodin of Japan". [1] He was a prolific artist, and his work spanned the Meiji, Taishō, and Shōwa periods of Japanese history. [2]
Mavo (often styled MaVo or MAVO) was a radical Japanese art movement of the 1920s. Founded in 1923, Mavo was productive during the late Taishō period (1912–26). Mavo re-instituted the Japanese Association of Futurist Artists, the anarchistic artist group who displayed an outdoor exhibit in Ueno Park in Tokyo in protest of conservatism in the ...
Japanese Modern Art Painting From 1910 . Edition Stemmle. ISBN 3-908161-85-1; Watson, William, The Great Japan Exhibition: Art of the Edo Period 1600-1868, 1981, Royal Academy of Arts/Weidenfeld & Nicolson; Momoyama, Japanese art in the age of grandeur. New York: The Metropolitan Museum of Art. 1975. ISBN 978-0-87099-125-7. Murase, Miyeko (2000).
Kajukenbo (Japanese: カジュケンボ) is a hybrid martial art from Hawaii. It was developed in the late 1940s and founded in 1947 in the Palama Settlement on Oahu, Territory of Hawaii. [4] Kajukenbo training incorporates a blend of striking, kicking, throwing, takedowns, joint locks and weapon disarmament. [3]
The terminology included may relate to prehistoric art of the Jomon and Yayoi periods, Japanese Buddhist art, nihonga techniques using sumi and other pigments and dyes, various artisan crafts such as lacquerware techniques, katana and swordmaking, temple, shrine, and castle architecture, carpentry terms, words relating to kimono making industry ...
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Noguchi was excited to have access to lesser-known sites of Japanese art and culture, and his own art reflected certain Japanese aesthetic qualities. Hasegawa felt that this enthusiasm for Japanese tradition displayed by Noguchi, a modern artist, helped legitimize his own belief in the convergence of Japanese tradition and modern art. [13]