EDITORIAL: Welcome to the second issue of Andon for the year 2021.

The first contribution of Andon 112 by Pauline Ayumi Ota examines the handscroll set Amusements of the four seasons of Kyoto, with paintings by Maruyama Ōkyo and inscriptions by Takahashi Munenao. Ota thoroughly investigates the hybridity of courtly traditions and more commonly embraced representations of life in Kyoto displayed in this scroll set.

Kenneth Dahlin illustrates the significant role Japanese woodblock prints had on Frank Lloyd Wright’s organic architecture. Dahlin explains the so-called miegakure effect by comparing Wright’s design with Edo period landscape prints.

André Kraayenga demonstrates how and to what extent the print artist Utagawa Yoshiiku copied and adapted visual sources from his teacher Kuniyoshi in his series Imayo nazorae Genji.

The concluding article brings us insights into a calligraphy in the Rijksmuseum, Amsterdam. Hori Sakiko uncovers new aspects about a calligraphic work from the former Tikotin collection and takes a closer look at how East Asian calligraphy was appreciated in Europe in the early 20th century.

The book review by John Fiorillo discusses a new publication by the print collector George Mann, highlighting the history and treasures of his print collection.

We hope you will enjoy reading the new contributions. We wish you all the best for the remaining days of this year, and a happy and healthy 2022.

The Poetry of Play: Hybridity in Amusements of the four seasons in Kyoto
Pauline Ayumi Ota
She examines the handscroll set Amusements of the four seasons of Kyoto, with paintings by Maruyama Ōkyo and inscriptions by Takahashi Munenao.

The Japanese Print as a Lens to Understanding Wright's Organic Space: The Miegakure Effect
Kenneth Dahlin
This article compares Wright’s designs with Edo-period landscape prints, in conjunction with Wright’s texts.

His Master's Voice: Echoes of Kuniyoshi in Yoshiiku's Imayo nazorae Genji
André Kraayenga
Showing to what extent the print artist Utagawa Yoshiiku copied and adapted visual sources from his teacher Kuniyoshi in his series Imayo nazorae Genji.

An intriguing work of Japanese calligraphy from the former Felix Tikotin collection in the Rijksmuseum, Amsterdam
Hori Sakiko
New aspects about a calligraphic work from the former Tikotin collection and takes a closer look at how East Asian calligraphy was appreciated in Europe in the early 20th century.

Book Review: Sixty Years with Japanese Prints by George Mann
John Fiorillo
On June 7, 1961, while visiting an art and artefacts shop run by Nagatani Toshizō in Chicago, George Mann purchased his first Japanese print for $100.

Search the Andon archive for more articles