Bettyy .S Iffert. “The Art Institute of Chicago Collection of Kimono Pattern Books” The Art Institute of Chicago. 18, No. 1, (1992) 86-94+103
This is a collection of Kimono pattern books illustrating how basic and traditional motifs can be modified and altered to inspire a variety of great designs. The sources features at the very end instructions based on basic geometry of the many designs featured in the book. The instructions have a deep historical significance. They could have been employed in a variety of visual arts. They could also have been modified for practical purposes like creating merchant signs. The source also contains a wide assortment of designs for textiles kanji characters, borders and crests. Various outlines for the Kimono are also featured in the book.
The many graphic details in the book offer pictorial representations of the Kimono. They offer a different perspective in conceptualizing Kimono especially for those from outside the culture. The text is significant because it offers a lens through which an individual can look into the Japanese culture. The book also provides an in-depth analysis of the art that preceded the Kimono. This gives a perspective of the evolution of Kimono. The source is of importance to the current research because it delves into the history of art in the Asian continent and in particular Japan. The author of the books alludes to work from other scholars in the field in order to give his work credibility. This not only gives the reader confidence in his work, but also offers a different perspective from the other authors that can be used to critique the work. From the book, I not only learn the history of Kimono, the Japanese art, but also the work of other artists on the earlier years.
Martin, Richard. “Our Kimono Mind: Reflections on 'Japanese Design: A Survey since 1950” Journal of Design History, 8, No. 3 (1995), 215-223
The book tries to understand Japan by deciphering the metaphor of the Kimono that the westerner must feel towards Japan in an indescribable way. The author of the text is ingenious in a way of thought by using apparel as a noteworthy way of expression. From the text, you get the feeling that even if Japan has probably moved past the Kimono, more intellectual and other qualities that are associated with the Japanese dressing convince the West that at any other time before. The text offers a chronological account of the history of the kimono mind. The text outlines the contribution that Japan has had on the European and American fashion over the twentieth century. Through the text, I am able to see the contemporary perspective that the kimono has in the global fashion scene.
Although most of the message in the text is written theoretically, the author also incorporates graphics in order to accentuate his message. For instance, the graphic images of models donning Japanese fashion items goes on to show the degree to which the Kimono mind has infiltrated into the global fashion scene. It also shows that the perspective is a force to in the fashion world. The author also reveals the different approaches that Japanese designers have towards the human body compared to the western designers. He further explains the implications this has on the fashion items that are designed. From this, I learn that the Kimono ideology has come of age and is widely embraced globally hence attracted the keen eyes of different scholars. The themes in the book resonate very well with my research because they complement the various personality traits that the kimono art helps accentuate in the different individuals who don it. For instance, different colors incorporated into the art show certain traits of individuals.
Gluckman, D. Carolyn, and Sadako, S. Taked ,”When Art Became Fashion: Kosode in Edo- Period Japan” Journal of Japanese Studies, 20, No. 2 (1994), 518-522
This is a catalogue of a display that was organized by the Los Angeles County Museum of Art together with Tokyo National Museum and National Museum of Japanese History. The scope of the catalogue is very ambitious. The catalogue does not only discuss the Kosode, a small-sleeved cloth that was worn by people of all classes during the Edo but also discusses paintings that illustrate the assortment styles of attire that were common during the period. the catalogue has a collection of essays that touch on various aspects of the stylistic and technical evolution that is kosode. The authors of the catalogue provide a general look into the subject. However, Nagasaki delves into the correlation between the growth of hiinagata-bon and kosode. I cannot underscore the importance of this publication in tracing the changes in tastes and preferences between the producer and the consumer.
Another essay in the catalogue illuminates the different aspects of the relationship between other forms of art and kosode. The art of Kosode has influence many painters to use cityscapes, landscapes and other subjects as motifs. The influence of the art in other painting formats like screens, wall hangings, and fans did not escape the author of the catalogue. From the text, I learn of the blend between reality and fiction that is a characteristic of the Edo paintings. I also gather from the text that there is immense interrelatedness of the pictorial, literary and calligraphic art during the Edo period. As expressed in my proposal, the author of the text agrees that learning more about other arts helps one appreciate the different levels of meaning personified by the different patterns and colors employed in kimono. The text is written in way that appeals to both scholarly and non-scholarly readers hence passes its message effectively across the spectrum.
Lancaster, Clay. “Oriental Contributions to Art Nouveau” The Art Bulletin, 34, No. 4 (1952), 297-310
Before diving into the intricacies of art nouveau, the author offers a glimpse into the history of art leading to the phenomenon. The article does not dwell so much on paintings but other fields of decorative arts from the late 1800s to early 1900s. The concept of art nouveau was very well connected with new developments in the fields of fine art, at times borrowing and lending ideas and artists between the two fields. The article explains the origins and the concept of art nouveau. According to Lancaster, art nouveau was initially a form of protest against eclectism. Inasmuch as it never matured enough to be codified, it did not rise and strictly speaking become a style. This contrasts sharply with kimono that has become a globally recognized style. This will give my research a theme of contrast and further go ahead to hypothesize on the possible reasons as to why art nouveau did not mature into a style.
However, the author of the article cautions that although art nouveau did not materialize into a style, it has defining and conspicuous characteristics. One of the defining characteristics of art nouveau is the kinetic nature embodied by the living quality and the organic nature stressed in the art. The author also compares art nouveau to other styles of art. This offers a platform for contrast thereby generating a wide base of knowledge. For instance, it is of importance to know what about art nouveau that is not the same about other styles of art. It is also significant to know whether this trait is probably responsible for it shying off from becoming a style. Finally, the author also compares art nouveau to kimono. This is especially significant for me because it offers rich information to spruce up my proposal. Even though it is majorly on the Japanese art, comparing and contrasting the art with other styles of art from elsewhere helps puncture holes into some of the styles solid foundations.