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An in-depth exploration of the sometimes charming, sometimes gruesome feline creatures and ghosts of Japan. Davisson illuminates the vast realm of kaibyō, or supernatural cats, with historical and modern cultural context. Lushly illustrated in full colour with dozens of ukiyo-e prints and drawings. A must-have book for the Japanophile and cat-lover alike! First in a forthcoming series about the supernatural animals of Japan.

"Kaibyō: The Supernatural Cats of Japan is an extremely diverting and stunningly produced celebration of the phantom feline in its myriad of manifestations ― some alluring, others humorous and many outright terrifying. Award-winning translator, writer, lecturer, manga scholar, Japanese folklore expert and author of Yūrei: The Japanese Ghost, Zach Davisson is the ideal guide to this furred and fanged underworld. An expertly researched and engagingly penned text is embellished by the inclusion of an intriguing selection of uncanny cat tales by other authors and centuries’ old legends newly translated by Mr. Davisson. The publishers must be congratulated for creating a book of extraordinary lavishness. Although a paperback release, no expense has been spared in an exquisitely designed book brimming with a toothsome array of full-colour artwork reproductions."

― review by Scot D. Ryersson and Michael Orlando Yaccarino, co-authors of Infinite Variety: The Life and Legend of the Marchesa Casati and The Marchesa Casati: Portraits of a Muse

About the Author:

Zack Davisson is an award-winning translator, writer, and scholar of Japanese folklore and ghosts. He is the author of Yūrei: The Japanese Ghost (Chin Music Press), translator of Eisner Award-winning and Harvey-nominated Shigeru Mizuki’s Showa 1926-1939: A History of Japan, and a 2014 nominee of the Japanese-US Friendship Commission Translation Prize. Other translation works include the famous folklore comic Kitaro (Drawn and Quarterly) and the works of Satoshi Kon (Dark Horse).

An exploration of the rivalry between Kuniyoshi and Kunisada, two of the most popular Japanese ukiyo-e woodblock print artists of the nineteenth century, based on masterworks from the peerless Japanese art collection at the Museum of Fine Arts, Boston.

Rival ukiyo-e masters Kuniyoshi and Kunisada were the two most admired designers of figure prints in nineteenth-century Japan. Famous for the realism of his portraits of Kabuki actors, the sensuality of his beautiful women and the luxurious settings he imagined for historical scenes, Kunisada was the popular favourite during his lifetime. Kuniyoshi is loved by connoisseurs and collectors today for his dynamic action scenes of warriors and monsters (which foreshadowed present-day manga and anime), his comic prints, and even a few especially daring works that included forbidden political satire in disguise. With scores of illustrations in glorious full colour, this beautifully produced volume presents Kuniyoshi and Kunisada’s artistic rivalry through a selection of outstanding works from the unparalleled Japanese art collection of the Museum of Fine Arts, Boston. Readers are invited to decide for themselves which of the two is their personal favourite.

"Derrière moi, à Edo Je laisse mon pinceau
En route pour un nouveau voyage
Laissez-moi admirer
Toutes les vues célèbres du Paradis"
Utagawa Hiroshige, Poème d'adieu, 1858

(...) Son oeuvre d'une originalité surprenante, fascinera les japonais et influencera les occidentaux (Whistler, Pissarro, van Gogh, Monet, Bonnard). L'une des suites d'estampes les plus évocatrices offertes aux amateurs de paysages et de voyages, Les Cinquante-trois relais du Tôkaido, publiée en 1833-34, lui valut une célébrité immédiate et universelle."
Giséle Lambert
Ces 53 estampes (55 avec le départ et l'arrivée) reproduites en couleurs, à pleine page, exécutées par Utagawa Hiroshige (1797-1858) en 1832 le long de la route du Tôkaidô (Edo-Kyoto).

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Great walls in China

Splendid and traditional homes in the People’s Republic

Dating back more than six thousand years, China is the world’s oldest civilization and most populous nation. With its remarkable history, rich culture, and diversity of ethnic groups, China is an endlessly fascinating country. Sneaking a peek at an array of different homes, from ancient to modern, Living in China brings you to places that most will never have a chance to visit. Whether it’s the Bamboo Wall by Kengo Kuma, a 600-year-old round earth house in Fujian, the artsy Shanghai apartment of a celebrated but banned Chinese writer, the Hong Kong residence of the owner of the China Clubs and Shanghai Tan, or an artist studio and home in the largest art community in the world, all of the interiors featured here capture intriguing facets of life in China today.

The word 'maharaja' - literally 'great king' - conjures up a vision of splendour and magnificence. This lavishly illustrated book examines the real and perceived worlds of the maharaja from the early eigheenth century to 1947 when the Indian Princes ceded their territories into the modern states of India and Pakistan.

Jackson and Jaffer explore the spectacular material culture of India's rulers, showcasing rich and varied objects that reflect different aspects of royal life. Indian and Western works from a wide range of media, including paintings, photographs, textiles and dress, jewellery and jewelled objects, metalwork and furniture, are considered within a broader historical context, exploring royal status and identity, court culture and patronage.

Випуск манґи в Японії величезний, складаючи 40 відсотків від усіх видань у країні щорічно. Також спостерігається бум продажів за межами Японії, причому естетика манґи поширилася з коміксів у всі сфери західної молодіжної культури через фільми, комп'ютерні ігри, рекламу та дизайн. Ця книга пропонує доступне, цікаве та багато ілюстроване знайомство з розвитком та різноманітністю японських коміксів з 1945 року до сьогодення. Розділи досліджують такі теми, як: кар'єра Осаму Тедзуки, творця Astro Boy та ініціатора стріп-історій у стилі манґи; комікси для дівчат та жінок; та похмуріша, більш жорстока манґа гекіґа, що зображує самураїв та апокаліптичну наукову фантастику

MATCHIBAKO: Japanese Matchbox Art of the 20s and 30s depicts Japan’s swift transformation into an industrial empire in the early 20th century, as illustrated in the infinitesimal advertisements on matchboxes from the period. In an uncertain society and its changing leisure market, matches joined cigarettes in Western-style hotels and cafes, and in sushi bars next door. Patrons might be found in Western dress or traditional kimono, debating Marx or the latest silent film, but all saw themselves reflected in the new graphism.

Although most were anonymously designed, these tiny remainders alternately show the influence of Cubism and the Bauhaus in illustration and English type, and retain conventional wood block fonts and right-to-left Japanese text. This little book is a delightful collection of images from the other side of the globe.

Completely illustrated in color

In recent years, Manga has seen phenomenal success, not only in Japan, where it dominates the publishing industry, but also in the West, where it is steadily growing in popularity and influence. As swift and sudden as the popularity of this graphic art form may seem, Manga has, in fact, deep roots in Japanese culture, drawing on centuries-old artistic traditions. As early as the twelfth century, Emakimono scrolls existed, a narrative form in which stories of all kinds - romantic, fantastic, even comic - were told through the combined use of text and illustration. Japanese art continued to change as profound political, social, and economic transformations remade the country in the centuries to follow. Today there is little doubt as to the meaning of the term Manga - nor to the astonishing popularity of the form - but few in the West understand the long artistic history that gave birth to this phenomenon and the social factors that continue to shape it today. One Thousand Years of Manga is both an informative account of the genesis of the form and a visual delight. Through its captivating illustrations and enlightening text, the book situates Manga in its proper context, appreciating it for what it truly is: an integral part of Japanese art and culture that is as rich and revealing as it is popular.

Birds and flowers are important subjects in classical Chinese painting. While western paintings of birds and flowers put emphasis on form, structure, colour and perspective to create vivid images, Chinese bird-and-flower paintings aim to deliver the essence of the subject and the spirit of the artist, demonstrating a unique oriental beauty. 

Featuring both the classical style of Qing Dynasty masters such as Yung Shouping and Yu Zhi, and the oriental style of Japanese woodblock prints (or Ukiyo-e) of the 17th and 18th century, these exquisite paintings present a strong decorative sense.

Encounter one of history’s greatest civilisations through miniatures. In Persian Miniatures, the story of the magnificent Persian Empire is told by way of an artistic tradition on a small but vibrant scale. This unique collection of colourful miniatures from Persia in a convenient portable size will make the perfect gift.

Otomo Katsuhiro is one of the most respected and influential Japanese artists/storytellers in the history of modern comics.

He has also worked extensively in animations; from his own, a hugely successful adaptation of his epic manga, Akira, which is widely considered to be a pinnacle of the form - a work of astonishing power and visionary scope, with unsurpassed artistry.

This book, as the second title published by PIE International, exclusively features more than 150 Posters all of which use Otomo's great illustration works. In addition, all posters are finely finished by professional graphic designers, so this title presents a variety of great hybrid works of Otomo's illustrations and professional graphic design works.

Roughly half of the inclusive works are the posters of his movies such as Akira, STEAM BOY, SHORT PEACE and so on, while the rest of the works are consist of various advertisements: are Kichijoji (Department Store), Geopolice (an indoor amusement park in Tokyo) or BRUTUS (Japanese Magazine).

A special bilingual (Japanese/ English) interview with Otomo and a graphic designer will also be included in the last 6 pages

Emile Prisse d'Avennes (1807–1879), a French Orientalist, author and artist, was one of the greatest pre-20th century Egyptologists. An ardent admirer of the superb skills of Egyptian and Oriental artisans, he was enamoured of Arabic art. As a youth, he dreamed of exploring the Orient, and at 19 began travelling to Greece and Palestine. Over the next 40 years, he explored Syria, Arabia, Persia, and resided in Egypt and Algeria. Converting to Islam, he travelled Egypt disguised as an Arab, using the name Edris Effendi. A student of ancient Egyptian and Islamic cultures, he later wrote: "We shall discuss all the arts, all the industries cultivated by Orientals with so much taste, brilliance, and fantasy. We will present splendid reproductions of the monuments, objects of art and luxury, which provide evidence of an advanced civilization, the influence of which has been felt even in Europe."

In 1848/1851 Prisse d'Avennes published his Oriental Album in London (Oriental Album. Characters, Costumes, and Modes of Life, the Valley of the Nile). This brilliant collection of 32 chromolithographs illustrating the people and costumes of the Nile Valley was accompanied by a commentary by renowned Orientalist and Egyptologist James Augustus St. John. After again travelling to North Africa, Prisse d'Avennes returned to France in 1860, bearing the fruits of his journeys - hundreds of folio drawings, photographs, sketches, plans and 400 meters of bas-reliefs. Fascinated by the symmetry, complexity, and opulence of Egyptian and Arabic art, he drew from this vast collection to create compilations of the finest examples of art and architecture, which also took into account historical, social, and religious contexts. In 1877, he published his outstanding survey on Islamic art and architecture, Arab Art (L'Art arabe d'après les monuments du Kaire, 1869–1877), in Paris. This publication reproduces the three atlas volumes containing 200 plates - 137 of them magnificent chromolithographs - mainly by Prisse d'Avennes. L’Art arabe is an indispensable compendium on the development of Arabic art, portraying its splendour and diversity, and a work of supreme draftsmanship.

The authors:

Sheila S. Blair and Jonathan M. Bloom are a husband-and-wife team of teachers and writers on virtually all aspects of Islamic art and architecture. They share both the Norma Jean Calderwood University Professorship of Islamic and Asian Art at Boston College and the Hamad bin Khalifa Endowed Chair of Islamic Art at Virginia Commonwealth University. Together and singly they have written or edited a score of books and hundreds of articles on subjects ranging from the Dome of the Rock to modern calligraphy. Most recently they edited Rivers of Paradise: Water in Islamic Art and Culture.

Monuments and Marvels. A defining record of Islamic art and architecture

Émile Prisse d’Avennes (1807–1879), a French Orientalist, author, and artist, was one of the greatest pre-20th-century Egyptologists. As a youth he dreamed of exploring the Orient and at 19 began traveling to Greece, India, and Palestine. Over the next 40 years he explored Syria, Arabia, Persia, and also spent long periods living in Egypt and Algeria. Having converted to Islam, he traveled under the Arabic name Idris Effendi.

With a keen eye for the symmetry, opulence, and complexity of local visual cultures, Prisse d’Avennes recorded the art and architecture which he encountered on his travels. His work would later become one of the most outstanding surveys on Islamic art and architecture, with Arab Art (L’Art arabe d’après les monuments du Kaire) being published between 1869 and 1877 in Paris.

This TASCHEN edition revives Prisse d’Avennes’s magisterial chromolithograph survey in all its attention to detail, as well as to historical, social, and religious contexts. For further situational understanding, it includes his supplementary studies of the people and costumes of the Nile Valley, which he published in the Oriental Album (Oriental Album: Characters, Costumes, and Modes of Life, the Valley of the Nile, London, 1848). It is a precious record not only of Arabic, Persian, and Ottoman heritage but also of the history of thought and imagination between Europe and the Middle East.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

The first extensive comparison of works by woodcut masters Kunisada and Kuniyoshi

In the early sixties, what was then the Kunstmuseum Düsseldorf received a large gift of Japanese woodcuts (ukiyo-e), to which the donor generously added until 1988. Among them are 220 pieces by the illustrators Kunisada (1786–1865) and Kuniyoshi (1798–1861), which are distinguished by their finely tuned palettes and the expressive gestures of their figures. The prints take the viewer into a colorful, imaginative dream world, while some even seem like early examples of the Manga comics so popular today. This publication offers a rare opportunity to compare the two artists’ illustrations of the same themes. The essays provide an introduction to nineteenth-century Japanese popular culture, bridging the gap between the centuries by exploring aspects of the grotesque in Japanese art, explaining legends and plays, and presenting some of Kuniyoshi’s preliminary studies.