#Josei moku hanga to series

Maud’s upcoming James Holman prize-winning project, ‘Where Birds Won’t Go’, will see her independently travel to the most remote regions of Japan and write a book on her experiences, all the while demonstrating that accessible public infrastructure can benefit us all. Oliver is joined by Maud Rowell, blind freelance journalist and author of Blind Spot: Exploring and Educating on Blindness, to discuss Infrastructure for the Blind. John Rylands Research Institute and Library. Measured map of the Tōkaidō Highway by Ochikochi Dōin and Hishikawa Moronobu (1690) 東海道分間絵図 Tōkaidō bunken no zu 東海道分間之図. European travellers – as they land on Japanese shores). Nanban byōbu by Kanō Naizen (Folding screen depicting ‘Southern barbarians’ – i.e. Sonia’s digital exhibition, ‘Travels in Tokugawa Japan (1603-1868): A Virtual Journey’, explores how late-Edo period maps indulged the imagination of those unable to journey across the country, something all too familiar in the wake of COVID-19 travel restrictions.

Oliver is joined by Dr Sonia Favi, researcher at the University of Turin, to discuss the history of imagined travel. Photographing remains of a 3rd century farmstead in Niya, an oasis kingdom in the Tarim Basin on the Silk Road, and the site of a multi-year Sino-Japanese archaeological collaboration. Visit the Nara to Norwich online exhibitionįind out more about the Nara to Norwich project Read Susan's book, Silk Roads: Peoples, Cultures, Landscapes (2019) Read Susan's article, 'The Expanding Silk Road: UNESCO and the Belt and Road Initiative' (2020) Susan gives us a taste of the material and cultural impact of the enormous trade network stretching to the ends of Europe, Africa and Asia from the 2nd Century BCE, as well as highlighting the role of Japan and China in establishing the network as World Heritage. Oliver is joined by Susan Whitfield, Professor in Silk Road Studies at the Sainsbury Institute, to gain a new perspective on the mass of historic maritime and land-based routes known as the Silk Roads. May be freely distributed for education purposes. Photograph courtesy of Chhorvy.Ĭopyright © 2022 Oliver Moxham, ℗ 2022 Oliver Moxham. The Art Lover's Guide to Japanese Museums.

#Josei moku hanga to series

In the meantime, do get in touch and let us know what you have enjoyed and what you might like added to the series – we would be particularly interested in knowing if the addition of transcriptions and subtitles has improved the experience for you. So ends the second series of Beyond Japan! As Oliver starts his PhD in the autumn, the third series of Beyond Japan will continue with monthly instalments on the first Thursday of every month from September 2022. The National Museum of Modern Art, Tokyo Crafts Gallery Mingeikan Japan Folk Crafts Museum (Tokyo) Historical Village of Hokkaido (Sapporo, Hokkaido) Kan Yasuda Sculpture Museum (Bibai, Hokkaido) Read Sophie's book, The Art Lover's Guide to Japanese Museums. From her training at École du Louvre, Sophie has visited museums across the archipelago, broadening her understanding of what a museum can be and inspiring her to write a book on capturing this for the non-Japanese speaking art lover.

I'll admit that I'm a bit intimidated by cutting it down to fit my hand, which is what I understand you're supposed to do for those tools.Oliver is joined by Sophie Richard, art historian, museum specialist and acclaimed writer, as we explore art museums in Japan of every variety. Japanese tools are held a bit different and I don't have experience with them.

My Flexcut set has a handle and interchangeable tools, which can be a pain to switch between, but I find holding it comfortable. It's the worst to get almost to the end and accidentally lift a section of wood you didn't mean to cut, glue it back on, and maybe even have to sand it down. If you're working on wood I would invest in such a tool. I like linoleum so don't usually use a skew tool, a blade to define the lines that I'm going to cut, but on the rare occasion that I do a wood-cut, I use an x-acto knife or a box cutter. I have the Flexcut Lino & Relief Printmaking Set, which I purchased because it also had the strop and polishing compound, in addition to a very small (1mm) v-cutter for fine details and large (5/16') u-gouge to sweep away larger areas.