EDITORIAL: The two- and three-dimensional go happily hand in hand in our Spring issue. John Fiorillo and Peter Ujlaki present an extensive overview of tiny prints (known as mameban, lit. ‘bean prints’) from the Kamigata area – small jewels of Japanese printmaking. Frank Witkam discusses the didactic aspect of Kuniyoshi’s Hyakunin isshu no uchi, an ukiyo-e series based on classical court poetry. Glenn Van den Bosch sheds light on Keisai Eisen’s woodblock print series. Eline van den Berg tells the story of two Kakiemon bijin (beautiful women) figures, recently acquired by the Dutch National Museum of Ceramics Princessehof in Leeuwarden. An exhibition of Buddhist sculpture in Rome inspires Victor Schmidt to devote a zuihitsu to reflections on the supposed ‘otherness’ of Japanese art. Buddhist sculpture also features strongly in the second part of Beatrice Shoemaker’s twopart article on the Daijōji’s guest hall (see also Andon 102).
We hope this issue of Andon will offer much inspiration and enjoyment.