What Role do Animals Play in Japan s Emaki, Manga and Today s Picture Books? Ning-Chu Yang

Transcription

1 What Role do Animals Play in Japan s Emaki, Manga and Today s Picture Books? Ning-Chu Yang Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Illustration at The Savannah College of Art and Design May 2012, Ning-Chu Yang Allan Drummond Committee Chair Date Linda S. Warner Constantino Committee Member Date Mohamed Danawi Committee Member Date

2 What Role do Animals Play in Japan s Emaki, Manga and Today s Picture Books? A Thesis Submitted to the Faculty of the Illustration Department In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Savannah College of Art and Design by Ning-Chu Yang Savannah, GA May 2012

3 Table of Contents Ancient Paintings in Japan Emaki and Yamatoe 2 Folding screen and woodblock 5 Japan s Emaki 7 Today s Animal- relacted Manga 13 Today s Animal Picture Book 15 Figures 19 Bibliography 39

4 What Role do Animals Play in Japan s Emaki, Manga and Today s Picture Books? Ning-Chu Yang May 2012 Ancient people of Japan not only illustrated religious, literary and historical scenes for the aristocracy but also bestiary and morality tales for children. Animals have always been used to teach children, and are even used today, but they are presented and interpreted in different ways. They are used as archetypes that convey moral sensibilities of good and evil. Also, artists created dissimilar creatures and illustrated various stories to reflect the society at different periods of times. This revealed in emaki as well as today s picture books and manga. 1

5 Art reflects culture and society. People in prehistoric times used to communicate ideas and record life or stories by painting on the walls. Most of the themes in these cave paintings are about animals since people survived by hunting wild animals and fishing (Fig. 1). Life was all about nature and animals. Unlike today, where we can express ideas, tell stories, and even teach by illustrating books, in earlier times, emaki (scroll paintings) and woodblock prints were the earlier forms of books in Japan. Ancient people of Japan not only illustrated religious, literary and historical scenes for the aristocracy, but also bestiary and morality tales for children. However, times change, and life is full of variables. Each theme in emaki indicates a different period of time and shows different stories. Subject matter can be religion, morals and fables represented not only by painting people and animals, but also by creating rare creatures yokai in the form of monsters or demons. Emaki artists rendered every character and emotion with unique facial expressions and atmosphere, and they even made their animals and yokai characters impersonate human beings. The scroll paintings reveal political structures and social attitudes and reflect the society and people in different time periods. 1 For years, emaki artists drew supernatural beings yokai or demons based on human-like animals to spread intense fear or warn people by using satire through folk tales and stories. 2 In today s picture books and manga, artists utilize friendly animals or create different 1 Hideo Okudaira, Narrative Picture Scrolls (New York: John Weatherhill, 1973), Brigitte Koyama-Richard, Japanese Animation from Painted Scrolls to Pokemon (Paris: Flammarion, 2010), 13. 2

6 characters, which are also based on animals, to teach children what is good and what is bad. Therefore, animals play important roles, whether in emaki, picture books, or Japanese manga. Before learning more about emaki, one should understand its definition. In Japanese, E means pictures or paintings and Maki (makimono) means scrolls. According to Patty J. Ruland, Some scrolls included text in the form of letters or poems. Some created narrative scrolls, which unfolded from right to left and told stories through pictures. 3 From the tenth through early twelfth centuries, Japan s emaki had already been influenced by Chinese scroll paintings, and since the painting styles between Japan and China were slightly different, they were called by different names. Japanese-style painting is called yamato-e, but Chinese-style painting is called kara-e. Yamato-e is a more dynamic art form, claims Hideo Okudaira. 4 At the beginning, emaki had two different styles. One is Onna-e (women s) and another one is Otoko-e (men s). The first one mostly depicts the refined life of the nobility and some literary works. The latter usually depicts adventure stories and is much more energetic and full of movement. The subject matter of otoko-e is commonly Buddhist monks, plebeians and animals, such as the Choju 3 Patty J. Ruland, From Painted Scrolls to Anime: Literature and the Arts of Japan (Detroit: Lucent Books, 2008), Hideo Okudaira, Narrative Picture Scrolls (New York: John Weatherhill, 1973), 9. 3

7 Jimbutsu Giga (Scroll of Frolicking Animals and People). 5 Another distinction in emaki is the use of a single color and various colors. By having one color, the lines and the shades are emphasized; the lines especially emphasize the emaki personalities, but when used with more colors, they create an elegant atmosphere. In emaki, the horizontal lines seem stable and tranquil, which usually appear in onna-e, and the curved lines seem delicate but lively, which are usually shown in otoko-e and animal emaki. Also, the lines on the facial expressions of its characters are full of individuality, and they are charged with a feeling of freedom and liveliness. 6 Another point in emaki is the connection of illustration and text. Some texts set up the conversation alongside the characters as is currently seen in manga; some texts are only placed at the beginning or end of the scroll, such as the Scroll of Frolicking Animals and People, and some texts are alternating, like picture books. 7 Furthermore, whether in Chinese scroll paintings or yamato-e, nature, which includes animals and plants, is always the common and basic subject matter in emaki art, like the Section of a Scroll on Silk (Fig. 2). It is a yamato-e style work, which shows some birds and flowers on the background with full colors. This emaki work brings viewers a sense of elegance, and the outline of the plants and the movement of the birds create a sense of harmony. There was more of this kind of painting style which united animals and plants during the eighteenth century, but the 5 Ibid., Ibid., Elise Grilli, Japanese Picture Scrolls (New York: Crown Publishers, 1959), 6. 4

8 difference was that the animals on the scrolls seemed to be more attractive because artists highlighted the proportions and colors of the animals more. Therefore, animals are important characters to make emaki or hanging scrolls more entertaining, vigorous and imaginative. Another famous work, Genji Monogatari Emaki (The Tale of Genji), is full of people describing an emperor s life in a palace. Every character s eyes in the tale of Genji look like they are sleeping or have put on a mask. It is more pedestrian and inactive. However, it reveals the aristocracy of the society. Aside from yamato-e, there are other forms of illustrating stories in ancient Japan, such as folding screens and woodblock prints. One of the famous folding screens is Maruyama Okyo s Myriad Animals from the eighteenth century. The work consists of a big pair of six-panel folding screens exhibited in the Museum of the Imperial Collections (Fig. 3). In the left and the right foreground, there are two big trees as supporting pillars on the screens. Around them, the artist variously arranged many animals. Among these animals, one can tell an elephant from rats by size and from tigers to rabbits by disposition. In the middle of this painting, the colors of the horses and the cattle seem to lack hue and value contrast. This is typical of traditional Chinese paintings and creates aerial perspective to show an effect of the distance. Through using various sizes, overlapping and vertical pictorial arrangement, the painting presents a depth, unity and balance toward harmony with nature. Also, the animals are delineated realistically, 5

9 especially showing a variety of animals with an array of tactile qualities, unlike the animal illustrations in earlier times that focused on the shapes or shades. This formal shift proves that Western culture was influencing Eastern art during the eighteenth century, especially books on botany, zoology and anatomy. 8 Animals in this painting can be described as having human personalities, even though the same animals have distinct movements, gestures and facial expressions. The painting conveys a colorful life during this Edo period ( ). As Dieter Wanczura observes, The arts moved away from the aristocratic background and showed scenes from the life of common people. People amused themselves in theaters and in the amusement quarters. From a cultural point of view, this period maybe was something like the pop culture of swinging London in the sixties and early seventies of the 20 th century. 9 Another renowned form from the Edo period are woodblock prints. The subject matter can be varied and the style includes yamato-e portraits and more entertainment, so people call it ukiyo-e for its depiction of city life of the common people. In the late 19 th century, the theme even developed to include dramatic historical events. 10 There is a color woodblock print by Kawanabe Kyosai in 1871 whose title is about a crab preaching to turtles. The artist has rendered the animals to personify the 8 Hirabayashi Moritoku et al., Twelve Centuries of Japanese Art from the Imperial Collections (Washington: Freer Gallery of Art and the Arthur M. Sackler Gallery in association with the Smithsonian Institution Press, 1997), Dieter Wanczura, Japanese History-Artelino, Artelino GmbH, (accessed February 4, 2012). 10 Heilbrunn Timeline of Art History, Woodblock Prints in the Ukiyo-e Style, The Metropolitan Museum of Art, (accessed February 4, 2012). 6

10 glory of youth and long life. Every turtle has unique gestures, but face the crab in the center. The converging lines show the linear perspective through the shape of the desk inside. Moreover, another artist during the Edo period, Utagawa Kuniyoshi, is also known for his ukiyo-e. Lots of his famous works are animal themes describing common people s lighthearted life, such as Someirodukushi (Fig. 4) and Tanuki no kawagari (Fig. 5). The first is about seven kinds of animals who are dyeing pieces of cloth and fabric and the other is about foxes that are fishing which shows the life of women and fishermen in this period. As a result, the animal themes not only amused people but also reflected the society during this time period. Up to the 12 th and 13 th centuries (Heian and Kamakura periods), artists began to draw animals mimicking human beings. The most remarkable animal emaki is Choju Jimbutsu Giga (Scroll of Frolicking Animals and People) and it is one of the great masterpieces of emaki art (Fig. 6). It is also called the oldest manga in Japan because artists used some descriptive lines that bring action effects to the characters, and these effects also frequently appear in today s manga or comic stripes. This artwork consists of four scrolls, each scroll containing a different subject. These not only include common animals, such as horses, monkeys and foxes, but also imaginary ones, such as kirin, dragons and tapirs. Above all, rabbits and frogs often appear. The rabbit symbolizes arrogant scatterbrains and the frogs symbolize hardworking and enthusiastic men. In the first scroll, there are some animals playing in the water and practicing sumo with great delight, but the scroll also reveals scenes of a 7

11 Buddhist memorial service and quarrels (Fig. 7). The second scroll is like an illustrated reference book full of sketches of animals. The third scroll has some gambling scenes of priests and laymen. The content of these illustrations received widespread criticism at that time because it is a satire on the society and on Buddhists. People during that time longed for a Utopia. 11 Different interpretations have been given to these scrolls, but since there is no accompanying text, no explanation proves uncontroversial. 12 However, these scrolls nowadays are treated as national treasures and are exhibited in the museums of Tokyo and Kyoto. In the 15 th century during the Sengoku period (warring states period), the society was full of political conspiracy and disputes that resulted in many military wars. This historical phenomenon is also clearly revealed in the noted emaki of the time, Junirui Kassen (Poetry Contest of the Twelve Zodiac Animals) (Fig. 8). The twelve zodiac animals in Chinese culture include the Rat, Cow, Tiger, Rabbit, Dragon, Snake, Horse, Sheep, Monkey, Rooster, Dog and Pig. The story is about a Tanuki (raccoon dog) who is jealous of the judge of the poetry contest, a deer who is highly respected by all animals. He wants to be the judge and holds the contest again, but the twelve animals scoff at him, so Tanuki finds his friends, such as Weasel, Cat, Owl, Fox and Crow, to fight against them. They battle a few times; in the end, Tanuki even tries to frighten them by dressing like oni (demon). He still loses, so he 11 Choju Giga, Encyclopedia of Japanese Culture, (accessed February 5, 2012). 12 Okudaira, 99. 8

12 leaves his family to become a Buddhist monk. 13 He throws away his hatred and shame, withdraws from the society and lives in obscurity in the mountains. The twelve zodiac animals were illustrated by the artist s imagination; the Tanuki and his friends were painted with wicked looks. In Japanese and Chinese culture, people used to think of women as captivating as Snake, and the Dragon, who represents an emperor, can lead a world. Thus, the snake in the twelve animals is a woman and the dragon is a General. This story clearly demonstrates the society of the Sengoku period and the quarrels of the political parties and groups; the people all fought for authority because they all wanted to be the leader of the world, just like the Tanuki (Fig. 9) in the story. During the 15 th and 16 th centuries, the emperors in Japan also fought with other countries because they were filled with ambitions; this is why the period is called the warring states. However, when they lost the battle and understood their failure, they would become Buddhist monks to repent their folly. Nevertheless, not everyone likes wars. So, most of the people at that time worshiped Buddhism to pursue peace. There is another work which is called Suzume no Hossin (The Sparrows Entering the Priesthood) or Tori Uta-awase emaki (Poetry Contest of the Birds), which also reflects the society. The story talks 13 Junji Wakasugi, Painting Stories: About the Handscroll Poetry Contest of the Twelve, Zodiac Animals, Kyoto National Museum, (accessed February 5, 2012). 9

13 about a baby sparrow that was eaten by a snake, so other birds come to comfort the parents by composing poems (Fig. 10). They also wrote poems to reply to other birds. After that, they went to many temples to look for peace in their hearts and find rebirth. 14 This is the same phenomenon as in the Sengoku period. Buddhists believe they can be reborn and will have a new life. The religion calms their hearts and pacifies their souls. In Tori Uta-awase emaki and Junirui emaki, the animals are both a personification of humans and signify the Buddhist perspective of that time. They were even illustrated like the common people: soldiers and priests dressed in different patterns of kimono (traditional garment) and armor. The facial expressions of the animals in Junirui emaki are more human than animal, especially the scene in which they are fighting each other. It is more interesting when artists tell stories by painting these animal characters to mock human beings than painting the humans themselves. Furthermore, artists also created uncommon creatures, which are based on humans and animals, through emaki. People call those creatures yokai (monsters) but they are different from oni (ghosts). Kazuhiko Kmatsu, a professor at the International Research Center of Japanese Culture, points out that it is believed that yokai were created when humans felt fear. 15 Yokai emaki appeared in the 12 th century and became well-known through the 15 th to 18 th centuries. At that time, there were many 14 Okudaira, Okadome Hirofumi, Yokai and the Japanese Mind s Eye, Highlighting Japan, no.20 (March):

14 fierce and ambitious people; consequently, the common people had great fear, and artists illustrated yokai emaki to warn people that everyone has to be cautious in everyday life, particularly children. In the Hyakki Yagyo emaki (Night Parade of One Hundred Demons) during the 15 th century, the artist created a hundred yokai parading the streets. It told people not to go out at night alone without protection. Every character has exaggerated facial features and gestures. Most importantly, some of the yokai characters resemble animals, including the fox, cat, raccoon dog, and cow. They combine the characteristics of humans and are depicted as being vicious. Until the 18 th century, artists portrayed more yokai featured in various folktales like Hyakkai- Zukan (The Illustrated Volume of a Hundred Demons). For example, Nere-onna is a woman with a snake-like body who lives near the beach (Fig. 11), Inugami has a dog-like head and is dressed like a priest, and Yama-biko has a cow-like head with a squirrel-like body, which creates echoes in the mountain. It is obvious that most evil, animal-like yokai are from the Tanuki s side in Junirui emaki. Professor Kazuhiko Komatsu, who studies the world of Japanese monsters, emphasizes that giving a mouth and nose to an animal, as with the Chojugiga, does not create a yokai, but by personifying a tool by giving it of them, and Yokai diverted themselves from becoming an oni and diversified, turning into characters, and ultimately into entertainment. 16 One of the interesting yokai characters in Hyakkai- Zukan is called kamikiri (Fig.12), who cuts hair. Its head looks like a crow and the scissor-like hands 16 Ibid.,

15 look like a cow s legs. The sharp beak and hairstyle with the outstanding eyes give the character a ferocious personality and the eyebrows make it vivid. In Japanese culture, crows represent bad luck and they are also a symbol of death. The best known yokai, tengu (Heavenly Dogs), always appears with crows in Japanese folklore. By its name, one can tell the creature looks like a dog but also has the wings of a crow. The other typical yokai is ushi-oni (Ox Devil) (Fig. 13). The creature is based on the forms of spiders with long, sharp claws and devil horns. It has thorns all over its body and prominent eyeballs like the kamikiri. Most ghosts with resentful spirits possess these eye features. In 1776, Toriyama Sekien drew more monsters and gathered all monster illustrations in his book Gazu Hyakki Yagyo, including tengu, tanuki and kappa. Kappa is a green creature that appears like a monkey and otter with a body full of scales. He has a tortoise shell on his back and a plate on his head which makes him look bald. Although his body is as small as a child, he has three anuses. It is said that he uses the plate of his top head to hold water and keep his magic power. If the top of his head becomes dry, he would die, so he lives near a river. He is also called Kawataro. Thus, animals are used as archetypes that convey moral sensibilities of good and evil. During the Meiji period ( ), one of the famous children s stories is Momotaro (peach taro) (Fig. 14). The story is about Momotaro who was born in a huge peach which a woman found on the river. In order to save people, he went to an island to fight oni (devil or monsters). On the way there, he met a dog, a monkey and a pheasant; all of them talked like humans, and they wanted to follow 12

16 him because momotaro shared rice balls with them when they were hungry. The animals wanted to repay his kindness so they became heroes as well. Although there are many different illustrations of this tale, the idea of each is the same. The story not only teaches children courage and justice, but teamwork and sharing as well. The devils are terrible, but not all of them are that bad. The story conveys a positive message that people should have hope as well. 17 The cover from the oldest manuscript from the Meiji period communicates this idea very well. The artist depicted the animals realistically, and their dress and armor are very detailed. Also, the colors give the illustration unity without using many colors. The biggest reason children like the story is that they are very interested in the talking animals and curious about oni as well. Japanese people even made a song for children and sculpture for people. Momotaro became more and more popular. In the late Meiji period, comics and cartoons were widespread in Japan, so the Japanese developed a new word-manga-due to their influence. During the two world wars of the 20 th century, the theme of yokai started to rise again. At that time, one of the manga artists, Mizuki Shigeru, became known for his yokai manga-kitaro. People were tired of wars so they were attracted to not only romantic stories but also mysterious ones, including those of Mizuki Shigeru. According to his interview, yokai scared Shigeru at times, but he liked to go to graves and see paintings of the Buddhist version of hell in the temple. He was also inspired and impressed by Toriyama Sekien, the finest yokai 17 Matsui Genemon, The Thought of Japanese: About Momotaro, (accessed February 6, 2012). 13

17 representations. 18 Hence, one can tell he used those ideas, created his style of yokai, and made a story. Kitaro is a half yokai, half human being (Fig. 15). In order to let yokai and humans peacefully live together, he fights with evil, just like the children s hero, momotaro. Kitaro also understands animals languages, even worms because he has fleas and snakes in his body. To attract children, the artist combined animals and yokai with human beings and made the characters more adorable with less horror and more human characteristics. However, different from Chojugiga or ancient yokai, the characters can be normal animals when they show kindness, but become yokai when they show evil. Mizuki Shigeru combined good and evil so that children can understand the world is not that simple, and that life is full of challenges. The story was so entertaining and merry that it is still popular today, and has been made into anime, movies, songs and sculptures. One can see the illustration everywhere, even on many food product designs or advertising boards. The artist also drew an emaki to record whole life. Furthermore, in 2001, another famous artist, Miyazaki Hayao s movie-spirited Away (Fig. 16), also caused a sensation. The story is about ten-year-old Chihiro, whose parents get lost in the forest and who finds a weird tunnel. Chihiro feels something is wrong and tells her parents, but they would not listen to her. She even eats someone else s food because her parents think that money can solve any problems. When the sky is getting dark, she notices her parents become ugly pigs because of some curses. She eventually understands the place belongs to many kinds of spirits and gods. According to Miyazaki Hayao, Chihiro reflects many children and adults in Japan at that time. 18 Koyama-Richard,

18 There are more and more parents who don t really know how children think and parents care about themselves more. 19 Hence, one can tell the animated film mirrors the children and people of that time and the society. The story reveals that evil-looks don t equal wicked hearts and everyone should learn how to respect others as well. Also, most of the spirits in the movie look like yokai and animals. Those creatures have animals traits and can even change into animals anytime, such as toads, frogs, lizards, spiders and crows. It is one of the great masterpieces of modern Japan. Nowadays, artists have more ways to tell stories and have more techniques to express their painting styles. In children s books, animal subject matter is still beloved: Some of the most popular cartoon and children s book animals are among the least appealing animals in real life, especially those cute animals that are cuddly and fluffy, such as bears, dogs or hamsters. 20 One Western picture book illustrator that people love is Alison Edgson. Although the author and the illustrator are not the same person, they successfully convey the thoughts which they want to tell and teach children. Me and My Mom! describes a story about a little bear and his mom. One can tell the little bear signifies children. Children might think those animal characters are just themselves and unconsciously imitate them. That s why animals also play an important role in today s picture books. Alison Edgson uses pastel to 19 Tom Mes, Interview: Hayao Miyazaki, Midnight Eye: Visions of Japanese Cinema, January 7, 2002, (accessed February 10, 2012). 20 Stephen J. Dubner, Why are Kids So Crazy about Animals? Freakanomics, April 30, 2008, (accessed February 6, 2012). 15

19 paint the cuddly bears so that the illustration expresses a warm and friendly feeling, just like innocent children. This series of stories not only tells people how to care for others but also lets children learn how to love others. The idea is the same in Daniel Howarth s For Everyone to Share (Fig. 17), but the artist uses watercolor and colored pencils to create his illustration. Its watercolor paintings are fresh. Although the colors are light, Howarth places emphasis on light and shade and plays various gestures of characters and composition with animals and plants. This makes the story and illustrations more enchanting and delightful. As a result, many of these animal-centric children s books have been translated and exported to Japan. In today s Japanese animal picture books, the illustrations of most artists are known for their simple outline and varied colors. There is a well-known magazine-nene-published by San-x, which is full of cute animal characters; most people are crazy about it. One particularly famous contemporary Japanese illustrator is Abe Chiaki. She uses the manga style to make her characters look more lively and animated. The memorable animal characters are a duckbill and a raccoon. Especially, in the book Kireizukin Seikatu (Fig. 18), the raccoon puts a hood on his head, like the little girl in Little Red Riding Hood. The story is about the raccoon s life. When he does not wear a hood, he is very lazy; but when he wears it, he becomes a clean freak and does chores very well. The story not only reveals the instinct of human beings, but teaches children to clean up after themselves and to be clean and tidy people. In Chiaki s illustration, the raccoon with the red and dotted hood attracts children s attention 16

20 because of the vivid colors and varied facial expressions. Another contemporary Japanese illustrator, Omori Hiroko, also uses animal characters and amusing stories to teach language. Different from Abe Chiaki, Hiroko s characters and background are much simpler. Sometimes she leaves a lot of white on the page, as is seen in Hennatookoro (Fig. 19). However, the cover of the books usually attracts children with its clean colors and clear proportions of the main character. These factors help children focus on the animals and become more interested in the didactic content. Therefore, one can see similarities in my illustrations and children s books (Fig. 20). In my artwork, most of my subject matter is about animals and children. I like to use light colors to express the beauty of transparent watercolor itself, and try to avoid mixing too many colors so that I can keep the unity of the colors to create a clean and aesthetic piece (Fig. 21). My style fits well in educational books and the children s book market not only because the subject matter focuses on how to educate children and please them, but also because the exquisite colors express the tender feeling of children s souls through illustrations. Just like those emaki artists, expressing ideas through animal illustrations is the best way to interpret what they have about themselves and the world they live in. In conclusion, whether Japan s emaki, manga or today s picture books, each demonstrates that animals have a great influence on readers and play significant instructive roles. As mentioned before, most yokai characters have also used animals as archetypes that convey moral sensibilities of good and evil. These animal illustrations and stories demonstrate that times and lives have changed from 17

21 prehistoric times to the modern age. 18

22 List of Figures Fig. 1. Touropia, 10 Preshistoric Cave Paintings, 2010 (Touropia, 19

23 Fig. 2. Masuyama Sessai, Section of a Scroll on Silk, , Japan (Franklin, Exploring Japanese Books and Scrolls, 52). 20

24 Fig. 3. Maruyama Okyo, Myriad Animals, , Museum of the Imperial Collections, England (Shaner, Twelve Centuries of Japanese Art from the Imperial Collections, 146). 21

25 Fig. 4. Utagawa Kuniyoshi, Someirodukushi, , Japan (Exblog, 22

26 Fig. 5. Utagawa Kuniyoshi, Tanukinokawagari, , Japan (Exblog, 23

27 Fig. 6. Toganowosan Kosanji, Chojujinbutsugiga, Kyoto, Japan (Kosanji, 24

28 Fig. 7. Toganowosan Kosanji, Chojugiga, Kyoto, Japan (So-net Blog, 25

29 Fig. 8. Poetry Contest of the Twelve Zodiac Animals, Kyoto, Japan (Kyoto National Museum, Fig. 9. Junirui Emaki, Kyoto, Japan (So-net Blog, 26

30 Fig. 10. Tori Uta-awase, 16 th century, Keio University, Tokyo (Okudaira, Tori Uta-awase, 112). 27

31 Fig. 11. Sawaki Sushi, Hyakkai-Zukan, 1737 (Wikipedia.org, 28

32 Fig. 12. Sawaki Sushi, Hyakkai-Zukan, 1737 (Wikipedia.org, 29

33 Fig. 13. Sawaki Sushi, Hyakkai-Zukan, 1737 (Wikipedia.org, 30

34 Fig.14. Momotaro Ehon, Meiji, Japan (Hatena Diary, 31

35 Fig.15. Mizuki Shigeru, Yokai Ninki Tohyo, Japan (Sakaiminato Sightseeing Guide, 32

36 Fig.16. Miyazaki Hayao, Sen to Chihiro no Kamikakushi, Japan (Goo Blog, 33

37 Fig.17. Daniel Howarth, For Everyone to Share, 2008, London (BetterWorldBooks, 34

38 Fig.18. Abe Chiaki, Kireizukin Sekatu, 2009, Tokyo (Rakuten, 35

39 Fig.19. Omori Hiroko, Hennatokoro, 2011, Tokyo (Amazon, 36

40 Fig. 20. Ning-Chu Yang, The Silly Jellyfish,

41 Fig. 21. Ning-Chu Yang, That s What Otters Do!

42 Bibliography About the Handscroll Poetry Contest of the Twelve, Zodiac Animals. Kyoto National Museum. Kyoto National Museum, (accessed February 5, 2012). Antique & Modern Scrolls, (accessed January 13, 2012). Aoki, Deb. Early Origins of Japanese Comics. History of Manga. Manga Guide. (accessed January 12, 2012). Children s Books: Lions and Hippos and Whales, Oh My! Sunday Book Review, November 13, 2011, BR34, (accessed January 14, 2012). Choju giga. Encyclopedia of Japanese Culture. html (accessed February 5, 2012). Dubner, Stephen J. Why Are Kids So Crazy about Animals? Freakanomics. freakonomics.com/2008/04/30/why-are-kids-so-crazy-about-animals/# (accessed February 6, 2012). Franklin, Colin. Exploring Japanese Books and Scrolls. London: Oak Knoll Press, Genemon, Matsui. The Thought of Japanese: About Momotaro, momotarou.html (accessed February 6, 2012). Grilli, Elise. Japanese Picture Scrolls. New York: Crown Publishers, Hirofumi, Okadome. Yokai and the Japanese Mind s Eye. Highlighting Japan, no. 20 (March): Koyama-Richard, Brigitte. Japanese Animation from Painted Scrolls to Pokemon. Paris: Flammarion, Mes, Tom. Interview: Hayao Miyazaki. Midnight Eye: Visions of Japanese Cinema, January 7, 2002, (accessed February 10, 2012). Moritoku, Hirabayashi, Ohkuma Toshiyuki, Ohta Aya, James T. Ulak, and Yuyama Ken ichi. Twelve Centuries of Japanese Art from the Imperial Collections. Washington: Freer Gallery of Art and the Arthur M. Sackler Gallery in association with the Smithsonian Institution Press, Okudaira, Hideo. Narrative Picture Scrolls. New York: John Weatherhill, Ruland, Patty J. From Painted Scrolls to Anime: Literature and the Arts of Japan. Detroit: Lucent Books,

43 Scroll Painting. Encyclopedia Britannica Online. Britannica Online Encyclopedia. (accessed January 14, 2012). Shannon, George. Talking Animals in Picture Books. George Shannon- Children s Author, (accessed January 14, 2012). Silvey, Anita. Animals. Book-A-Day Almanac, (accessed January 14, 2012). Stewart, Ron. "Emaki Unrolled: Masterworks of Illustrated Narrative Handscrolls." International Journal of Comic Art 9, no. 2 (Fall 2007): OmniFile Full Text Mega, WilsonWeb (accessed January 15, 2012). Strauch-Nelson, Wendy. "Emaki: Japanese Picture Scrolls." Art Education 61, no. 3 (May 2008): OmniFile Full Text Mega, WilsonWeb (accessed January 15, 2012). Wanczura, Dieter. Japanese History-Artelino. Artelino GmbH, japanese_history.asp (accessed February 4, 2012). Woodblock Prints in the Ukiyo-e Style. Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, (accessed February 4, 2012). Yoshizawa, Masakazu. The Choju Giga by Masakazu Yoshizawa, ChojuGiga/index.html (accessed January 14, 2012). 40