English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

ourd-shaped legs and wriggling worm lines " is how a Japanese critic described the style of early Torii artists of the Edo period (1615–1868). Named after the bustling city that would become present-day Tokyo, this period was marked by peace and a thriving urban culture. The most characteristic expression was ukiyo-e or the floating world, which concerned itself with the fleeting activities of everyday life. The genre produced poetry and drama but most of all, woodblock prints that inspired the global art scene of succeeding generations. Fodder for ukiyo-e came from Edo's entertainment districts, with their teahouses and other establishments frequented by actors, courtesans, and throngs of spectators. A major source was Kabuki, a form of classical Japanese theater that featured both heroic and ordinary figures in plays filled with spectacular costumes and scenery. Another was woodblock prints, depicting lively scenes from these plays in posters, play bills, and storybooks. These became a source of pride for printmakers, who would sign them as " An artist of Japan. " A group known as the Torii School achieved success and popularity with highly skilled designs that captured the boisterous energy of Kabuki acting and the authentic Japanese spirit that fueled the period. Kiyo-masu I was member of that school and, as often the custom, adopted its name. Torii Kiyomasu I was one of the earliest masters of floating-world scenes. Details of his life and work are sketchy and intertwined with those of other founders of the Torii School, but his surviving work is considered more accomplished than theirs. Unlike most designs cut in blocks of wood during this period, his were marked by fluid cal-ligraphic lines and contained areas of orange lead pigment applied by hand with stencils. His theatrical characters burst out the edges of the paper. Caught as they were in the middle of intense activity, they exuded a thick physicality, their muscles quivering, twisted, or coiled; their gestures slicing through the air. Kintoki Wrestling with a Black Bear, on this month's cover, showcases Kiyomasu's bold design and his preoccupation with movement, as well as the period's inclination to blend art with legend, image with words, often adding con-templative verses to expand a visual theme. Kintoki was a mythical character. Known as Kintarō in his younger years, he was a child hero, a larger than life latter-day Hercules, who dazzled with his strength and ability to overcome obstacles. Kintoki …

For the world does not yet censure Those who tread the paths of dreams