DEVALUED CURRENCY

Elegiac Symposium on Paradigm Shifts Part 2

Jeffrey M. Perl, Frank Ankersmit, Peter Burke, Wayne Andersen, William M. Chace, Uta Gosmann, Jean Bethke Elshtain

INTRODUCTION: REGARDING CHANGE AT ISE JINGU¯ There is something — two or three things, actually — provincial about the idea of paradigm shifts. In its heyday, the notion of incommensurable paradigms was useful in defense of local cultures against encroachments from the outside. Anthropologists and historians in particular took to the notion as support for the happy thought that outlandish systems of belief could not be judged with reference to any universal standard. The leading candidate for universal standard (Science) was understood as itself a province — a remote island continent, with its uniquely intimidating language, hermetic concepts, and incomparably fastidious manners. In the sense most relevant to this symposium, the idea of paradigm shifts is provincial in that it relates to a quintessentially modern and Western experience of continuity as monotony. Kuhn argued that changes so basic can ensue during a shift in paradigm that “what were ducks . . . before the revolution are rabbits afterwards.”1 He is not talking about a change in mere nomenclature

1. Thomas Kuhn, The Structure of Scientific Revolutions, 2nd ed. (1962; Chicago: University of Chicago Press, 1970), 111.

Common Knowledge 14:2 DOI 10.1215/0961754X-2007-069 © 2008 by Duke University Press

208

Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf by guest on 24 September 2021 on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf (the shift (the is from shift “ fussy fussy white bow) red, orange, and yellow layers, plus a headdress in black, fixed tohis browwith a blue,brown, (in armor colorful and regalia wearing is former The morestark. the contrast that Toshikata has drawn between samurai and hermit could not be height his hands in mail mittens of samurai who, even if lost, would ask for directions atthe lost a pastoral samurai does not look hut. especially With hopeful; nor does he appear the kindBut mountains.” the hutin deep small a in person a spots directions, obtain to 1895 aset of woodblock three prints designed by Toshikata and published Mizuno in of the textbooks science to ofthose metadisciplines little stream, and the iconographically correct misty landscape are done cursorily bridge over roof,little the the little itsthatched Thehut expression. facial with (fig.Meiji era the of triptych a be A letExhibit so tics, Meiji ofEmperor in accession the after reorganized got things way the to Tokugawashogunate the under nized wereorga things way the from revolutionary, apparently Takeshift, the terms. in Western parse to difficult them found have and change major with dealing of ways and toward attitudes Japanese about something learned have I Japan, a studentAs of modernistwhich and are art, deeply drama indebted to those of continuity. with impatient so culture a to suited better theory a imagine to its way of doing business, one science or another has been transformed. It is hard phy of science (1866 Figure 1. seem to have been have to seem , is said in an online gallery description to picture a warrior who,“hoping warrior a picture to description gallery online an in said is , – Other cultures, I hope and believe, regard and manage change differently. differently. change manage and regard believe, and hope I cultures, Other 1908). Courtesy of Japan Print Gallery, London. — The Lost Samurai (1895), woodblock-print triptych by Toshikata Mizuno the samurai glowers with whatglowers to looks be with impotent menace. samurai Certainly, the —

on the opposite side of In its campus. way of seeing the world and — duck ducks.” Expelled from scientific memory, ducks migrate from from migrate memory, ducks scientific from ducks.”Expelled

all all detailed in the style of kabuki prints, including gesture and to rabbit to

—

). Notice also the tense and mood: “ mood: and tense the also Notice ). one gripping a sword; the other, a stick fully his 1867 . My subject here rather is poli art than — history of history science, philoso 1 ). “The Lost Samurai,” Lost ). “The were ducks,” not - - -

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Common Knowledge 210 onehyperbolic Buddhist. not necessarily is context but its style,” century. mid-fourteenth the in Japan (Tang and migrated,under auspices,China Zen dynasty) seventh-century to in in black and ink wash, as required by classic sumi-e by ministers of state; and, in any case, there had never been never had there case, any in and, state; of ministers by assumed powers their governed, rarely regencies)but(therewere interruption nally, to the emperor; emperors of the one had dynasty reignedwithout virtually nomi atleast subordinate, history, known their throughout been, had samurai dateback verifiable perhaps historically as far as emperorsand do. shogun Both more than one-third of a millennium. Further, the historically verifiable samurai military aristocracy; though the shogunate at Edo was the most tenacious, lasting around founding title The governance. imperial on imposition gets. ever line a as straight Meiji as is Emperor to him from descent per se, was established in in established was se, per shogunate the institution, the and centuries; twelfth to eighth the from chief commanders-in- military by held was barbarians”) ofconqueror commander, said was end an to come had era chivalric and doubtlively,Buta it. passionate, ISomehow samurai? and shogunate the lose to determination his in emperor the to comfort given modesty tradition-bound colorless, backward, their Had if self-evidently clear. The warrior is portrayed as if indignant at the countryfolk. emperor as Meiji’s since time, translated, titles seventh-century The Japan. of emperor in throne the ascended who Ojin, that accepted is itBut fanciful. slightly as regarded is eternal”) ages through changeless dynasty same the by occupied throne the on (“seated title thought by historians to be legendary, and so the relevant clause in the emperor’s are lineage the official in emperors fourteen first The Jimmu. from descent in one-hundred-twenty-second was Mutsuhito) (born Meiji Emperor Jimmu. of name the under emperor first its became Sun), Rising the of (Land Nippon of goddess sun Amaterasu, of descendant a Iwarebiko, Kamuyamato when BCE, century seventh the from continuous been had belief, Shinto of axiom an was it Japan, orderof proper The restoring. needed that was itwhat anyway, me to Meiji the paradigm: apparent in Restoration. forterm But this shift it is unclear, authority of political and military kinds than mostauthority than of kinds of predecessors. his political and military his Still, holderof a political office. It does thatseemthe Meiji emperor held more direct andchief priest (or perhaps shaman) of national the religion Shinto, but not the an empire but a collection of contiguous islands, and its sovereign was a demigod art pictorial of styles Japanese Twocharacteristically On the other hand, the shogunate too was ancient, by no means a late a means no by ancient, was too shogunate the hand, other the On are are — in the name of a prior and more naturally Japanese order. Japanese the Hence morenaturally and prior a of name the in tennô

— (heavenly sovereign) and and sovereign) (heavenly 1600

areposed here theand conflict, conflict as in is represented as , only the latest in a series, each led by another clan of the 270 1192 CE, is a historical personage and that the line of line the that and personage historical a is CE, . The Tokugawa (or Edo) shogunate was, at its its at was, Tokugawa (orThe Edo)shogunate . Sumi-e tenshi is thus referred to by some as “Zen sei-i taisho¯gun sei-i (son ofheaven). not Japanwas style. The latter originated originated latter The style. — (roughly “supreme (roughly

— one understated, understated, one

not really not — or so it so or

—

an an - on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf the indeterminate past, or else he is in violation of imperial edicts. Notimpos edicts. imperial of violation in is he else two or past, indeterminate the customary the (including armor full blades in and a glare threatening violence against a commoner’s pictures shack) is a figure of Toshikata whom warrior The longerwear swords public in or (b) execute commoners who disrespect. evinced (a) nocould samurai Meijithat decreed had one after generation printed itwas set, be may triptych the which in time historical the what matter No defiant. co-opted for such pedestrian use. We may imagine that his grimace is, moreover, reflect resentmentthatthe ancient, nobleinto class which he was born had been woodblock prints; and conceivably, the contorted features of Toshikata’s samurai institutions over heJapan.three ruled sameThe reigneddecrees morehadthe signed than who emperor the even abolished, shogunate ofthe institution the and dismissed lampooned in Meiji era prints like Toshikata’s. or celebrated while And shogun thewas ruling warriors the with common in much not had time the of samurai the were armies disbandedSamurai principle classin and social their abolished, but the of court 1867 Japanafter in order. interrupted ofButan whattion happened constitutionally determined that Japan, like these Western powers, had undergone the restora its and empire an been always had Nippon that decided had had Restoration their Stuart bon Restoration and Charles under X, the Louis BritishXVIII under Charles II and old, year a about Bour its had had France ofWesternhistory. was basics the absorbed elites Japanese Meiji be would who prince the when occurred West the monks. became and bureaucrats;and not a few of Buddhists among the themput swordsdown their into Tokugawa, soldiers the from under transformed, been longsince had selves who those had lowerpower exercised before). than Moreover,them samurai the government and weremilitary run by bureaucrats (though of a class different and emperor himself on April April on himself emperor 2 performances. at attendance in elites Meijisamurai or the either imagine to hard is it though ated both with the Meiji Restoration and with the samurai of history and legend, Toshikata made is art use parodic of associ in style visual it. Paradoxically, kabuki by out fading was but throne the Meijiwhen took thriving was rai” of milieu terms. The theanswer warrior kabuki stylistic in “The in Lost Samu otherwise? believe Japan in anyone Did place. in structurally, at least remained, been in place, in one arrangement or another, “changeless through ages eternal,” . However, a kabuki performance was given for the the for given was performance kabuki a However, . seems, from a perspective not so far above sea level, rather limited. The The limited. rather level, sea above far so not perspective a from seems, Then why is the Meiji Restoration so called? Perry’s “opening” of Japan to Or better: what did Toshikata believe? It should be possible to approach an

— tennô

reigning sovereign, ruling vizier, and military aristocracy 2 Kabuki, unlike Noh unlike Kabuki, wasdrama, a popular genre, as were kabuki relocated from Kyoto to the seat of de facto power at Edo. Edo. at power facto de of seat the to Kyoto from relocated 21, 1887 21, .

—

and at the same astime Japanese nationalists tennô an emperor, an they 1895

—

that had when ------

Perl • Devalued Currency: Part 2 211 on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf in the erotic genre called called genre erotic the in mainly was interest Picasso’s Hokusai; and Hiroshige of collectors were Gogh van and Impressionists European own. their all aesthetic powerful but low-key a embody of (mostly poems); and these calligraphy extensive bearing often order, to prints luxe de small-sized, small-edition, that at least some aristocrats admired: admired: at that some least aristocrats Edo and Meiji was there one eras, of genre print woodblock preferencestoday, of late the palpable. for artistic the As even is, prints woodblock to Japan in cognoscenti and classes upper the among condescension the that though, clear, is It drama. and prints Japanese teenth-century nine of sociology the of account persuasive a read, can I 3 . Common Knowledge 212 Unfortunately, I have not found, in any language that that language any in found, not have I Unfortunately, should be read as ironic. read as should be have seemed to him fishy, shallow, orwrong. In whichcase, “The Lost Samurai” may paradigms Both them. tochoose between little was there neously that and simulta offered werebeing Japan in developmentsrecent the understanding of have to have been a kind of joke. More likely, I the think, artist saw that two ways landscape of his triptych, signaling continuity with immemorial tradition, would black-and-white basic the then Toshikata’s conclusion, was such If Omikami? Meiji Restoration have more to do with Commodore Perry than with Amaterasu notDidthe culture? alien an of presentday the into sideways fall a Or future? monarchy,had there not been, a restoration, rather than a leap forward into the ence of foreigners, and also the Westernization of the Japanese and military pres evennoticeable increasingly the Given shifters? the by be to out made been ithad as words, other in Wasshift, the samurai? ofthe that morethan ancient order even an restore ask, to us prompts image the shift, Meijithat Did Japan. shift suppose that his glare is directed, suppose in that his glare someat is directed, part, the samurai is MacArthur), this in violation unawares. Either way, it is reasonable to sibly, since he is lost a(like sailor marooned without news of Japan’s surrender to shift the on Toshikata’sremarking is that piece clear seems it of ofthe mindfulness his audience. At best, I am an amateur of art form,this but dentlyof mindful what was happening beyond his woodblock; too,and mindful, outplace. of so appears he which in brushed in modest sumi-e modest in brushed woodblock print and have preferred to acquire for their homes traditional scrolls as bureaucrats under the Tokugawa, would have had contempt for most genres of who appear as characters in playskabuki level, presumably suppressedpartisans the samurai and shogunate in order to “restore.” At another Meiji that Japan oforder ancient natural the say, as us let timeless, and morial

— The samurai in Toshikata’s triptych may be clueless, but the artist was evi was artist the but clueless, be may triptych Toshikata’s in samurai The

in paradigm in thatparadigm had left wanderingthe samurai without place or role in shunga . Frank Lloyd Wright, Wright, Lloyd Frank . surimono

—

I mean the level at which it is the ofsamurai legend, merely, . These are are These . 4 style. 3 - san is looking at that point as well, though what feelings feelings what though well, as point that at looking is san courte The image. of the side right the off at a point fear be to seems what with looking illegitimate, presumably child, dressed sumptuously a is her behind Cowering art. in portrayed seen have I that sophisticated and haughty of an face the is One faces. unreadable three with viewer the confronting print Kuniyoshi a with failure interpretive of experience an from comes hesitation My tradition. this of picture, 4 Weatherhill, (Trumble, CT: Surimono of Collection Wright Lloyd Frank surimono of promoter and collector important an was however, . Sumi-e

I am hesitant to find irony in this picture, or any other other any or picture, this in irony find to hesitant I am

— : see Joan B. Mirviss and John T. Carpenter, T. John Carpenter, and Mirviss B. Joan see :

timeless immemorial, is the actual the samurai, actual those who served 1995 oiran ). (a highest-class courtesan), the most most the courtesan), (a highest-class sumi-e style of the landscape landscape the of style — the supposed supposed the — as imme as The The - - - - - on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf histrionic them in-joke? Did history (revolutions, restorations, changes of capital cities) seem to significance. theWas Meiji Restoration, for andToshikata his audience, a skit or stylistically, but their subject expres matter would historical seem and political to carry wearing prints, kabuki in sions monks, like the serene lost samurai’s face. famously Is the emotion seen a have skit? I These are theatrical sign. prints, graphic icono an is look histrionic play. That kabuki any almost of climax the at figure major any nearly of “mask” makeup or face the on found be can notdissimilar He has a strong feeling to express, apparently, and is doing so. Still, an expression shock with the of attentions the riveted has that side, right print’s the off at point, the is too looking Daruma face. master’s Zen the on be will it sits, she When Buddhism. Zen of founder knows as as knows Buddhist a what being world floating the world,” floating cushion.” floor a and prostitute for disdain Buddhist where itof to say, her interpret I gown.” could else, Or “Here is aristocrat wears the greatest of Zen masters on the seat what we have come to where as the a society, is “Here saying, as piece the interpret can I ironical. are me to sense make that image this of readings only The fabric the on embroidered face, or image) painted is the a third ing, in stand is (she seated be would she where kimono her on tuously dressed even than the child, but at just the spot interpreted. so was polity Asian modern a that time first the be not restorationsand overthrows are understood validly terms. It theatrical in would evidence of Japanese woodblock prints of the same period, that reconstitutionssistent the evidence with and of nineteenth-centurypolitical Japan, in history or the case, the the case, any In (to me) obscure. are indicates look her thoughts or même chose the shogun from his own capital and abolishing the shogunate the abolishing and capital own his from shogun the The change. fundamental of ritual another tent, however, might of be the Japanese in performance to terms politics construe things mere and relationships, events, pleasures, both are wrong and it that both is my Western to attunement that suspect I but valid; be might reading either Thus, freed. be can one spirit, of effort strenuous with which, Ise Jing Ise of shrines the of reconstruction and destruction once-per-generation the from historical event surely, a shift in political paradigm oiran I will hazard this much in answer to my rhetorical questions: it is not incon not is it questions: rhetorical my to answer in much this hazard will I I doof moral notthe Toshikata’s that mean piece is and child, but his features seem to me paralyzed meparalyzed to seem features his but child, and oiran u ¯ samsara ? As home of the imperial imperial home ofthe As ? —

— — ’s look is not welcoming. She sump more is ’s not is welcoming. look as in: Where am I? What am I doing doing I am What I? am Where in: as the face, unmistakably, of Daruma, the the Daruma, of unmistakably, face, the

nothing so nothing jaded (or French). Look at again thelost samurai’s face.

— — — the burdensomely trivial realm of realm trivial burdensomely the itself what of change And a performance? a ritual of the state religion whose function may be to obviate of whose state religion function the a ritual ukiyo-e Ukiyo-e tennô belongs means “art of the the of “art means ’s court at Kyoto transferred to Edo, displacing oiran — kami between a a between of some — Amaterasu, Ise is the chief sanctuary of Ise Amaterasu, is the chief sanctuary from from here ? - - Dragon Mountain 5 justice. ship relation the do not would “ironic” that sense I though University Press, Bali Press, University Nineteenth-Century in State and master Zen between relationship the of make to is viewer the what cases, these of any In etc.). skeleton, a demon, (a hell of images be to appear doll-like a over about from unknown) ist unobu, Har Suzuki (by Reed” a on Sea the Crossing Daruma one least at of know I himself. Daruma of attribute iconographic an is of ladies’ kimono worn by the the by worn kimono ladies’ of for a the kind wears novel, the Zen master the frontispiece related a on later) Roles,” decades Reverse was which and Daruma in theme: “Beauty several a (made is There Toshikata by properly. print understanding my prevents that irony hist robe and holding a holding and robe hist Budd plain a in dressed is who prints) of category matic (the “beauty” a opposite sitting is He .

See, for instance, Clifford Geertz, Geertz, Clifford instance, for See,

— 1766–67

but how different was it plus ça change, plus c’est la — bijn ukiyo-e ). I have also seen a scroll painting (art painting scroll a seen also have I ). (New York: Viking, 2007 York: Viking, (New 1980 another skit? another whose kimono is decorated with what what with decorated is kimono whose

— ), and Jonathan D.), and Spence, Jonathan 5 print depicting a “Courtesan as

a momentous a More consis More hossu 1930

— oiran , in which Daruma towers towers Daruma which in , (Princeton, NJ: Princeton (Princeton,

the Zen fly-swatter that that fly-swatter Zen the in Kuniyoshi’s print. print. Kuniyoshi’s in Negara: The Theatre Theatre The Negara: bijn bijn - - - - is a basic the basic a is ). unobvious, is Return Return to - - - ­ - Perl • Devalued Currency: Part 2 213 on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf Press, Press, MIT MA: (Cambridge, Stewart B. David ed. Kohso, 6 a brilliant commentary on the architecture of Ise Jing Ise of architecture the on commentary brilliant a . Common Knowledge 214 Arata Isozaki, Isozaki, Arata 2006 ), ), 323 next rebuilding is scheduled for the year year the for scheduled is rebuilding next the of Completion reason. mysterious more another, be may there or techniques; carpentry necessary the down passing for needed time the or it be may foundation; without ground, the into directly sunk are lars since said, is it persisted, has rebuilding tive at set officially is rebuilding of The period rebuilt. then is which is the other in use while disassembled, of one double, identical an has complex shrine the in building Each the on detail, last the to exactly, rebuilt, then ished, demol are River) Isuzu over the them to leading Bridge Uji the (as as of Ise well of ritual the In Japan. and Shinto period of period the that believed Tenmu). is It Emperor of reign the of year teenth architecture in the West as well as in Japan, explains the procedure: the explains Japan, in as West well as the in architecture (fig. shrine disassembled last the n. 1 n. adjacent. © 2001 Jingu Figure 2. Japan-nessinArchitecture . Pages Kodenchi, empty site for the reconstruction of Ise shrines immediately 20 117 years is predicated on the life span of buildings whose pil of buildings span is predicated life on years the – 69 of this book comprise comprise book this of ¯ -shicho , trans. Sabu Sabu trans. , 20 u ¯ years. This ritualistic and performa ritualistic This years. . 2 shikinen sengu shikinen ). As Arata Isozaki, known for known masterpieces Isozaki, ). Arata of As 2013 . 6 685 C.E. (i.e., the four , the sixty-some shrine buildings , buildings shrine the sixty-some kodenchi , the vacated sitethe , of - - - - on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf of miscanthus reeds; the only other materials used are gold and copper for the shape, built, without nails, of and cypress, with thatched gabled roofs comprised linear of granaries architecturally areefficient Thedeconstruction).Ise shrines (and simplification radical demanding beauty artistic of notions embraced had estate real to addiction their beyond got (NB had foundationalism; ontological, as well as West monotheiststhe that in hadimagine come toarchitectural, reject their to first need you possibilities, these Temples.of any Jerusalem To the picture of ceremonies), wedding even atclimax and destruction the the fasts, annual three at prayer, daily in mourning, than (rather occurrence ritual scheduled a as celebrating, Jews Imagine Jerusalem. in Rock the of Dome and Mosque Peter’s St. Basilica rebuilding and down tearing (fig. 3 gifts bearing admitted, are of Amaterasu enclosed by four rows of fences, beyond even the first of which only descendants ever has been onthe going since for about millennia, two past the able,over verifi historically rebuildings, and unbuildings such sixty-one been have There residence has been the small small the been has residence palace at Yamato and found a home that she preferred in Ise. Since that time, her enshrined Figure 3. First fence, with main gate, surrounding the real Imagine a ritual of this kind conducted every twenty years in the Vatican kami Amaterasu at Ise. © 2001 Jingu );had abandoned ideals their of solidity, permanence, or and grandeur; 1 , 300 years, and the official line of Shinto is that this ritual ritual this that is Shinto of line official the and years, ¯den e d o¯ h s in Ise’s in is which mostprecinct, sacred inner ¯ -shicho sho¯ den, inner precinct of the ). — or conducted at the Al Aqsa Aqsa Al the at conducted or kami left the emperor’s

— -

Perl • Devalued Currency: Part 2 215 on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf rial family) are replaced (in all: all: (in replaced are family) rial impe the by (supplied treasures sacred and vestments all moreover and rebuilt, are structures sixty Over penters. and reeds, miscanthus of sheaves requires cycle, year 7 . Common Knowledge 216 The rebuilding process takes eight years of eight years twenty- the takes process The rebuilding of the early Western commentators on Ise Jing Ise on commentators Western early of the not permitted to develop, the patina of age. They are primeval but not old. As one The (perhapsbuildings are thirteen twenty) centuries old but never develop, are reconstruction. and destruction intentional of process in always are structures revered and ancient most their that understanding generation’s each of effect look. buildings of the insides how the know carpenters their and elite imperial the only besides, and, elsewhere architecture of style Ise the reproduce to den centuries many for buildings their built have Japanese the rites and the everlasting stream of worshippers a living presence, the the presence, living a worshippers of stream everlasting the and rites religious the are Notonly Ise! at shrines the are different Howvery it. from missing is life as a monument only of be times, ancient still today it would to ruins blown not had been Parthenon Eventhe if difference. great a is there still But wood. in build shrines Ise the are sublime as stone, most in and ing greatest the aesthetically is . . . Parthenon The (fig. hardware © 2001 Jingu Figure 4. Detail of roof construction and balustrade, main sanctuary, Ise. 14 Even more influential on Japanese culture, we may surmise, has been the been has surmise, may we culture, Even on Japanese more influential , 000 ¯ -shicho pieces of timber, timber, of pieces 1 , 576 122 4 ). articles in in articles , 7 000 These characteristics have had incalculable effect on the way on the have effect had incalculable characteristics These specialist car specialist 12 25 5 cate , 000 - - -

the entry “Shikinenseng entry the See centuries. back numerous dating and knowledge skills specialist requires articles each of these gories). Preparing (accessed November 26 November (accessed eos.kokugakuin.ac.jp/modules/xwords at online available u ¯ put it: , 2007 u ¯ ” in in ”

). — The Encyclopedia of Shinto of Encyclopedia The though it is forbid itis though - - , on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf Figure 5. Aerial view of the “divine forest” surrounding Ise Jingu © 2001 Jingu shift only paradigm shifts (fig. years forest,” “divine twenty the inside on every schedule, deep unwatched, night, of darkness the in place takes It Ise. at shift paradigm the If sites. tiguous con between forth and back only though whoshifts, nation emperorand ofthe deid well as moved” been had capital the throne, the ascended emperor new a “whenever century, eighth the Until duplicates. fresh to tures 8 the shifting for preparation in constantly complex the in Eachhas immediately structure at its side empty space an that is Jing atIse happens wordwhat for noother is there because butalso paradigm, ment and Ishifting. use that gerund not only to recall us to our subject, in shifts of is The thought purity the shrines to depend on ofa renewal replace consisting new.always are shrines the that fact the is This perception. and intention, effect, its in original entirely is which quality, vital another yet have shrines to shift at all. shift to the restoration of a lapsed tradition. of Emperor Meiji’s atsense least, shifting Kyoto from this in court was, to Edo . Bruno Taut, Bruno o¯ , it does it not does change and ages, never but 1937 ), ), ¯ -shicho 139 8 (Tokyo:Japan of People San and Houses . — kami change revolutionary only truly the is regarded as herself a paradigm, then yes, there is a is there yes, then paradigm, a herself as regarded is 9 At the the At . At Ise Jing Ise At . kami ­ ¯den e d o¯ h s ’s treasures from one set ofstruc oneset from ’streasures 9 . ¯ , Mie prefecture. Isozaki, Isozaki, in Ise, it is the tutelary tutelary the itis Ise, in u ¯ , as in Western science, the the science, Western in as , Japan-ness in Architecture —

— would be no longer

and I suppose the the suppose I and 5 ). This paradigm paradigm This ).

kami , 131 u ¯ - - - . .

Perl • Devalued Currency: Part 2 217 on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf

Common Knowledge 218 in in their prints for sale. It is just that Japanese ontology (as of Roland status Barthes ontological explained the discuss to experience, my happy, in all are otherwise, dealeris by rich no quick. Japanese means getting and Western dealers, posh or The larcenous print. forwouldfirst-edition a ask below gallery whatfar posh a items of the kind on auction occasionally but always offered at opening bids very aged) cunningly (but handmade on authentically blocks, recarved expertly using printed, youmayimage sell an they worse, Or woodblocks. repaired and worn-down but original with made par print, in “restrike” posthumous ayou sell will dealers against irresponsible that is warned ticular are you What welcome). be time, of fullness the in would, oversee they collections tothe agift (and advice that hint then this give mostly who people museum is It established. clearly provenance its and quality museum of worldwide galleries excepta handful from wereunnumbered and were published, often, editions in of a thousand or more. Moreover,colors? the mixed then and chose who certain never destroyed, (later cartoon (d) whereitand is print; the making for guide colorfree a a as regret) without presumably carver the hands designer the where (c) hand; designer’s signature and seal (if any) are carved in a woodblock, (b)where the notbeginning; the involvedfrom printer) added are and woodblockcarver, by “the artist” mean in a context (a) where a minimum of threeand artists do what But (designer,“original” artist. the by approved edition first the from comes an speaking, Ontologically market. art what is style that If style. well derivative to a collect, seeks collector the disciples) of expected was (as developed and I potential buyers. Hiroshige II often worked on woodblock designs with Hiroshige Japanese dealers or galleries conceal that that anything they considerfound not importanthave from I Myself, name. the following numbers art-dynasty with (Toyokuni I being Kunisada’s teacher) rary and collaborator of Hiroshige I and II) often signed Toyokuni III as his name IHiroshige (and (a Kunisada there and are IV). contempo also a III Hiroshige from II Hiroshige name the son-in-law) received (andeventual disciple closest shige Utagawa, also called Hiroshige Ando, also called His Hiroshige Ichiyusai. in question is that the I, notHiroshige Hiro also called Hiroshige out specifying with print of print’sname, any designer. a may offer Hiroshige dealers Japanese of all it piece confusing. One useful of advice is: look at name, the twice full the e far as I do,of experience the the curious Western in the amateur market for It about was learning the Postscript prints. Advice to new collectors is not hard to come by, much of it and alarming L’Empiresignes des A second piece of advice, more alarming, is not to buy buy not to is morealarming, advice, ofpiece second A ) differs radically from the one involved with the Western the oneinvolved with the from radically differs ) shikinen sengu shikinen washi — Hiroshige is the style’s the name. is Hiroshige paper. It is true that I have noticed suspect ritual that enabled me to understand, inso understand, to me enabled that ritual

— print is called an original when print is original called an it ukiyo-e

but there are also successive Kunisadas

—

galleries where galleries each item sold is prints at all at all prints ukiyo-e prints prints ukiyo-e ukiyo------on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf to an early printing from the first edition edition first the from printing early an to an to not could, anything as close as about How different, then, is a good print of a editionrestrike only expertly recarved editions of editions recarved expertly only not producing decades, for there, himself busied has and Tokyo in carver woodblock traditional a as trained self 10 expertly repaired whollyun-Japanese, plus what patina iscalled prestige a acquiring be would you series, this from print century) twenty-first an for pay would you that dollars additional of thousands the in this “ this in editions limit to or prints number to though he charges barely $ barely charges he though print individual an you sell not instance, for will, He charm. force and polemical and with in the media, online defends, he These artists. Japanese of values old the all on rating edition edition in that work of Hiroshige II). The paper in newthis edition differs from that of the first from years the Tokyoduring in printer and woodblockcarver skilled every Virtually old, well-loved design. ofan edition fresh ofa originals are they Western sense; derogatory the in les, be national events Japan. in The prints that result are not thought of as facsimi the skills demanded are to likely the die skills out the present with generation. because series, ever, printing, of this recarved last the be will latest edition this are thatthey more durable now and less susceptible to fading. It is that assumed in differ pigments the and family), same the of artisans by told, am I still, and by Hiroshige (that’s Hiroshige I new of edition the Plato was not Japanese of them. any compare to which with color or cartoon) proof” (no “artist’s original no is There edition? posthumous ofa print well-done outstandingly an to have? Should he really care what financial value they they value financial what care really he Should have? to prints his want printmaker a would value of kind What . . . world the of printmaking. sion, completely destroyed subver of incremental a over century ultimately, that tice prac A practice? ridiculous this in up caught be to itself allowed has prints of world the that it is earth on How thelaw. with trouble in themselves find even perhaps and society, by castigated are they this, like tricks try fields other in people When available. supply the restricting by commodity a for price high artificially an maintain there is demand for more. He objects to any “attempt to and last print given a for woodblocks the as long as tinue . On the other hand, a Canadian, David Bull, got him got Bull, David a Canadian, hand, other the On — The original and the unique are not especially valued in this ontology this in valued notespecially are unique the and original The you must “subscribe” to a full year’s worth of ten, ten, of worth year’s full a to “subscribe” must you 200 th anniversary edition” hundred andlooks dollars aroundtwo costs anniversary th washi

— One Hundred Famous Views of Edo of Views Famous Hundred One

is now somewhat differently made (though still made by hand from a print of the first-edition strike or, forthat matter,from 60

— each for them. He refuses

and the recarving ofand the importantrecarving woodblock designs can ukiyo-e — 1998 printing can con can printing prints but elabo but prints

—

though among the designs is one entirely the to to 2004 1850 took part in preparing a complete, a preparing in part took in the year of its initial release initial its of year the in - - - - -

— maintains, are for holding in the hand the in holding for are maintains, of lovers nese buyers not to frame his prints, since traditionally Japa asks moreover Bull pleasure.” me great give result the and process the Both pigments. soft and paper, fluffy wood, materials out of objects beautiful beautiful make to my skills using I like because prints I make not prints. certificates, stock sell should he then so, If investments? as prints his collect to people want he Should have? as www.asahi-net.or.jp/~xs as .html (accessed November 26 November (accessed .html /atgallery ciallywoodblock.com/surimono/atgallery espe see printmaking, and prints woodblock Japanese on views For are). Bull’s they indeed (which works sional three-dimen as them viewing permits that light natural sary edition” is around $ around is edition” sary 11 well pay for a single, faultless print from the first edition. first the from print faultless single, a for pay well

s original as it looks today, itlooks but as original s consisting, in the case at case hand, the in consisting, . The standard price for a set “anniver of price complete the standard The series, designed in the 1850 the in designed series, 02

— .html) (accessed November November (accessed .html)

if the woodblocks are ukiyo-e 1850 do not do so. Woodblock prints, he he prints, Woodblock so. do not do s (rather than than (rather s 10 24 Each print , 000 3 , d-bull/feedback/brickbats 2007

. — 11 a price that one could could one that price a For ).

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— cherry cherry

in a in - - - -

Perl • Devalued Currency: Part 2 219 on 24 September 2021 by guest Downloaded from http://read.dukeupress.edu/common-knowledge/article-pdf/14/2/208/233681/CK142_04_Perl.pdf Architecture itself “Japan-ness” of origin 12

. Common Knowledge 220 On the “fabricated origin” of Ise Jing Ise of origin” “fabricated the On , 159 – untoward ideas, and think of patina as dirt. same designs same numberourprint editions nobody almost to sure make but ourselves enjoys the West the in offear go in replication, pay (howeverdearly for defined), originals we ofeither’s Whereas work. facsimile butnota Dante, Homeron and riff a be Cantos His arts. fine Western into Ise of mentality the import to take would it what new.”it have not “make did Pound even But modernism: for motto his while studying Ernest Fenollosa’s studies of them) that Ezra Pound came up with years. twenty every clean, it, Japanese also prefer to tear down their version of St. Peter’s Basilica and rebuild a makes Western or conservator crawl, itcurator’s skin should be that the recalled replicated to standards the of exacting the woodblock idea If this guilds. artists’ Utamaro clean, fresh, pure, and lacking in patina, but with the design and colors simply in order to save money. They prefer to havenot their Hiroshige, and Hokusai, or time own their of editions made painstakingly from prints acquire to and foxing, fading. Mytoning, impression is Japanese that lovers of wrinkles, margins, undoable centerfolds, and smears trimmed dirt, surface and of repaired wormholes and other insect damage, repaired tears, cleaned-off stains clean.” In this context, I have lost track of what of track lost have I context, this clean.”In

and and to wedefine question, needthat answer more thoughtfully theory,defineinWhat are it.and shifts paradigm in they dopractice? occur To to require we terms basic offour meanings ofthe uncertain am I because mean, — 69

. Jeffrey M. Perl M. Jeffrey change It was, I have come to think, while studying the noble arts of Japan (or Japan of arts noble the studying while think, to come have I was, It — . see Isozaki, Isozaki, see

—

the Japanese, by tradition, regard originality and uniqueness as as uniqueness and regardoriginality Japanese, the bytradition, u ¯

— Japan-ness in in Japan-ness which is the the is which 12 “New” can mean “the same, but same, “the mean can “New” paradigm shift paradigm new and old means or could could or means ukiyo-e prefer , continuity may