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La Dualità Delle Yokohama Shashin Le Fotografie Souvenir Come Mezzo Di Diffusione Di Stereotipi Culturali
Corso di Laurea magistrale in Lingue e Civiltà dell’Asia e dell’Africa Mediterranea (LICAAM) Tesi di Laurea La dualità delle Yokohama shashin Le fotografie souvenir come mezzo di diffusione di stereotipi culturali Relatrice Ch.ma Prof.ssa Silvia Vesco Correlatore Ch. Prof. Toshio Miyake Laureanda Helena Durante Matricola 832691 Anno Accademico 2018 / 2019 要旨 横浜写真というのは、手で彩色されたアルブミンプリントのことであり、浮世絵 の美しさと似ている。１９世紀半ばに生まれ、横浜写真の作品は風景と日本の 伝統的な文化のものが多い。ところが、大きな変化があった時期で、横浜写真の 被写体は実際にあったものと少し違っていた。 １８６８年に明治維新が起き、明治政府と明治天皇は近代化行動を進め、様々な 変化があった。したがって、日本社会は非常に変わり、江戸時代の伝統的な形式は 徐々に消え、新しい科学技術、輸送機関、服装とファッションなどが生まれた。 それに、欧米化運動もあったので、社会のイメージは非常に外国からの影響が あり、モダンな洋風建築や店の英語看板が多くあった。ところが、このモダンな 風景が横浜写真では見られない。その結果、その時代の多くの写真は写真館で製作 され、江戸時代の風俗を似せるために役者や舞台美術が使われた。 横浜写真は、外国人や外国旅行者に向け土産として生まれ、輸出品として ヨーロッパやアメリにと輸出された。その写真はエキゾチックな日本のイメージを 与えたので、とても気があり、商業的にも成功だった。この撮影は過去の記憶 として評判があったけれども、当時の社会の真正な記録として好まれた。それ から、横浜写真は西洋の社会で当時日本の実際のイメージとして海外で普及して いたので、誤解や先入観を与えてしまったかもしれない。このことについての資料 は少ない。研究者が横浜写真と浮世絵の関係を詳しく調べたものはあるが、横浜 写真が西洋社会に与えた影響についてはまだあまり調べられていない。 この卒業論文では、まず横浜写真について説明し、撮影の含み結果を調べ、その 写真と海外社会の文化映像想像の関係を検討する。本稿は四つの章から成り立って いる。 第一章には、まず日本歴史的背景を解説し、それから写真技術の導入や日本での 独自の進化について説明する。最初の写真機材は１８４８年に出島でのオランダ船 との貿易で日本に入ってきた。だが、当時の写真技術は難しい点が多く、初めて 日本人が撮影したのは１８５７年だった。日本で写真技術は外国写真家によって 普及され、１８６０年ぐらいまでは日本に関して写真は外国人が撮影していた。 それから、写真技術の発達により、アマチュア日本写真家が次第に増え、外国写真 1 家のように撮影をするようになった。写真の技術は幕末時代、そして明治維新に 進歩した。近代化と共に日本のイメージは変化し、欧米化運動につれて社会は洋風 なものを取り込んだ。１８７２年に撮影された明治天皇の最初の写真は、写真技術 と近代化の象徴だった。 第二章は、横浜写真に関して説明し、この写真の歴史や特徴や経済発展も 述べる。この写真は、幕末時代から１９００年ぐらいにかけて撮られ、まずは横浜 開港に限られたが、やがて他の港や首都圏でも多くの写真が撮られた。横浜写真の -
Henry and Nancy Rosin Collection of Early Photography of Japan
Henry and Nancy Rosin Collection of Early Photography of Japan Freer Gallery of Art and Arthur M. Sackler Gallery Archives Washington, D.C. 20013 [email protected] https://www.freersackler.si.edu/research/archives/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Local Numbers................................................................................................................. 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series FSA A1999.35 A1: Photo album from the studio of Adolpho Farsari, [1860 - ca. 1900]................................................................................................................... 3 Series FSA A1999.35 A2: Photo album from the studio of Tamamura, [1860 - ca. 1900]...................................................................................................................... -
Japan on Display: Photography and the Emperor P
Japan on Display Sixty years on from the end of the Pacifi c War, Japan on Display examines representations of the Meiji Emperor, Mutsuhito (1852–1912), and his grandson the Shôwa Emperor, Hirohito, who was regarded as a symbol of the nation, in both war and peacetime. Much of this representation was aided by the phenomenon of photography. The introduction and development of photography in the nineteenth century coincided with the need to make Hirohito’s grandfather, the young Meiji Emperor, more visible. It was important to show the world that Japan was a civilised nation, worthy of international respect. Photobooks and albums became a popular format for presenting seemingly objective images of the monarch, reminding the Japanese of their proximity to the emperor, and the imperial family. In the twentieth century, these ‘national albums’ provided a visual record of wars fought in the name of the emperor, while also documenting the reconstruction of Tokyo, scientifi c expeditions, and imperial tours. Collectively, they create a visual narrative of the nation, one in which Emperor Hirohito (1901–89) and science and technology were prominent. Drawing on archival documents, photographs, and sources in both Japanese and English, this book throws new light on the history of twentieth-century Japan and the central role of Hirohito. With Japan’s defeat in the Pacifi c War, the emperor was transformed from wartime leader to peace-loving scientist. Japan on Display seeks to understand this reinvention of a more ‘human’ emperor and the role that photography played in the process. Morris Low is Professor of East Asian Sciences and Technology at Johns Hop- kins University. -
Global Vistas: American Art and Internationalism in the Gilded Age
Global Vistas: American Art and Internationalism in the Gilded Age Nicole Williams Honorary Guest Scholar and Postdoctoral Teaching Fellow (2019–2020) in the Department of Art History & Archaeology in Arts & Sciences at Washington University in St. Louis Global Vistas: American Art and Internationalism in the Gilded Age explores the importance of international travel and exchange to American art of the late nineteenth century, a period of transition for the United States marked by the rise of global trade, international tourism, massive waves of immigration, and forces of orientalism and imperialism. Through a selection of paintings, prints, photographs, and decorative arts from the Mildred Lane Kemper Art Museum, as well as other collections at Washington University in St. Louis, this Teaching Gallery exhibition reveals how Americans increasingly defined their nation by looking to the foreign cultures and landscapes of Asia, the Middle East, Europe, and the Caribbean basin. They imbued their art with a modern, multicultural spirit that also announced the country’s emerging status as a global power. In the decades following the Civil War, many Americans eagerly turned away from recent violence at home toward new vistas of adventure and opportunity abroad. A boom in international travel was facilitated by improvements to communication and transportation networks, such as the laying of the first transatlantic cable, the completion of the transcontinental railroad, the opening of the Suez Canal, and the introduction of regular steamship service between San Francisco and Yokohama, Japan. Young American artists flocked to study in Europe’s great art centers, often staying overseas for many years and establishing vibrant expatriate communities. -
Japón En Córdoba De Un Paso Al Otro Lado Del Mundo Antonio Míguez Santa Cruz Y E
Japón en Córdoba De un paso al otro lado del mundo Antonio Míguez Santa Cruz y E. Macarena Torralba García (Coords.) Japón en Córdoba Autor Nombre Apellido Título: Japón en Córdoba: De un paso al otro lado del mundo Colección: Japón en Córdoba Proyecto desarrollado por: Asociación Cultural Akiba-Kei y Universidad de Reservados todos los derechos. El con- Córdoba tenido de esta obra se halla protegido por Coordinación: Antonio Míguez Santa la ley, que establece penas de prisión y Cruz y E. Macarena Torralba García /o multa, además de las correspondientes Diseño y Maquetación: E. Macarena indemnizaciones a los autores por daños Torralba García y perjuicios, para quienes reproduzcan, Diseño de Portada: E. Macarena Torral- plagien, distribuyan o comuniquen públi- ba García camente, en todo o en parte, la presente Edición: Asociación Cultural Akiba-Kei y obra académica. Lo anterior también se Universidad de Córdoba extiende a su transformación, interpre- tación, o ejecución fijada en cualquier © de los textos: los autores tipo de soporte, e incluso a una eventual ISBN: 13 978-84-697-8549-2 comunicación oral a través de cualquier Depósito legal: CO 2535-2017 medio sin la preceptiva autorización. 2 Japón en Córdoba De un paso al otro lado del mundo Antonio Míguez Santa Cruz y E. Macarena Torralba García (Coords) Editan Asociación Cultural Akiba-Kei y Universidad de Córdoba Japón en Córdoba Autor Nombre Apellido Autores Antonio Míguez Santa Cruz Sandra Carrascosa Urbán Ismael Cristóbal Montero Díaz E. Macarena Torralba García Carolina Plou Anadón Manuel De Moya Martínez Andrés Camacho López Diego Bejarano Palma Raúl Fortes Guerrero Jose Montaño Muñoz Analia Lorena Meo Alejandro Pizarro Carrasco 5 Índice Presentación 9 Antonio Míguez Santa Cruz y E. -
Felice Beato's Japan
X Portraits From the Dawn of a New Era X X X X X X X X X X X The above details all derive from the portrait album introduced in this unit. X Titled “Photographic Views of Japan with Historical and Descriptive Notes,” the photographs were taken by Felice Beato, the pioneer foreign X photographer in Yokohama, Japan’s major treaty port. The album was published shortly after 1868, the year the centuries-old feudal regime headed X by a hereditary Shogun was overthrown and a new, “modern” government under the Meiji emperor established. Through Beato’s lens, we gain an X unusually intimate view of a range of Japanese individuals on the cusp of a new era in their history. X 1 Felice A. Beato, photographer Felice A. Beato (ca. 1833–ca. 1909), a naturalized British citizen and extraordinary photographer, first arrived in Japan in 1863. Beato found the treaty port of Yokohama ideal for establishing a commercial photography studio. Once settled in Yokohama, Beato only made one trip abroad—to Korea to cover a British-U.S. military expedition in the mid 1870s. Established as a treaty port in 1859, Yokohama grew rapidly and bustled with the activity of foreign businessmen, merchants, seaman, and tourists, as well as a rapidly expanding population of Japanese attracted by its commercial opportunities. Beato's life and work are of considerable interest to scholars, curators, and collectors. His album Photographic Views Portrait of Felice A. Beato, 1860s of Japan with Historical and Descriptive by an unknown photographer (detail). Notes, published around 1869, [bjs100] introduces a dialogue between the photograph and the descriptive essay. -
Museum Collections Totaled 142.1 Million
National Collections Program Staff William G. Tompkins, National Collections Coordinator Lauri A. Swann, Assistant National Collections Coordinator Cover Photo: Smithsonian Institution Building towers from the Arts and Industries Building showing both roofs. This image first appeared in the 1931 United States National Museum Report. For additional information or copies of this report contact: National Collections Program, Arts & Industries Building, Room 3101, 900 Jefferson Drive, SW, Smithsonian Institution, Washington, DC 20560 - 0404 tel. (202) 357-3125 fax (202) 633-9214 e-mail [email protected]. 2000 Collection Statistics National Collections Program Smithsonian Institution Archives Director’s Statement I am pleased to present to the Board of Regents, the Secretary, and Smithsonian staff the annual statistical report on the collections of the Smithsonian. This report contains a wealth of information on Institutional trends in the acquisition, loan, and management of the National Collections. First published in 1987, the statistics have become an important indicator of both progress and problems in collections management, informing resource allocators and the Institution’s personnel of events occurring in a given year, and trends reflected over time. This year’s Collection Statistics marks a departure from previous years. More important, it marks the beginning of changes that will occur as the National Collections Program (NCP) of Smithsonian Institution Archives reviews the needs and wishes of its multiple audiences. In the coming year, NCP will seek to identify new and expanded methods to communicate findings on the growth, care, and use of the National Collections. This year’s change moves the publication toward increased uniformity and comparability of data. -
Activities of the Photographic Society of Japan in 2009
Activities of the Photographic Society of Japan in 2009 Established with the approval of the Ministry of Foreign Affairs in 1952, the Photographic Society of Japan is an organization whose objective is to “contribute to the promotion of international friendship through photography and the advancement of culture”. With a membership comprising both full society members and supporting members (groups), the Photographic Society of Japan functions as Japan’s only comprehensive cultural organization. As of the end of 2009, full members number 1,699 and include professional and amateur photographers as well as individuals involved in photography-related fields of science, technology, education, and journalism. Supporting membership comprises 57 corporations and organizations, including various associations representative of today’s photographic industry, manufacturers, trading firms, photography laboratories, studios, educational institutions, and the mass media. The basic objectives of the Photographic Society of Japan are as follows. ・To undertake exchange with overseas photographic organizations with the aim of contributing to the promotion of international friendship through photography and the advancement of culture. ・ To undertake activities on a national scale with the aim of encouraging the development and advancement of photographic culture. ・To sponsor a variety of activities in which a broad section of the general public can participate with the aim of popularizing and promoting photographic culture. Annual General Meeting Annual General -
THE TOM BURNETT COLLECTION of PHOTOGRAPHS of JAPAN 1859 – C. 1912
THE TOM BURNETT COLLECTION OF PHOTOGRAPHS OF JAPAN 1859 – c. 1912 • A TOTAL OF 4,500 VINTAGE PHOTOGRAPHS • 42 ALBUMS CONTAINING A TOTAL OF 2,000 PHOTOGRAPHS • 11 GROUPS OF IMAGES CONTAINING A TOTAL OF 250 PHOTOGRAPHS • AND APPROXIMATELY 2,000 MISCELLANEOUS PHOTOGRAPHS --VARIOUS PHOTOGRAPHIC FORMATS INCLUDING AMBROTYPES, CABINET CARDS, DEGURREOTYPE, CARTES-DE-VISITE, COLLOTYPES, GLASS LANTERN SLIDES, MAMMOTH PRINTS, STEREOVIEWS and PANORAMAS. 1 PREPARED WITH THE ASSISTANCE OF ALDEN REISS REFERENCES cited in this catalogue: Felice Beato, A Photographer on the Eastern Road (Getty Museum), Anne Locoste, 2010 PER (PL – Plate) Felice Beato in Japan, CG Phillipp, Motta edition, 1991 FBJ Japan, Photographs, Clark Worswick, 1979 JP Photography in Japan 1853 – 1912, Terry Bennett, 2006 PIJ Views and Costumes of Japan: A Photograph Album by Baron Raimund von Stillfried-Ratenicz, Luke Gartlan, “The La Trobe Journal” No 76, 2005 VCJ Felice Beato Photographer in Nineteenth-Century Japan, Eleanor M. Hight, 2011 FBUNH La Photographie Japonaise, Patrik Bonneville, 2006 LPJ Koshashin, The Hall Collection, 2009 KO Reinventing Tokyo, Catalogue for Exhibition at Mead Art Museum at Amherst College, 2013 RT Souvenirs from Japan, Margarita Winkel, 1991 SJ Staging Desires: Japanese Feminitity in Kusakabe Kimbei’s Nineteenth-Century Souvenir Photograohy, Mio Wakita, 2013 SD Renjo Shimooka: The Pioneer Photographer in Japan, Ishiguro Keisho, 1999 ISH The British and French Military Garrisons in Yokohama at the Time of the Meiji Restoration, Yokohama Archives of -
Political and Ritual Usages of Portraits of Japanese
POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES by Yuki Morishima B.A., University of Washington, 1996 B.F.A., University of Washington, 1996 M.S., Boston University, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yuki Morishima It was defended on November 13, 2013 and approved by Katheryn Linduff, Professor, Art and Architecture Evelyn Rawski, Professor, History Kirk Savage, Professor, Art and Architecture Dissertation Advisor: Karen Gerhart, Professor, Art and Architecture ii Copyright © by Yuki Morishima 2013 iii POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES Yuki Morishima, PhD University of Pittsburgh, 2013 This dissertation examines portraits of Japanese emperors from the pre-modern Edo period (1603-1868) through the modern Meiji period (1868-1912) by questioning how the socio- political context influenced the production of imperial portraits. Prior to Western influence, pre- modern Japanese society viewed imperial portraits as religious objects for private, commemorative use; only imperial family members and close supporters viewed these portraits. The Confucian notion of filial piety and the Buddhist tradition of tsuizen influenced the production of these commemorative or mortuary portraits. By the Meiji period, however, Western portrait practice had affected how Japan perceived its imperial portraiture. Because the Meiji government socially and politically constructed the ideal role of Emperor Meiji and used the portrait as a means of propaganda to elevate the emperor to the status of a divinity, it instituted controlled public viewing of the images of Japanese emperors. -
Staging Desires: Japanese Femininity in Kusakabe Kimbei's Nineteenth-Century Souvenir Photography
Mio Wakita Staging Desires: Japanese Femininity in Kusakabe Kimbei’s Nineteenth-Century Souvenir Photography Reimer The Hammonds Foundation Monograph Series on Asian Art This book has been published with the assistance of the Japan Foundation Additional assistance from the Stiftung zur Förderung japanisch-deutscher Wissenschafts- Kulturbeziehungen (JaDe-Stiftung), the MCH-Foundation, Dallas/Baden-Baden (Stiftung Hammonds), and the Cluster of Excellence “Asia and Europe in a Global Context” of Heidelberg University This book is a revised version of the dissertation thesis “In the Guise of Elusive Veracity: A Visual Construct of Meiji Femininity in Kusakabe Kimbei’s Souvenir Photographs in the Age of Visual Modernity” submitted to Heidelberg University in 2010 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Layout and Coverdesign: Nicola Willam, Berlin Illustration: Kusakabe Kimbei, 16 Wind Costume, see also Plate 19 Printing: Wilhelm & Adam Werbe- und Verlagsdruck OHG, Heusenstamm © 2013 by Dietrich Reimer Verlag GmbH, Berlin www.reimer-verlag.de All rights reserved Printed in Germany Printed on resistant to ageing paper ISBN 978-3-496-01467-6 Table of Contents Introduction . 7 The Point of Departure . 7 The State of Research . 14 Yokohama shashin Terminology . 19 The Research Background . 20 The Precarious Issue of Attribution . 20 Plan of the Book . 21 1 Contextualising the “Kimbei” Brand . 23 The Introduction of Photographic Media in Japan . 23 The Rise and Falls of the Souvenir Photography Industry in Yokohama . 26 The Kimbei Photography Studio . 37 Shopping at the Kimbei Studio: Modalities of Selection . -
5 Souvenir Albums Kimbei, Took a Number of Years to Build a Truly Representative Portfolio Which Covered the Four - Number List and Main Islands
mirrored the actual journey the tourist had taken. Some famous photographers, for example Kusakabe 5 Souvenir Albums Kimbei, took a number of years to build a truly representative portfolio which covered the four - Number List and main islands. In the meantime, Kusakabe and others solved this problem by acquiring prints and Attribution Issues negatives from other studios, effectively filling in the gaps in their own catalogues. This was perhaps Throughout the whole of the Meiji period and to be expected: a Yokohama-based studio might beyond, it was possible for Japan’s foreign visitors, well decide it was impractical, or impracticable, and of course local residents to acquire souvenir to obtain a representative range of views from as photographs of scenic views and portraits. These far away as Nagasaki or Hakodate. Kusakabe, in photographs were usually mounted in albums whose fact, advertised his business as a photographic boards were decorated with attractive lacquer work dealership in the early years of his studio and it was or Japanese silk cloth. The photos themselves were only later that he styled himself as a photographer. invariably hand coloured, but some customers Most Meiji-era studios included work from other favoured them in their original sepia tones. photographers in their souvenir albums, and The albums are sometimes today referred to as arrangements between studios to buy or exchange Yokohama Albums since most of the studios which negatives must have been commonplace. Do not produced them, at least in the early years, were expect, therefore, a souvenir album to necessarily based in that town. After the 1880s, however, an contain the work of just one artist.