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Redalyc.Nagasaki. an European Artistic City in Early Modern Japan
Bulletin of Portuguese - Japanese Studies ISSN: 0874-8438 [email protected] Universidade Nova de Lisboa Portugal Curvelo, Alexandra Nagasaki. An European artistic city in early modern Japan Bulletin of Portuguese - Japanese Studies, núm. 2, june, 2001, pp. 23 - 35 Universidade Nova de Lisboa Lisboa, Portugal Available in: http://www.redalyc.org/articulo.oa?id=36100202 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative BPJS, 2001, 2, 23 - 35 NAGASAKI An European artistic city in early modern Japan Alexandra Curvelo Portuguese Institute for Conservation and Restoration In 1569 Gaspar Vilela was invited by one of Ômura Sumitada’s Christian vassals to visit him in a fishing village located on the coast of Hizen. After converting the lord’s retainers and burning the Buddhist temple, Vilela built a Christian church under the invocation of “Todos os Santos” (All Saints). This temple was erected near Bernardo Nagasaki Jinzaemon Sumikage’s residence, whose castle was set upon a promontory on the foot of which laid Nagasaki (literal translation of “long cape”)1. If by this time the Great Ship from Macao was frequenting the nearby harbours of Shiki and Fukuda, it seems plausible that since the late 1560’s Nagasaki was already thought as a commercial centre by the Portuguese due to local political instability. Nagasaki’s foundation dates from 1571, the exact year in which the Great Ship under the Captain-Major Tristão Vaz da Veiga sailed there for the first time. -
The History, Tradition, and Culture of Kyoto Prefecture
The History, Tradition, and Culture of Kyoto Prefecture Kyoto Prefectural Education Center Preface The world has become a smaller place due to the development of high-speed machines and information technology. Nowadays the ability to show the world our identity as Japanese people including our culture and tradition, especially the ability to communicate with the rest of the world, is needed more than ever. Throughout history, Kyoto has been at the center of Japanese culture and history. Kyoto is therefore a good starting point for communicating with the world about Japanese culture and history. In this textbook, the history, tradition, and culture of each region in Kyoto Prefecture are introduced in English so that you, as high school students, can be proud to tell people from abroad about your hometown and Kyoto in English. The contents of chapter Ⅰto Ⅲ in this textbook are based on a Japanese textbook which was written for new teachers working in Kyoto Prefecture. Some parts have been erased and changed, and in other parts, new information was added so that high school students can understand better. You might find some difficult words in the textbook, however, the sentence structures are rather simple and readers with a basic knowledge of grammar can read on with a dictionary at hand. Furthermore, as the Japanese explanations are available on the right page, you can utilize them as a reference if the English is too difficult to understand. Besides, this textbook would be useful not only for students but also for people from abroad who don't know much about Kyoto Prefecture. -
Zen As a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries
Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries by Meng Ying Fan A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © Copyright by Meng Ying Fan 2020 Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries Meng Ying Fan Master of Arts Department of East Asia Studies University of Toronto 2020 Abstract This essay explores the impact of Chan/Zen on the art of landscape painting in China and Japan via literary/visual materials from the twelfth to sixteenth centuries. By rethinking the aesthetic significance of “Zen painting” beyond the art and literary genres, this essay investigates how the Chan/Zen culture transformed the aesthetic attitudes and technical manifestations of picturing the landscapes, which are related to the philosophical thinking in mind. Furthermore, this essay emphasizes the problems of the “pattern” in Muromachi landscape painting to criticize the arguments made by D.T. Suzuki and his colleagues in the field of Zen and Japanese art culture. Finally, this essay studies the cultural interaction of Zen painting between China and Japan, taking the traveling landscape images of Eight Views of Xiaoxiang by Muqi and Yujian from China to Japan as a case. By comparing the different opinions about the artists in the two regions, this essay decodes the universality and localizations of the images of Chan/Zen. ii Acknowledgements I would like to express my deepest gratefulness to Professor Johanna Liu, my supervisor and mentor, whose expertise in Chinese aesthetics and art theories has led me to pursue my MA in East Asian studies. -
The Making of Modern Japan
The Making of Modern Japan The MAKING of MODERN JAPAN Marius B. Jansen the belknap press of harvard university press Cambridge, Massachusetts London, England Copyright © 2000 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Third printing, 2002 First Harvard University Press paperback edition, 2002 Book design by Marianne Perlak Library of Congress Cataloging-in-Publication Data Jansen, Marius B. The making of modern Japan / Marius B. Jansen. p. cm. Includes bibliographical references and index. isbn 0-674-00334-9 (cloth) isbn 0-674-00991-6 (pbk.) 1. Japan—History—Tokugawa period, 1600–1868. 2. Japan—History—Meiji period, 1868– I. Title. ds871.j35 2000 952′.025—dc21 00-041352 CONTENTS Preface xiii Acknowledgments xvii Note on Names and Romanization xviii 1. SEKIGAHARA 1 1. The Sengoku Background 2 2. The New Sengoku Daimyo 8 3. The Unifiers: Oda Nobunaga 11 4. Toyotomi Hideyoshi 17 5. Azuchi-Momoyama Culture 24 6. The Spoils of Sekigahara: Tokugawa Ieyasu 29 2. THE TOKUGAWA STATE 32 1. Taking Control 33 2. Ranking the Daimyo 37 3. The Structure of the Tokugawa Bakufu 43 4. The Domains (han) 49 5. Center and Periphery: Bakufu-Han Relations 54 6. The Tokugawa “State” 60 3. FOREIGN RELATIONS 63 1. The Setting 64 2. Relations with Korea 68 3. The Countries of the West 72 4. To the Seclusion Decrees 75 5. The Dutch at Nagasaki 80 6. Relations with China 85 7. The Question of the “Closed Country” 91 vi Contents 4. STATUS GROUPS 96 1. The Imperial Court 97 2. -
PHILIPP FRANZ VON SIEBOLD and the OPENING of JAPAN Philipp Franz Von Siebold, 1860 PHILIPP FRANZ VON SIEBOLD and the OPENING of JAPAN • a RE-EVALUATION •
PHILIPP FRANZ VON SIEBOLD AND THE OPENING OF JAPAN Philipp Franz von Siebold, 1860 PHILIPP FRANZ VON SIEBOLD AND THE OPENING OF JAPAN • A RE-EVALUATION • HERBERT PLUTSCHOW Josai International University PHILIPP FRANZ VON SIEBOLD AND THE OPENING OF JAPAN Herbert Plutschow First published in 2007 by GLOBAL ORIENTAL LTD PO Box 219 Folkestone Kent CT20 2WP UK www.globaloriental.co.uk © Herbert Plutschow 2007 ISBN 978-1-905246-20-5 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without prior permission in writing from the publishers. British Library Cataloguing in Publication Data A CIP catalogue entry for this book is available from the British Library Set in 9.5/12pt Stone Serif by Servis Filmsetting Ltd, Manchester Printed and bound in England by Cromwell Press Ltd, Trowbridge, Wilts. Contents Preface vii 1. Von Siebold’s First Journey to Japan 1 • Journey to Edo 9 • The Siebold Incident 16 2. Von Siebold the Scholar 26 • Nippon 26 • The Siebold Collection 30 3. Von Siebold and the Opening of Japan 33 •Von Siebold and the Dutch Efforts to Open Japan 33 •Von Siebold and the American Expedition to Japan 47 •Von Siebold and the Russian Expedition to Japan 80 4. Von Siebold’s Second Journey to Japan 108 •Shogunal Adviser 115 • Attack on the British Legation 120 • The Tsushima Incident 127 • Banished Again 137 5. Back in Europe 149 • Advising Russia 149 • Opinion-maker 164 • Advising France and Japan 171 •Von Siebold’s Death 178 6. -
Catalogue 229 Japanese and Chinese Books, Manuscripts, and Scrolls Jonathan A. Hill, Bookseller New York City
JonathanCatalogue 229 A. Hill, Bookseller JapaneseJAPANESE & AND Chinese CHINESE Books, BOOKS, Manuscripts,MANUSCRIPTS, and AND ScrollsSCROLLS Jonathan A. Hill, Bookseller Catalogue 229 item 29 Catalogue 229 Japanese and Chinese Books, Manuscripts, and Scrolls Jonathan A. Hill, Bookseller New York City · 2019 JONATHAN A. HILL, BOOKSELLER 325 West End Avenue, Apt. 10 b New York, New York 10023-8143 telephone: 646-827-0724 home page: www.jonathanahill.com jonathan a. hill mobile: 917-294-2678 e-mail: [email protected] megumi k. hill mobile: 917-860-4862 e-mail: [email protected] yoshi hill mobile: 646-420-4652 e-mail: [email protected] member: International League of Antiquarian Booksellers, Antiquarian Booksellers’ Association of America & Verband Deutscher Antiquare terms are as usual: Any book returnable within five days of receipt, payment due within thirty days of receipt. Persons ordering for the first time are requested to remit with order, or supply suitable trade references. Residents of New York State should include appropriate sales tax. printed in china item 24 item 1 The Hot Springs of Atami 1. ATAMI HOT SPRINGS. Manuscript on paper, manuscript labels on upper covers entitled “Atami Onsen zuko” [“The Hot Springs of Atami, explained with illustrations”]. Written by Tsuki Shirai. 17 painted scenes, using brush and colors, on 63 pages. 34; 25; 22 folding leaves. Three vols. 8vo (270 x 187 mm.), orig. wrappers, modern stitch- ing. [ Japan]: late Edo. $12,500.00 This handsomely illustrated manuscript, written by Tsuki Shirai, describes and illustrates the famous hot springs of Atami (“hot ocean”), which have been known and appreciated since the 8th century. -
Portuguese Ships on Japanese Namban Screens
PORTUGUESE SHIPS ON JAPANESE NAMBAN SCREENS A Thesis by KOTARO YAMAFUNE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Major Subject: Anthropology Portuguese Ships on Japanese Namban Screens Copyright 2012 Kotaro Yamafune PORTUGUESE SHIPS ON JAPANESE NAMBAN SCREENS A Thesis by KOTARO YAMAFUNE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Luis Filipe Vieira de Castro Committee Members, Kevin J. Crisman Molly Warsh Head of Department, Cynthia Werner August 2012 Major Subject: Anthropology iii ABSTRACT Portuguese Ships on Japanese Namban Screens. (August 2012) Kotaro Yamafune, B.A., Hosei University Chair of Advisory Committee: Dr. Luis Filipe Vieira de Castro Namban screens are a well-known Japanese art form that was produced between the end of the 16th century and throughout the 17th century. More than 90 of these screens survive today. They possess substantial historical value because they display scenes of the first European activities in Japan. Among the subjects depicted on Namban screens, some of the most intriguing are ships: the European ships of the Age of Discovery. Namban screens were created by skillful Japanese traditional painters who had the utmost respect for detail, and yet the European ships they depicted are often anachronistic and strangely. On maps of the Age of Discovery, the author discovered representations of ships that are remarkably similar to the ships represented on the Namban screens. -
In Japan Is Onze VOC Beroemd En Geliefd. Ieder Kind Leert Daar Over Deshima, De Piepkleine Nederlandse Handelspost in Nagasaki
Sieboldhuis In Japan is onze VOC beroemd en geliefd. Ieder kind leert daar over Deshima, de piepkleine Nederlandse handelspost in Nagasaki. Ooit venster op het Westen, nu symbool voor open- heid en sinds kort herbouwd. In OVT een tweeluik. door marten minkema Feestmaal op Deshima, ca. 1825. Factorij-arts Von Siebold snijdt het vlees aan. et was even schrikken, maar na gelbeeld of met omgekeerde V, maakt hier tegen de belofte geloof en tengels thuis de een weekje Nagasaki begrijp ik die niet uit. Maar bedenk dan dit: Japan zat laten. Daarmee werd de voc het enige wes- HJapanners wel. Goed: ze zouden twee eeuwen lang potdicht. De heersende terse contact van een rijk met dertig mil- dus het liefst nieuw leven blazen in die Ver- Shogun gooide het land in 1638 op slot uit joen Japanners, en Deshima het eenzame eenigde Oostindische Compagnie. Waar- angst voor zendelingen en kolonisatie. Al- bruggetje naar een exotische wereld. van je het omstreden embleem op straat en leen Nederland mocht ankeren voor het ei- Waarvan ze niets zagen, want het waaier- in winkels tegenkomt – soms ook in spie- landje Deshima in de baai van Nagasaki, vormige eilandje was ommuurd en zwaar 20 v Quote Sieboldhuis In Japan is onze VOC beroemd en geliefd. Ieder kind leert daar over Deshima, de piepkleine Nederlandse handelspost in Nagasaki. Ooit venster op het Westen, nu symbool voor open- heid en sinds kort herbouwd. In OVT een tweeluik. door marten minkema Feestmaal op Deshima, ca. 1825. Factorij-arts Von Siebold snijdt het vlees aan. et was even schrikken, maar na gelbeeld of met omgekeerde V, maakt hier tegen de belofte geloof en tengels thuis de bewaakt. -
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Pictures of Social Networks: Transforming Visual Representations of the Orchid Pavilion Gathering in the Tokugawa Period (1615-1868) by Kazuko Kameda-Madar B.A., The University of Hawai„i at Mānoa, 1997 M.A., The University of Hawai„i at Mānoa, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Art History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May 2011 © Kazuko Kameda-Madar, 2011 Abstract This thesis examines the cultural networks that connected people holding common ideological values in the Tokugawa period by surveying a range of visual representations of the Orchid Pavilion Gathering. It explores the Tokugawa social phenomena that gave rise to the sudden boom in the Orchid Pavilion motif and how painters of different classes, belonging to different schools, such as Kano Sansetsu, Ike Taiga, Tsukioka Settei and Kubo Shunman, came to develop variations of this theme in order to establish cultural identity and to negotiate stronger positions in the relationships of social power. Probing the social environment of artists and their patrons, I demonstrate how distinct types of Orchid Pavilion imagery were invented and reinvented to advance different political agendas. The legendary gathering at the Orchid Pavilion in China took place in 353 CE, when Wang Xizhi invited forty-one scholars to participate in an annual Spring Purification Festival. At this event, Wang Xizhi improvised a short text that has come to be known as the Preface to the Orchid Pavilion Gathering. In Japan, while the practice of the ritual gathering and the text describing it were introduced in the Nara period, its pictorial representation in the format of a stone rubbing was not imported until the early seventeenth century. -
Chinese and Japanese Literati Painting: Analysis and Contrasts in Japanese Bunjinga Paintings
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Chinese and Japanese Literati Painting: Analysis and Contrasts in Japanese Bunjinga Paintings Qun Dai Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Asian Art and Architecture Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dai, Qun, "Chinese and Japanese Literati Painting: Analysis and Contrasts in Japanese Bunjinga Paintings" (2016). Senior Projects Spring 2016. 234. https://digitalcommons.bard.edu/senproj_s2016/234 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Chinese and Japanese Literati Painting: Analysis and Contrasts in Japanese Bunjinga Paintings Senior Project Submitted to The Division of the Arts of Bard College by Qun Dai Annandale-on-Hudson, New York May 2016 Acknowledgements I would like to express my deep gratitude to Professor Patricia Karetzky, my research supervisor, for her valuable and constructive suggestions during the planning and development of this research work. I, as well, would like to offer my special thanks for her patient guidance, extraordinary support and useful critiques in this thesis process. -
Discovered Documents of Von Siebold Part Iii Pf
Kitakanto Med.J. 315 48 ( 4 ) : 315•`324, 1998 DISCOVERED DOCUMENTS OF VON SIEBOLD PART III P.F. VON SIEBOLD: HIS STUDY ON JAPAN, FRIENDSHIP WITH JAPANESE PEOPLE, AND THE DISCOVERED LETTER TO MAMIYA RINZO Seiichi Takenoshita, Frits Vos*, W.R.van Gulik*, Chikako Narita**, Yukio Nagamachi, Yoichiro Mizuguchi**, Shinji Hata** First Department of Surgery, Gunma University School of Medicine, Japan, * Center for Japanese and Korean Studies , Leiden University, the Netherlands, ** Stichting Siebold Council, the Netherlands Abstract : During the court journey in 1826, Nagasakiya was the usual inn where the Dutch stayed in Edo. While Siebold was there, a lot of people including the governor of Nagasaki, feudal lords, and imperial doctors visited him alternately. Siebold obtained diverse information from them, and this became the cause of the Siebold Incident later in 1828. In this study, we opened the important materials which could overthrow the established story of the von Siebold Incident. The first one is the letter which Siebold sent to Mamiya on February 25, 1828. So far, the von Siebold Incident has been considered to begin with Mamiya's notice to the government, which stated that Mamiya had received via Takahashi Sakuzaemon a letter from Siebold, a total stranger to him. The second material is the warrant issued by the government against Siebold, who violated the law by writing a letter to Mamiya. Concerning how the government dealt with this case, there still remain many questions. For example, the government did not check the relationship between Siebold and Takahashi at all, even though they knew that it was Takahashi who had given the letter of Siebold to Mamiya. -
Name and Fame Material Objects As Authority, Security, and Legacy
4 Name and Fame Material Objects as Authority, Security, and Legacy Morgan Pitelka In 1603 the reigning emperor elevated Tokugawa Ieyasu to the office of shogun, confirming his decisive military victory over opponents in 1600 and his subse- quent, and far-reaching, assumption of governing prerogatives (from assigning landholdings to minting coins). Preceded by a fulsome courtship of imperial favor with gifts and ritual deference, the appointment led to both the amplified administrative initiatives and ceremonial performances that might secure a fragile peace. Ieyasu tacked back and forth between the imperial capital of Kyoto and his shogunal headquarters in Edo, working all political channels to build support for his regime. Backing mattered, particularly because the teenage heir of his for- mer lord—Toyotomi Hideyoshi, who first brought union to the warring states— remained with his mother at Osaka castle as a rallying point for doubters and the disaffected. A potential division in fealty compounded the dangers of a nascent rule. Ieyasu took the precaution, consequently, of resigning the office of shogun in 1605. Surprising for a hungry ruler still establishing his mandate, the decision was prudent for a would-be dynast. Succession tormented the houses of the warring states (1467–1603). Indeed, it was contests over the headship of three leading families that had provoked the opening hostilities of the Ōnin war in Kyoto and then tangled all provinces in violence. And, again and again, throughout the ordeals upending the Ashikaga shogunate and the very premises of medieval rule, problems over heirs shaped the course of conflict. Not least in Ieyasu’s immediate memory.