DOCSLIB.ORG

Contemporary Japanese Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary Japanese Art COVER STORY • 5 Contemporary Japanese Art By Koyama Tomio ©1996 Takashi Murakami / Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy: Tomio Koyama Gallery / Photo: Yoshitaka Uchida, Nomadic Studio ORKS by Japanese artists have begun to be forgotten in con- Wbecome increasingly popular temporary art, both artists around the world in recent years. I appeal to people who have a opened a gallery in 1996 and have broader perspective of what art exhibited and sold works by the artists is. Murakami Takashi and Nara Yoshitomo. Now their works are regis- 2. They have outstanding tered at every auction held by premier technique. Both Murakami and auction houses like Christie’s and Nara studied at art universities Sotheby’s. Sometimes their works even in Japan. Japanese art educa- adorn the cover of those houses’ publica- tion is extremely academic, and tions, an honor which only renews their unlike Western art education value. Murakami was invited by Louis whose mainstream is concept- Vuitton as an artist, and helped to boost oriented, it emphasizes basic sales by working with the designer Marc techniques such as drawings. Jacobs to participate in the greatest col- The fact that they both prac- laboration in fashion history. In addi- ticed these techniques is proba- tion to appealing to art collectors and art bly an important factor in their museums worldwide, their works are of success, although it is not the great interest in the worlds of fashion primary explanation. This has Murakami Takashi, “And Then, And Then And Then And Then And Then” 1996, Acrylic on canvas mounted on and film. Art merchandise based on also been disregarded in con- board, 100x100cm their works also appeals to average con- temporary art thus far. sumers. Their arts are accessible to peo- selves and to turn their attention to their ple of all genres and classes, making 3. Japan has a sophisticated cultural own country’s culture. A hybrid sensi- them a truly rare gift. Unlike promi- history. I am not simply referring here bility seems to have emerged as a result. nent predecessors such as Andy Warhol, to Japanese art history, but to the fact Perhaps this has created a sophisticated Keith Haring and Jean-Michel Basquiat, that Japan may have a tradition of culture. This has occurred over and Murakami and Nara came from Japan, a adopting things from foreign cultures. over throughout Japanese history in the scene far removed from the center of the Japan has enjoyed and been heavily Heian (794-1192), Momoyama (1568- art world in New York. influenced by Western culture for nearly 1600) and Edo (1603-1867) periods. It So how did they get to be this popu- 60 years since the end of World War II now seems that postwar “learning” is lar? Does their Japanese background (and even as far back as the Meiji Period giving way to a period of fruitful pro- play any part in their popularity? We from 1868 to 1912), a period which duction. A sense of criticism is, natural- can speculate about a variety of reasons overlapped with Japan’s economic suc- ly, an important part of contemporary for their fame. cess. Since the war, many Japanese con- art. Every Western expert understands temporary art exhibits have been held in that Nara and Murakami have arrived at 1. Their works have the power to con- various countries, especially in the today’s expressions through progress in vey something directly to the viewer. United States. Concepts of contempo- the conceptual dimension. Murakami masterfully and uninhibited- rary art have basically been imported ly depicts DOB, a character of his own from the West. Based on those ideas, 4. They have enjoyed a network-style creation, on the screen. He experiments Japan can be said to have “learned” con- market. This was the method which with various representations, drawing in temporary art. Several contemporary Nara and Murakami always had in mind the viewer with his use of dynamism and Japanese art exhibits, which have been when they were shaping the market. detail. Nara, meanwhile, draws portraits significant in terms of showing what has Until recently, Japanese galleries focused based on his childhood memories and been achieved in Japan, have been high- their efforts primarily on imports. the circumstances he found himself in, ly scrutinized and developed with criti- Active efforts were not made to export imparting the viewer with abundant cism. Japanese art. In 1996 when I opened strong emotions amidst a backdrop of The sense of criticism that evolved out my gallery, Japan was in an economic silence. of this environment forced artists to be slump. I thought I would find it diffi- By using artistic methods that have conscious of the reality within them- cult to operate the gallery in the domes- 18 JAPAN SPOTLIGHT • March / April 2004 COVER STORY • 5 ©2001 Yoshitomo Nara / Photo: Yoshitaka Uchida, Nomadic Studio / Courtesy: Tomio Koyama Gallery tic market only. I participated in a small However, they were attractive galleries art fair at a Los Angeles hotel. It was an full of hope and ideas. Each gallery exciting event that attracted about 40 held exhibits to ensure their own budding galleries from around the business success, while also main- world. I was hoping to sell works by the taining their networks. I don’t artists from my own gallery and not just know if the fact that Murakami Japanese artists. This event allowed me and Nara are Japanese was at the to experience the active approach toward forefront of the owners’ minds at art that has been cultivated in the that time. However, regardless United States. I saw people demonstrate of their origins, they were defi- the courage to judge with their own eyes nitely known to be invaluable the works of artists that they didn’t artists for the gallery owners’ art know anything about. It was evident businesses. With their cooperation, that people are willing to look at them- Nara and Murakami were able to selves, or that they are equipped with a make names for themselves in Europe sense of criticism. This is what is exactly and the United States, were respected as needed to create an art market. When a artists, and solidified their market. At Nara Yoshitomo, "Too Young To Die“ 2001, customer engages in the economic the time, I felt that intense local passions acrylic on cotton, mounted on fiber reinforced behavior of making a purchase, his or were more important than the light- plastics, diam.180xd.26cm her action is considered an honor by hearted fantasies of the international both the artist and myself, and from it market, and the individual works pro- in Japan? Have Nara and Murakami we derive our sense of confidence. After duced in this environment formed a been accepted into the Japanese art this fair, Nara and Murakami held line, and then formed a surface. Private scene? More than 60% of their major exhibits at galleries in Europe and the networks that follow different pursuits works are in collections overseas. Only United States. All of those gallery own- than cultural exchanges between coun- five art museums in Japan hold their ers were about my age and none of their tries, have become more prominent in works as part of their public collections. galleries were particularly famous. the art world in recent years. Their works are nowhere to be found in Tokyo. Their popularity might be soar- Photo: Koyama Tomio 5. The West served to assign value to ing overseas, but they will only be appre- Nara and Murakami. By and large, the ciated in Japan after they have made West seems to see the world’s art as nec- their name elsewhere. In spite of Japan’s essary, and has actively incorporated the national wealth, its cultural policies and art of Japan as well as China, Latin cultural environment are in an incon- America, the Middle East, Eastern gruous state of impoverishment. Japan Europe and other countries into its own has a culture of reverse-importation that art history. It might have enveloped refuses to pass its own judgments. perspectives of “exoticism,” “oriental- Perhaps the simple reason why Japanese ism” and “globalism.” However, culture is flourishing overseas may be because of its pure desire to complete that it is not assigned value at home. the history of art that the West has built, This leaves artists with no way of discov- it collects all kinds of information, ering their own value other than leaving assigns value, and maintains collections Japan. National policies that treat cul- of art works. This passion is something ture as an industry remain seriously lack- that must be respected. Art is a field ing. where history and the market are closely intertwined. It is in the Western art scene that the art from foreign countries will be judged, marketed and assigned a Koyama Tomio is the owner and director of Tomio Koyama Gallery. He has participated in Tomio Koyama Gallery at 1-31-6-1F Shinkawa, place in history. Chuo-ku, Tokyo, Japan So what’s happening in the art world art fairs in New York and Basel (Germany). JAPAN SPOTLIGHT • March / April 2004 19.
Load more

Recommended publications
  • Geography's Importance to Japan's History
    RESOURCES ESSAYS of the present and become better prepared — Japan has many earth- geography’s for challenges of the future. Space in one quakesgeology because of its position on the Pacific article does not permit a comprehensive plan “Ring of Fire.” The Pacific Plate moves a importance to with all the possible ways to incorporate few inches a year westward into the Philip- Japan’s historical geography into the class- pine and Eurasian Plates. In addition, there Japan’s Historyby Patrick Grant room. This article, instead, offers a few is a complex system of faults on the Japan- ideas for applying these two standards by ese islands. The 1923 earthquake, with the addressing some important geographical resultant fire, destroyed much of Tokyo and apan’s geography has been and is a concepts. most of Yokohama. Some 100,000 people crucial factor in its history. Geology, The article touches upon many specific perished in this disaster. Only twenty sec- location, patterns of settlement, trans- issues that teachers will find interesting for onds of shaking killed 5,480 people in the J port, and economic development are discussions in the classroom. The brief 1995 Hanshin-Awaji quake around K¬be.3 strongly influenced by spatial considera- introduction to geology gives background to The rebuilding of this area is rapidly pro- tions. Our appreciation of any historical the earthquake hazard. Scarcity of space, gressing, but there are still thousands of dis- issue is greatly enhanced by learning how covered in the next section, has helped to located people two years after the quake.
    [Show full text]
  • Geography & Climate
    Web Japan http://web-japan.org/ GEOGRAPHY AND CLIMATE A country of diverse topography and climate characterized by peninsulas and inlets and Geography offshore islands (like the Goto archipelago and the islands of Tsushima and Iki, which are part of that prefecture). There are also A Pacific Island Country accidented areas of the coast with many Japan is an island country forming an arc in inlets and steep cliffs caused by the the Pacific Ocean to the east of the Asian submersion of part of the former coastline due continent. The land comprises four large to changes in the Earth’s crust. islands named (in decreasing order of size) A warm ocean current known as the Honshu, Hokkaido, Kyushu, and Shikoku, Kuroshio (or Japan Current) flows together with many smaller islands. The northeastward along the southern part of the Pacific Ocean lies to the east while the Sea of Japanese archipelago, and a branch of it, Japan and the East China Sea separate known as the Tsushima Current, flows into Japan from the Asian continent. the Sea of Japan along the west side of the In terms of latitude, Japan coincides country. From the north, a cold current known approximately with the Mediterranean Sea as the Oyashio (or Chishima Current) flows and with the city of Los Angeles in North south along Japan’s east coast, and a branch America. Paris and London have latitudes of it, called the Liman Current, enters the Sea somewhat to the north of the northern tip of of Japan from the north. The mixing of these Hokkaido.
    [Show full text]
  • INTRODUCTION to JAPANESE ART HISTORY 2Credits （Spring） 日本
    INTRODUCTION TO JAPANESE ART HISTORY 2credits （Spring） 日本美術史入門 2 単位（春学期） Lecturer SHIRAHARA, YUKIKO 講師 白原 由起子 Course Description： This course explores the history of Japanese art from the sixth to nineteenth centuries, taking up the topics how imagery and symbolism, materials and techniques, introduced from the continent, have been transformed and developed to be Japanese art. Each class will focus on one or a few artworks; their function, iconology, technique and historical meaning will be discussed. A few times of discussions and presentations will be held in the class. A field trip of viewing a Japanese art exhibition is included in the course work. Textbooks： No text book for the course. Course Plan： 1 Introduction: History and Culture of Japan in East Asia Early Buddhist art of Asuka period (6th-7th centuries) 2 Rinpa-School Painting and Decorative Art (16th-19th centuries) 3 Viewing Class: Irises and Red and White Plum Blossoms exhibition at the Nezu Museum, Minami-Aoyama 4 Emaki I: Narrative Picture Scroll of The Tale of Genji (12th century): An example of Monogatari Picture Scroll 5 Emaki II: Narrative Picture Scroll of Miraculous Deeds of the Priest Myōren who Founded a Temple at Mt. Shigi (12th century): An Example of Setsuwa Picture Scroll 6 Art of Nara period (8th century): Buddhist Sculpture, Painting and Decorative Art 7 Manadala: Esoteric Buddhist Art Introduced to Japan in the 9th century 8 Depart from the Deseased World, Desire to be Born in the Pure Land: Religious Mind and Aesthetic of the 11th -13th centuries 9 Image
    [Show full text]
  • Japan-Malaysia Economic Partnership
    JAPAN-MALAYSIA ECONOMIC PARTNERSHIP JOINT STUDY GROUP REPORT December 2003 Contents 1. Background 2. Overview 3. Main Points of the Discussions 3-1. Liberalization and Facilitation of Trade and Investment (1) Trade in Goods (2) Rules of Origin (3) Trade in Services (4) Investment (5) Movement of Natural Persons (6) Government Procurement (7) Customs Procedures (8) Paperless Trading (9) Standards and Conformance (10) Intellectual Property (11) Competition Policy (12) Business Environment Enhancement 3-2. Cooperation 1 1. Background (1) During his visit to five ASEAN countries including Malaysia in January 2002, the Prime Minister of Japan, H.E. Mr. Junichiro Koizumi, proposed the “Initiative for Japan-ASEAN Comprehensive Economic Partnership”, to which the then Prime Minister of Malaysia, H.E. Tun Dr. Mahathir bin Mohamad gave his full support. (2) At the Japan-ASEAN Forum held in Yangon in April 2002, Vice Ministerial- level representatives of Japan and ASEAN countries discussed ways to follow up the Initiative for Japan-ASEAN Comprehensive Economic Partnership and decided to explore economic partnership in a bilateral framework, as well as to study possible areas and frameworks for the partnership between Japan and the whole of ASEAN. (3) At the Japan-ASEAN Summit held in Phnom Penh, Cambodia in November 2002, leaders of Japan and ASEAN countries “endorsed the approach that, while considering a framework for the realization of a Comprehensive Economic Partnership between Japan and ASEAN as a whole, any ASEAN member country and Japan could initiate works to build up a bilateral economic partnership.” (4) The proposed initiative to create the economic partnership between Japan and Malaysia by the then Prime Minister Tun Dr.
    [Show full text]
  • Geography in Japan
    GeographyReligion in in Japan Japan Purpose: This lesson will enable students to develop basic knowledge of Japan’s physical geography including absolute and relative location, factors contributing to climate, and temperature comparisons with the United States. Target Grade Level: 6-7 Essential questions: · What are the physical features of Japan? · Where is Japan located? · What effects do location, elevation, and ocean currents have on the climate of Japan? · How do temperatures in Japan compare to temperatures in the United States? Rationale: Location and physical features of a country affect climate. Key Ideas: · Japan is an island nation. · Japan is an archipelago similar to other archipelagoes in the Pacific (Hawaii, Philippines, Micronesia). · Japan is an archipelago similar to other archipelagoes in the Pacific (Hawaii, Philippines, Micronesia). · Japan stretches from 25 to 45 degrees N latitudes and from 128 to 145 degrees E longitudes. · Japan is an island nation consisting of four main islands (Honshu, Hokkaido, Shikoku, and Kyushu) and many small islands. · The Pacific Ocean is on the south and east of Japan and the Sea of Japan is on the north and west of Japan. · Japan is east of Korea and China, north of the equator, and east of the Prime Meridian. · If super imposed on the U. S., Japan would stretch from Tampa Florida to Montreal. · Japan has many of the same climates, as we would find in the United States. Learning AboutLessons Our Worldabout Japan - 143 GeographyReligion in of Japan Japan Materials: · Wall maps, globes,
    [Show full text]
  • The Issue of Diversity and Multiculturalism in Japan
    Jie Qi & Sheng Ping Zhang The Issue of Diversity and Multiculturalism in Japan THE ISSUE OF DIVERSITY AND MULTICULTURALISM IN JAPAN Jie Qi Utsunomiya University, Japan Sheng Ping Zhang Meijo University, Japan Paper presented at the Annual Meeting of the American Educational Research Association March 24-29, 2008 New York In Session: Internationalization and Globalization in the Curriculum 1 Jie Qi & Sheng Ping Zhang The Issue of Diversity and Multiculturalism in Japan THE ISSUE OF DIVERSITY AND MULTICULTYRALISM IN JAPAN The purpose of this paper is to problematize that which has been taken for granted about the notion of multiculturalism in Japan. Multiculturalism is a novel issue in Japan. As the Japanese government started to promote “internationalization” since 1980’s, slogans such as “international exchange,” “cultural exchange,” “understanding of other cultures,” etc, have become the most popular hackneyed expressions among policy maker and educators. This paper demonstrates that the notion of multiculturalism in Japan is intricately and deeply embedded in Japanese society, Japanese culture and the Japanese educational system and that this type of multiculturalism excludes ethnic groups which have lived in Japan since old times. Firstly, the intention in this study is to interrupt the assumptions about homogeneous nation in Japanese educational discourse as have been accepted since the end of World War II. I assert that Japan is not homogeneous nation rather a society with diverse cultural groups. Secondly, this paper traces the path of the past notion of multiculturalism as embodied in the Japanese political, social and cultural conditions. In undertaking this I first look at the way cultural studies emerged in the 1980’s which created a new image of cultural studies.
    [Show full text]
  • The U.S. Must Limit Damage from the Japan–South Korea Trade Dispute Bruce Klingner and Riley Walters
    BACKGROUNDER No. 3429 | AUGUST 7, 2019 ASIAN STUDIES CENTER The U.S. Must Limit Damage from the Japan–South Korea Trade Dispute Bruce Klingner and Riley Walters apan and South Korea have recently imposed KEY TAKEAWAYS rulings that impact each other’s financial inter- ests—and risk triggering a strategic trade war. The U.S. government has an important J Strained bilateral economic relations undermine U.S. role to play in mediating the relationship diplomatic and security coordination that is necessary between Tokyo and Seoul and protecting vital trilateral security coordination. for dealing with the North Korean threat. Japanese–South Korean relations suffer from centuries of built-up animosity from sensitive histor- The current situation puts U.S. strategic ical issues and sovereignty disputes. Cyclical spikes goals at risk. Japan and South Korea are in tensions are triggered by incidents that unleash important economic partners and the nationalist furor in both countries. Yet during these foundation of U.S. foreign policy in Asia. outbreaks, bilateral economic and security sectors were never involved at any official level and, instead, To safeguard those objectives, the U.S. served as moderating influences. That changed for the must get directly involved as a behind- worse last year. the-scenes facilitator, helping the two The U.S. government has an important role to allies reach a compromise. play in mediating the relationship between its two allies. Tokyo and Seoul must not allow historical This paper, in its entirety, can be found at http://report.heritage.org/bg3429 The Heritage Foundation | 214 Massachusetts Avenue, NE | Washington, DC 20002 | (202) 546-4400 | heritage.org Nothing written here is to be construed as necessarily reflecting the views of The Heritage Foundation or as an attempt to aid or hinder the passage of any bill before Congress.
    [Show full text]
  • Different Customs Cambodia and Japan
    行ってきました� 海外体験記 米国フォーサイス研究所を n Different customs o t 大学院工学研究科知能情報工学専攻 博士前期課程２年 s o between B NHOR SOK LANG ニューソックラン [カンボジア] 訪れて Cambodia and Japan 徳島大学病院（歯科）むし歯科 中西 正 なかにし ただし My name is NHOR SOK LANG, 2004年3月から2年間、米国マサチュ として数多くの若者が集まってきます。気 私の滞在中のテ a second-year master student in the ーセッツ州ボストンのフォーサイス研究所 候面では、徳島に比べると冬が長い上に ーマは「歯周病の病 Department of Information Science 免疫学研究室にて研究に従事しました。 かなり寒く、マイナス20℃以下になった 態 形 成における制 御 性 and Intelligent Systems, ボストンは、ヨーロッパの雰囲気を有する 日や一晩の降雪量75cmという日も体験 樹状細胞の役割」を明らかにする The University of Tokushima, Japan. レンガ造りの町並みと近代的な高層ビル しました。芸術・文化面においては、ボス ことであり、主に培養細胞を用いた実験 Cambodia is located in the equator- が入り交じり、歴史的にはアメリカ独立の トン美術館やボストン交響楽団が有名で 系にて研究を進めました。その結果、歯 ial tropical region of Southeast Asia. 舞台になった町です。ボストン周辺には、 あり、プロスポーツチームもMLB、NFL、 肉上皮由来細胞が免疫調節機能を有す There are only two seasons in Cambo- ハーバード大学やマサチューセッツ工科 NBA、NHLの4大プロスポーツがすべて る樹状細胞の誘導に関与するという知見 dia, the summer season and the rainy 大学など60ほどの大学が密集しており、 揃っています。なかでも、2 0 0 4 年 は を得ました。滞在期間中、不慣れな英語 season. It is almost always hot そのためボストンは全米有数の学園都市 MLBのレッドソックスがワールドシリーズ ながらも討論を行ったうえで研究できた throughout the year, and the highest 。 を制し、「バンビーノの呪い」が解けたこ ことは、非常に有意義であったと感じてい temperature is 40C in April and the 。 lowest is just 20C in December. So とで街中大賑わいでした。 ます。 Cambodians love to take a bath with フォーサイス研究所はボストンの中心 異国の地で生活するにあたり、最も大 cold water as a cultural custom. It desserts, fruits or juices etc. Many peo- lunch at home. Those who study in 部ダウンタウンから南西約2kmのところ 変だったのはアパート探しに始まる生活 gives a very refreshing feeling. As I ple throng to these stalls to buy their the afternoon shift go to school at 1 に位置し、前述のボストン美術館のすぐ近 基盤を確立することでした。医療保険制 am now in Japan during winter, it is wares and exchange gossip. These pm and come back home at 5 pm. Be- くにあります。創設者であるフォーサイス 度など日本とは異なったシステムも多く、 extremely cold for me and I don't feel make the streets in Cambodia full of sides the normal school hours, most 兄弟が1910年に小児歯科診療所を開 最初の数ヶ月は戸惑いの連続でしたが、「郷 so comfortable.
    [Show full text]
  • Japanese Spatial Culture, Nature and Architecture
    PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories.
    [Show full text]
  • Western Influence on Japanese Art Song (Kakyoku) in the Meiji Era Japan
    WESTERN INFLUENCE ON JAPANESE ART SONG (KAKYOKU) IN THE MEIJI ERA JAPAN JOANNE COLE Master of Music Performance (by Research) Faculty of the Victorian College of the Arts and Music The University of Melbourne December 2013 Submitted in partial fulfilment of the requirements for the degree of Master of Music Performance (by Research) Produced on Archival Quality Paper Abstract The focus of this dissertation is the investigation of the earliest Western influences on Kōjō no Tsuki (Moon over the Castle) the composition of Japanese composer Rentaro Taki. Kōjō no Tsuki is an example of an early Japanese Art Song known as Kakyoku composed during Meiji Era Japan (1868 - 1912). The dissertation is divided into four chapters with an introduction. Chapter One explores the historical background of the Meiji Era Japan, highlighting the major impact of the signing of the treaty between the United States of America and Japan in 1853. This treaty effectively opened Japan to the West, not only for trade, but for exchange of social, political and cultural ideas. The resulting evolution that occurred in Japan from feudal society to one of early twentieth century is illustrated by reference to articles and writings of the Meiji Era. The second chapter examines the Japanese Art Song form Kakyoku using the example of Rentarō Taki’s song, Kōjō no Tsuki. This chapter presents an argument to illustrate, from an anthropological viewpoint, why this new form of Japanese Art Song could have its own identity based on Western ideas and not be categorised as a Japanese Folk Song known as Minʹyō or Shin Minyō.
    [Show full text]
  • A Historical Look at Technology and Society in Japan (1500-1900)
    A Historical Look at Technology and Society in Japan (1500-1900) An essay based on a talk given by Dr. Eiichi Maruyama at the PART 1 Japan-Sweden Science Club (JSSC) annual meeting, Tokyo, 31 Gunpowder and Biotechnology October 1997. - Ukiyo-e and Microlithography Dr. Maruyama studied science history, scientific philosophy, and phys- In many parts of the world, and Japan was no exception, the 16th ics at the University of Tokyo. After graduating in 1959, he joined Century was a time of conflict and violence. In Japan, a number of Hitachi Ltd., and became director of the company’s advanced re- feudal lords were embroiled in fierce battles for survival. The battles search laboratory in 1985. He was director of the Angstrom Tech- produced three victors who attempted, one after another, to unify nology Partnership, and is currently a professor at the National Japan. The last of these was Ieyasu Tokugawa, who founded a “per- Graduate Institute for Policy Studies. manent” government which lasted for two and a half centuries before it was overthrown and replaced by the Meiji Government in Introduction 1868. Japanese industry today produces many technically advanced prod- ucts of high quality. There may be a tendency to think that Japan One particularly well documented battle was the Battle of Nagashino has only recently set foot on the technological stage, but there are in 1575. This was a showdown between the organized gunmen of numerous records of highly innovative ideas as far back as the 16th the Oda-Tokugawa Allies (two of the three unifiers) and the in- century that have helped to lay the foundations for the technologi- trepid cavalry of Takeda, who was the most formidable barrier to cal prowess of modern day Japan.
    [Show full text]
  • Japan 2019 Crime & Safety Report: Nagoya
    Japan 2019 Crime & Safety Report: Nagoya This is an annual report produced in conjunction with the Regional Security Office at the U.S. Embassy in Tokyo, Japan. The current U.S. Department of State Travel Advisory at the date of this report’s publication assesses Japan at Level 1, indicating travelers should exercise normal precautions. Overall Crime and Safety Situation Crime Threats There is minimal risk from crime in Nagoya. Nagoya’s general crime rate is below the U.S. national average. The Sakae and the Naka-ku neighborhoods, south of Nagoya station, are entertainment districts with slightly higher risk. U.S. citizens have been the victims of physical/sexual assaults; drink spiking; drug overdoses; and thefts of purses, wallets, cash, and credit cards at bars or clubs. Non-violent crimes, especially financial crimes that include the use of stolen credit cards and credit card numbers, occur on a regular basis. Violent crime is rare. A very small number of homicides occur in/around Nagoya every year, but there have been no reports of U.S. victims. Crimes against U.S. citizens usually involve personal disputes, theft, or vandalism. Pickpocketing and other petty crimes take place in crowded shopping areas, bars/nightclubs, train stations, and airports. Every year, a small number of U.S. citizens report their passports lost or stolen at Chubu International Airport. Police registered 2,736 burglaries occurred in Aichi Prefecture in 2018, a 25.6% decrease from 2017. Despite the overall drop, the Aichi has had the highest burglary rate in Japan for 12 years in a row.
    [Show full text]