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Early Modern Japan Fall, 2002 EARLY MODERN JAPAN FALL, 2002 foreign contact wiped clean from the deck (al- vincing narrative of Japan's early modern experi- though, as the case of Kaempfer shows, certain ence. To date, in the collective scholarship of important issues clearly have yet to be swept Japan specialists, two political countries coincide away), Japan specialists have started to navigate and sometimes collide in one temporal and spatial entirely new waters. For this reason, some of frame. One aim of future research should be to the most interesting work in early modern Japa- reconcile some of these differences. nese studies relates to the subfield of foreign af- Third, the new writings on early modern for- fairs and frontiers. At the same time, however, eign affairs and frontiers have failed to convince so much still could be done: multiethnic commu- historians of the modern period of the complexity nities in Nagasaki, Japanese-trading stations in of Japan's pre-Meiji relations with the outside Korea, foreign trade and environmental degrada- world. Many modernists still slavishly use the tion in Japan, early-seventeenth-century Japanese "closed country" (sakoku) and "open country" trading communities in Southeast Asia and their (kaikoku) dichotomy to explain Japan's plunge environmental impact, and many other topics cry into the modern age. It is still common to talk out for investigation by talented scholars. of the "opening of the country" with Matthew C. Second, an interpretative gulf exists among Perry, and how in the 1850s Japan was forced to scholars of early modern Japan. Those who confront for the first time the practice of interna- study domestic-centered topics, ranging from tional diplomacy. This is, of course, highly mis- literary studies to domainal politics and econom- leading, but it does make the task of writing ics, often sound like they are talking about a dif- about the Meiji years easier. With sakoku, we ferent country than those writing on foreign af- can be told that only in the Meiji period did Japan fairs and frontiers. Increasingly, historians such master diplomacy, conduct foreign trade, conquer as Philip Brown, Luke Roberts, and Mark Ravina foreign lands, and develop collective philoso- paint a picture of an early modern polity where phies similar to what might be described as a "na- local domains remained the most pervasive mani- tional" identity. The next step, it seems to me, is festation of the political and economic country. to have a broader penetration of the complexity However, in the realm of foreign affairs, few of early modern foreign affairs and frontiers into would dispute the idea that the Edo shogunate the other sub-fields of Japanese studies. This maintained tight control over contact with the would require the onerous process of rethinking outside world, a concrete manifestation of a state topics such as modern Japan expansionism, but it in the process of centering power. These two would surely enrich our understanding of Japan's ideas are not mutually exclusive, but Japan spe- past and present. cialists have yet to integrate them into one con- Summary (Introduction, 9-10): Chapter 1 aims Timon Screech, Sex and the Floating to correct “those who persist in seeing Japanese World: Erotic Images in Japan 1700-1820. shunga as categorically separate from solitary-use London: Reaktion Books, 1999. pornography” [i.e., masturbation]. Chapter 2 “in- © David Pollack, University of Rochester vestigates social relations to the exotic images which proliferated during the eighteenth century.” Contents: (1) Introduction; Erotic Images, Regarding their impact on social health, these Pornography, Shunga and Their Use; (2) Time images were not “benignly viewed in their own and Place in Edo Erotic Images; (3) Bodies, time,” and with “anxiety peaking in the 1790s” Boundaries, Pictures; (4) Symbols in Shunga; they “include the non-overtly sexual pictures of The Scopic Regimes of Shunga; (5) Sex and the the Floating World as well as pornography.” Outside World. References, bibliography, list of Chapters 3 and 4 “offer close readings of some illustrations (115 monochrome, 34 color). 319 images, both overtly sexual and more subtly li- pages. bidinous, in order to assess their status as figures 62 EARLY MODERN JAPAN FALL, 2002 within the larger field of painting and printing, tural history of the time, as well as the critical and also within the field of sexual practice.” literature on these subjects in both Japan and the Chapter 5 investigates “the politics and mechan- west. As demonstrated in his earlier publications ics of the gaze,” both of viewers and actors, in and fluency with his materials, Screech’s creden- which “the signification of peering, peeping, tials for the act of an informed new reading of magnifying and shrinking were all implicated.” shunga appear to be more than adequate. And, Chapter 6 looks at “the end of the Floating World while this is often the impression this study gives, … with the movement of erotica out of the pleas- in its sweep and detail, it also all too often seems ure quarters and into the open,” especially after to stray and sometimes stumble in its determined the establishment of “a new contract between rush toward new and broader horizons. cities (especially Edo) and their rural hinterland For nearly half a century, Edo shunga scholar- [that] underpinned this refashioning of pornogra- ship has been dominated by the monumental phy.” After this time, it is “appropriate to aban- body of work amassed by Hayashi Yoshikazu, don the term ‘shunga.’” who since 1955 has published some 30 mono- The word shunga conjures up a host of urgent graphs detailing the shunga works of such major questions: What were the motives and conditions ukiyo-e artists as Toyokuni, Shigenobu, Kunisada, leading up to and guiding the development of this Utamaro, Harunobu, Hiroshige, Shigemasa, Eisen, sensational genre? How did it evolve over time? Oei, Moronobu, Hokusai, Kiyonaga, and Shunsho, What is its relationship to the themes and tech- as well as more general studies of the subject niques of ukiyo-e art in general? Were its artists (nine of Hayashi's studies are cited in Screech’s and practices any different from those involved in bibliography). Hayashi is also, with Richard Lane, other sorts of ukiyo-e art? Does it exhibit any- editor of a magnificent recent 26-volume series thing like the range of ukiyo-e? Like ukiyo-e, did reproducing representative shunga art, Teihon it grow darker, more violent and brutal - more ukiyo-e shunga meihin shusei1 (only one volume "decadent" - over time? Under what commercial of this series is cited here). Others like Fukuda and legal conditions was shunga being sold and Kazuhiko have also published collections and bought, and by whom? How was it regarded by studies of shunga. The most substantial over- the government? By the masses? How accurately views of the field in English until now have been does it reflect actual Edo sexual practices? Richard Lane's study "The Shunga in Japanese This study addresses some but not all of these Art"2 and his later more extensive but relatively questions. The author’s goal appears to be a re- inaccessible The Erotic Theme in Japanese Paint- working of what he regards as an outmoded and ing and Prints3 (neither of which is mentioned inadequate, if not entirely absent, conceptual un- here). Recently, the scope of the field has been derpinning of the artistic genre. As the summary broadened and deepened by a series of confer- above suggests, the study sets itself the task of ence essays collected in Sumie Jones, ed., Imag- examining everything from uses to social con- ing Reading Eros: Sexuality and Edo Culture, texts, promising to place the images – in turn 1750-1850.4 Decades of challenges to ever more beautiful, crude, surprising, humorous, outra- unworkable censorship laws in Japan have finally geous, horrifying, but generally intended to be burst open the floodgates, and we are now up to erotically stimulating – within contemporaneous our eyeballs in uncensored reproductions of the contexts of both artistic and sexual practice. It once-infamous and usually bowdlerized estampes examines old and new technologies that were Japonaises. A serious study of this genre in Eng- working both to sustain and to change artistic lish has been needed, and this book proposes not practice and reception, often simultaneously. To achieve these sorts of goals demands breadth of scholarship, and the book’s 15 pages of small- 1 Tokyo: Kawade Shobo Shinsha, 1995 print annotations attest to the breadth of the au- 2 In Philip Rawson, ed., Erotic Art of the East (NY: thor’s reading, comprising not only much of the G.P. Putnam, 1968), 283-375. 3 Tokyo: Gabun-do, 1979. expected scholarship on ukiyo-e and shunga art 4 and history, but also the poetry, fiction, and cul- Bloomington: Indiana University East Asian Studies Center, 1996. 63 EARLY MODERN JAPAN FALL, 2002 only to fill this void, but to change the field. twenty percent. We are forced to ask whether it Whether it succeeds in doing so is another matter. has been not only the anachronistic mischief of The first problem with the book is a concep- modern prudery, a Meiji era Victorian relic which tual one. Even a cursory look through the most survives today in official attitudes, that necessi- widely consulted English-language reference tates the hyperbolic claims made here for an en- work on ukiyo-e, Richard Lane’s Images from the tirely separate realm of pornography, one that Floating World: The Japanese Print:
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