The Tokaido—Scenes from Edo to Meiji Eras
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Nihonbashi: Edo's Contested Center Marcia Yonemoto
, East Asian History NUMBERS 17/18· JUNE/DECEMBER 1999 Institute of Advanced Studies Australian National University 1 Editor Geremie R. Barme Assistant Editor Helen Lo Editorial Board Mark Elvin (Convenor) John Clark Andrew Fraser Helen Hardacre Colin Jeffcott W. ]. F. Jenner Lo Hui-min Gavan McCormack David Marr Tessa Morris-Suzuki Michael Underdown Design and Production Helen Lo Business Manager Marion Weeks Printed by Goanna Print, Fyshwick, ACT This double issue of East Asian History, 17/18, was printed in FebrualY 2000. Contributions to The Editor, East Asian History Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra ACT 0200, Australia Phone +61 26249 3140 Fax +61 26249 5525 email [email protected] Subscription Enquiries to Subscriptions, East Asian History, at the above address Annual Subscription Australia A$45 Overseas US$45 (for two issues) iii CONTENTS 1 Whose Strange Stories? P'u Sung-ling (1640-1715), Herbert Giles (1845- 1935), and the Liao-chai chih-yi John Minford and To ng Man 49 Nihonbashi: Edo's Contested Center Marcia Yonemoto 71 Was Toregene Qatun Ogodei's "Sixth Empress"? 1. de Rachewiltz 77 Photography and Portraiture in Nineteenth-Century China Regine Thiriez 103 Sapajou Richard Rigby 131 Overcoming Risk: a Chinese Mining Company during the Nanjing Decade Ti m Wright 169 Garden and Museum: Shadows of Memory at Peking University Vera Schwarcz iv Cover calligraphy Yan Zhenqing M.c�J�n, Tang calligrapher and statesman Cover illustration Talisman-"Passport for wandering souls on the way to Hades," from Henri Dore, Researches into Chinese superstitions (Shanghai: T'usewei Printing Press, 1914-38) NIHONBASHI: EDO'S CONTESTED CENTER � Marcia Yonemoto As the Tokugawa 11&)II regime consolidated its military and political conquest Izushi [Pictorial sources from the Edo period] of Japan around the turn of the seventeenth century, it began the enormous (Tokyo: Chikuma Shobo, 1975), vol.4; project of remaking Edo rI p as its capital city. -
OAG NOTIZEN November 2003
10 Feature „Akikaze no ki“ Das Reisetagebuch der Nonne Shokyū1 Dr. Helga Szentiványi Vorbemerkung: Reisen im Japan der Edo-Zeit Nach der Reichseinigung durch Tokugawa Ieyasu (1543-1616) gab es während der Herrschaft der Tokugawa-Shōgune eine 250-jährige vergleichsweise friedliche Periode, die Wohlstand und Sicherheit mit sich brachte, was sich auch auf den Reiseverkehr auswirkte. Das Shogunat baute systematisch das Straßen- netz in allen Landesteilen aus. Dies war u.a. notwendig geworden, damit das 1635 zur Kontrolle der etwa 270 Daimyō eingeführte sankin-kōtai-System, die alternierende Anwesenheitspflicht der Daimyō in Edo, funktionieren konnte. Weiterhin mußten Poststationen (shukuba) eingerichtet werden, wo die Daimyō mit ihrem Gefolge, das bis zu 2.000 Personen stark sein konnte, übernachten und Pferde wechseln konnten. Die wichtigsten, von der Brücke Nihonbashi in Edo ausgehenden fünf Haupt- verkehrswege (gokaidō) waren die Ost-Meer-Straße Tōkaidō (ca. 488 km) mit 53 shukuba und die Zentrale Gebirgsstraße Nakasendō (ca. 529 km) mit 69 shukuba, die sich beide bei Kusatsu vereinigten. Die Kōshūkaidō (ca. 207 km) mit 44 shukuba führte westlich bis Shimo-Suwa, wo sie auf die Nakasendō traf. Die Nikkōkaidō (ca. 144 km) mit 22 shukuba führte nach Nikkō zum Mausoleum von Tokugawa Ieyasu. Die Ōshū kaidō (ca. 187 km) mit 27 shukuba führte bis Shirakawa; bis Utsunomiya verlief sie gemeinsam mit der Nikkōkaidō. Sie hatten 17 shukuba gemeinsam, auf der restlichen Strecke (ca. 82 km) gab es noch 10 shukuba. Die Hauptverkehrswege standen unter der Kontrolle des Shogunats oder der Daimyō. Auch die anderen Überlandstraßen in den Norden und Westen Japans waren relativ gut ausgebaut; daneben gab es noch ein weiträumiges Netz von Neben- straßen, die aber oft keine Herbergen hatten und unsicherer waren. -
ZEN and ZEN CLASSICS Volume Five
9262 NUNC COCNOSCO EX PARTE TRENT UNIVERSITY LIBRARY PRESENTED BY THE JAPAN FOUNDATION Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/zenzenclassics0005blyt From The Japan Foundation ZEN AND ZEN CLASSICS Volume Five Gathering Firewood, by Sosan The inscription, by the artist, says: Today the Western Mountain is crowded; They are cutting up the bones of the patri¬ archs and masters for fuel. I have no idea what weight [value] their burdens may have, But anyway the great thing is that the eternal spring is [once more] new. The picture shows a large number of Zen monks carrying brushwood, and seems to be a satire on the popularity of Zen. I could find nothing about Sosan himself. R. H. BL YTH ZEN AND ZEN CLASSICS Volume Five Twenty-five Zen Essays Trent University USwwy ffW«*OJ»OU«<Ht ©WT. THE HOKUSEIDO PRESS © 1962, by R. H. BLYTH ALL RIGHTS RESERVED First published, as Volume Seven of ZEN AND ZEN CLASSICS, 1962 Reprinted as Volume Five 1966 First Printing, 1962 Sixth Printing, 1979 ISBN 0-89346-052-4 Published by The Hokuseido Press 3-12, Kanda-Nishilricho, Chiyoda-ku, Tokyo Dedicated to Suzuki Daisetz, The only man who can write About Zen Without making me loathe it 34348^ l S' .. ' ' v ■ , . • ■ f •: ■ ; i KMi. - M.- ' - . - - - A A, - V ... k S PREFACE There is nothing harder to write about than Zen. No, this is not so. There is nothing harder than really to write, because really to write means to write by Zen. To write, or eat, or sing, or die by Zen is difficult. -
Il Viaggio Nel Giappone Tokugawa: Evoluzione, Strutture E Pratiche
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in lingue e culture dell’Asia orientale Tesi di Laurea Il viaggio nel Giappone Tokugawa: Evoluzione, strutture e pratiche Relatore Ch. Prof. Bonaventura Ruperti Correlatore Ch. Prof. Carolina Negri Laureando Vaccani Roberto Matricola 829290 Anno Accademico 2012 / 2013 SOMMARIO Sommario .......................................................................................................................................................... 1 要旨 ................................................................................................................................................................... 3 Introduzione ...................................................................................................................................................... 5 Le strade ............................................................................................................................................................ 9 La situazione stradale precedente al periodo Tokugawa .............................................................................. 9 # Il periodo Sengoku 1467‐1573 ................................................................................................................ 9 # Il periodo Azuchi‐Momoyama 1573‐1598 ............................................................................................ 10 La rete di comunicazione di periodo Edo ................................................................................................... -
1 Introduction
Kabuki brain puzzles : station-character motif patterns in the actor Tokaido series of Utagawa Kunisada (1786-1865) Marks, A. Citation Marks, A. (2010, July 1). Kabuki brain puzzles : station-character motif patterns in the actor Tokaido series of Utagawa Kunisada (1786-1865). Retrieved from https://hdl.handle.net/1887/15755 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/15755 Note: To cite this publication please use the final published version (if applicable). 1INTRODUCTION During the late Edo period (1603–1868), Utagawa Kunisada (1786–1865) was the most popular and sought-after ukiyoe designer of his day, contrary to today’s favorites Katsu- shika Hokusai ή༬DŽĺ (1760–1849) and Utagawa Hiroshige ô1୰ (1797–1858). Himself a student of the artist Utagawa Toyokuni ô16 (1769–1825), Kunisada climbed the ladder of success, illustrating books and designing primarily actor prints (yakushae ņĚί) and portraits of beautiful women (bijinga Ôʡɹ). He would quickly establish his own studio and train over 100 students.1 Initially, he captured the bijin in the style of earlier ukiyoe masters; soon, he depicted idealized imaginary bijin whose hair and clothing styles were widely mimicked by women of the time. The Japanese kabuki theater emphasizes sight and sound with the actors as focus. Actor prints therefore are similarly inclined to portray the performance of an actor on stage, his movements and gestures and, even more importantly, the poses he strikes. Kunisada was a master in emphasizing any actor’s uniqueness and capturing the level of artistic attainment emanating from an actor’s whole being.2 His actor portraits doc- ument and immortalize all the great performances and actors of the early nineteenth century, a field that Kunisada dominated over a period of some 50 years.