EARLY MODERN JAPAN FALL, 2002 From the Editor use the term "Early Modern" or kinsei, to refer to ????????? the period encompassed by the Momoyama and Edo political periods (1568-1868). 2 However, In addition to our regular articles and reviews, traditionally, art historians in the West have not this issue of EMJ introduces a new feature we considered the art of these periods together. In- hope to publish regularly: a summary of the stead of attempting to identify broad, unifying round-table discussion held at our meeting in artistic concerns for a wide variety of Early Mod- conjunction with the Association for Asian Stud- ern arts, most scholars have constructed histories ies Annual meeting. The theme of last spring’s of particular types of Japanese arts, according to discussion was Literati and Society in Early media, thematic cohesiveness (for example, the Modern Japan “Literati and Society in Early chanoyu tea ceremony), and/or artistic lineages. Modern Japan.” Our next discussion will focus This methodology follows traditional approaches on “Blood in Early Modern Japanese Culture.” If readers would like to organize future panels, to the discipline of Japanese art history as prac- ticed by art historians in Japan, where such sepa- please contact Philip Brown at Department of History, 230 West 17th Avenue, Columbus OH rate studies of the art of their culture remain the 43210 or at [email protected]. norm. Thus, scholars tend to construct histories of their particular specializations, noting significant junctures at which the arts they study exhibit Early Modern Japanese Art His- marked departures from creations of earlier tory--An Overview of the State of times.3 Conveniently, for many arts, these points the Field1 of departure took place nearly simultaneously— during the last decade of the 1690s and first dec- © Patricia J. Graham, University of Kansas ade of the 1700s. For example, in the field of ar- chitecture, during these two decades occurred the Chronological Parameters maturation of three significant type of architec- ture: castles, tea rooms, and shoin style resi- In general, scholars from various disciplines dences. Similar junctures also occurred at this time in the fields of ceramics, with the spread of 1 ACKNOWLEDGEMENTS: I am deeply beholden to glazed, high-fired wares to urban commoners,4 innumerable colleagues worldwide, who assisted with and painting, with the maturation of ateliers for preparation of this essay and bibliography, especially: training students and perpetuating lineages. In Frank Chance (for commenting on an early version of the printmaking, the year 1608 marked the first pro- manuscript and supplying titles of dissertations), John Clark (who sent me his voluminous bibliography on duction of illustrated secular books (the Sagabon Japanese art and culture), Pat Fister (who critiqued the editions of classical literature). The above exam- essay and supplied important references, especially for ples point out a consensus of sorts for date of the English language publications in Japan), Maribeth Gray- bill (who shared copies of her copious course bibliogra- phies with me), Lee Johnson (who offered indispensable 2 These dates encompass the period of time Conrad advice and criticism of the text, and who supplied infor- Totman emphasizes in his book, Early Modern Japan mation on numerous European publications), Sandy Kita (Berkeley: University of California Press, 1993). (whose list of journal articles forms the core of those However, although Totman covers both the Momoyama citations in the bibliography, and who served as my co- and Edo periods in his book, he does not clearly articulate presenter at the State of the Field Conference, preparation exactly when this "early modern" era begins, although he for which entailed extended discussion of the pertinent implies that it emerges after 1590, in a "largely nonviolent issues I present in this paper), Elizabeth Lillehoj (who phase of political manipulation and management…," 29- contributed sources and critiqued the essay), Andrew 30. Maske (who provided references to early books on ceram- 3 This issue was discussed at the Expanding Edo Art ics), and Melanie Trede (who helped me locate European workshop sponsored by the Donald Keene Center at Co- dissertations). Although I have attempted comprehensive lumbia University, February 20, 1999. See the Expanding treatment of this vast area, I know the essay and accom- Edo Art: Final Report online at: panying bibliography must still have omissions and errors, http://www.cc.Columbia.edu/~hds2/expanding.htm. particularly in those areas less familiar to me. I beg the 4 I am grateful to Richard Wilson for supplying this readers' forgiveness. information. 2 EARLY MODERN JAPAN FALL, 2002 inception of an "Early Modern" period in terms gue for one of the earlier dates). Because I be- of art historical development. lieve that for a majority of art forms marked Arguably, among the most important stimuli to changes occurred between circa 1590 and 1610, I these new directions in the arts were increased include publications devoted to Momoyama arts urbanization, which fostered commercial devel- in this assessment of Early Modern Japanese art opment, and the growth of regional communities, and in the accompanying bibliography. in other words, extrinsic economic and social When considering a terminus for Early Modern developments (participants at the State of the art, the break is not so clear. It does not necessar- Field Conference noted extrinsic factors influenc- ily coincide with politically-determined chrono- ing developments in other fields as well). These logical boundaries nor occur for all art forms at factors served as unifying themes for two recent the same time. The 1880s might be considered as broad surveys of Edo period art, one by Christine a logical breaking point for many arts, for during Guth, 5 and another, a blockbuster exhibition that decade there was a definite split with older catalogue, by Robert T. Singer and others. 6 art traditions, with the formation of influential These publications also addressed a number of new types of art organizations. Still, many as- other significant influences to the arts during the pects of Edo period lifestyles, values, long-lived Edo period, including changing patterns of artis- artists, and artistic patronage networks continued tic patronage—from the elites to the commoners, to thrive beyond that decade. Such continuation technological advances, and increased education, of traditions, especially in the arts of ukiyoe wealth and leisure activities. printmaking, some painting lineages, textile and Both Guth's and Singer's publications structure folk craft production, and certain types of ceram- their studies around the convenient chronological ics, requires a rethinking of the parameters and boundaries of the Edo period. Yet, it can be dis- canon of Meiji period (1868-1912) art history, a puted that though many of the artistic concerns topic beyond the scope of this study. Conse- they discuss are indeed characteristic of Edo pe- quently, my survey of publications about Early riod society, whether one considers that the in- Modern art concentrates on artists, whose most ception of these trends occurred before or after important contributions occurred prior to the the Edo period began depends upon two factors: Meiji Restoration in 1868, and artistic traditions how much credit is given to instigation of these that flourished especially during the period under artistic emphases during the Momoyama period consideration. under shogunal leaders Oda Nobunaga and Toyotomi Hideyoshi, and the date considered as Theories, Methods, Materials the official start of the Edo period. Dates com- Participants at the State of the Field Confer- monly cited by historians are: 1600, when Toku- ence marveled at the vast range of materials that gawa Ieyasu defeated a rival coalition of daimyo encompass Early Modern art: decorative pictorial at the great battle of Sekigahara; 1603, when the arts such as secular paintings in various formats, emperor awarded Ieyasu the title taishogun after calligraphies, and woodblock prints; a host of rival factions had pledged allegiance to his au- other visually interesting, ornamented and well- thority; and 1615, when Ieyasu finally crushed designed materials for daily and ritual use (in- those loyal to the heirs of the prior shogun, cluding, but not limited to, arms and armor, net- Toyotomi Hideyoshi, at the siege of Osaka Castle suke and inro, religious icons and ritual para- (typical of most art historians, both Guth and phernalia, clothing and other types of textiles, Singer define the Edo period as commencing with utensils for preparing and serving food and drink, 1615, though most historians, I think, would ar- and assorted household furnishings); and even gardens and buildings. Edo period people from all walks of life served as patrons for Early Mod- 5 Christine Guth. Art of Edo Japan: The Artist and the ern art, which was made by a wide spectrum of City 1615-1868 (New York: Abrams, Perspectives Se- individuals, from celebrated artists who signed ries, 1996), 19. their creations, to anonymous crafts makers 6 Robert T. Singer, et al. Edo: Art in Japan 1615- 1868 (Washington, D.C: National Gallery of Art, 1998). working in communal workshops. 3 EARLY MODERN JAPAN FALL, 2002 These arts have generally been studied accord- classical tradition of fine Japanese art. Far greater ing to media, a practical approach which closely attention was allotted to