DOCSLIB.ORG

A Arakawa Taji 32, 49, 217 (N26) Araki Kanpo 107, 129, 148, 151, 166

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Arakawa Taji 32, 49, 217 (N26) Araki Kanpo 107, 129, 148, 151, 166 Index A Chinese painting 2, 12–14, 17, 21–22, 24, 57–65, 76, Arakawa Taji 32, 49, 217 (n26) 93–94, 114, 128, 143 Araki Kanpo 107, 129, 148, 151, 166, 170, Chitoserō (Yokohama) 68 214 (n113) Chō Sanshū 69, 81, 180, 209 (n154), 214 (n126) Arao Sei, 57 Chōdatei (Edo) 90 Arisugawa-no-Takehito, Prince 86, 115, 116 Chōjagamaru Ōen (Edo) 19 Arisugawa-no-miya Taruhito Prince 115, 116 collaborative works 7, 66–73, 92 Atago Jinja (Noda) 50 copying Atomi Gyokushi 124 in East Asian painting 31, 35, 58, 107 Atomi Kakei 88 in Katei’s practice 22, 31, 41, 43, 76–77, 120–121, auspicious paintings 35–41, 84, 87, 115, 134, 146, 134, 184 149, 153 crown prince 133, 135, 170 B D banzuke 94,100, Dai Jin 79 bijutsu 5–7, 54, 102, 109, 146 Daitōkan (Shizuoka) 146 Bing, Siegfried 107 Denpōin (Tokyo) 154 bird-and-flower painting 9–17, 34–36, 123, 127–130, 165, Doi Gōga 8 168, 171 Domestic Industrial Exposition 6, 53, 54, 99, 102, 140, Bowie, Henry P. 168 146, 151, 154, 183 Brinkley, Frank 148 Domestic Painting Competition 3, 78, 97, 99, 103, 105, bunjin. See literati culture 107, 129, 131, 140 bunjinga 12, 131, 160, 168, 171–172 Dong Qichang 12 analysis of 8 dowager empress 105, 108, 110, 115, 129, criticism/rejection of 100, 101, 103, 109 130, 133 examples by Katei 58–65 Dragon Pond Society 3, 4, 6, 100, 107–109, 115, 116 exhibiting 50–55 Du Fu 52 Chinese origins 9 Dutch studies. See rangaku bunmei kaika 3 E C Eastern Painting Group 107, 108, 134 calligraphy 27, 28, 45, 48, 86–87, 98, 172 Echigo Prov. 2, 30, 31, 33, 43, 158, calligraphy-and-painting parties 14, 67–68, 101, 104 Eliséèv, Serge 168 calligraphy by Chinese men 77, 78 emperor 46, 52, 105, 109–111, 115, 116, 118, 125, 130, Northern Wei stele style 56–57, 81 131, 133–135, 141, 176 separation from shoga 7, 102 empress 110, 115, 130, 133, 141 textbook 84 exhibitions, in Japan Chen Yizhou 23, 24, 62, 180, 182 Bunten 4, 6, 170, 171 Chigusa Arikoto 16 Domestic Industrial Exposition 6, 9, 53, 54, 99, 102, chikushi 91 146, 151–154 China Domestic Painting Competition 9, 78, attitudes towards 97–99 103–105, 130 friendships with Chinese men 21, 22, 26, 74–76 Exhibition for the Appreciation of Antique Art 3, 109 Legation in Tokyo 56–57, 73–76, 90 impact on painting 102–104 material culture 13–14 exhibitions, international Sino-Japanese Treaty of Amity 56, 74 Chicago 3, 9, 137, 146, 148, 149, 176 Sino-Japanese War 99, 129, 152, 172 Paris 3, 6, 107, 108, 163 Sinophile culture 11–16, 55–58, 97–102 Philadelphia 3, 6, 53, 148 trade with 21 Vienna 3, 5, 51–53, 54, 100, 151 250 index F Imperial Household Artist 5, 114, 116, 137–146, “famous places” 88, 135 157, 171 Fei Hanyuan 17 imperial institution Fenollosa, Ernest 3–6, 9, 100–102, 105, 108, 109, patronage by 130–134 129, 171 representation of 119 Fukuchi Gen’ichirō 87 Inose Tōnei 87 Fukuda Hankō 28, 84 Ishikawa Kōsai 75, 81, 82, 84, 85, 99, 180 Fukuda Kodōjin 8 Itō Hirobumi 86, 116 Fukushima Ryūho 69, 70, 86–88, 89, 92–94, 107, 166, Iwasaki Yanosuke 94, 118, 149, 151, 154 203 (n29) Iwasaki Yatarō 118, 121, 168 Fukuzawa Yukichi 98, 137, 168 Iwaya Ichiroku 56, 74, 81, 85, 87, 88, 180, 215 (n126) Furuhashi Rinpei 30, 43, 47 Fushimi-no-miya Sadanaru, Prince 105 J Japan Art Association 3–5, 129, 166 G Art Exhibition 109, 110, 112 gassaku. See collaborative works decline of 168–169 Gekkai-in (Tokyo) 74 formation of 99 Gojō Tameshige 124 Japan Art Association Bulletin 110, 115, 128, 157 Goseda Yoshimatsu 54 Painting Exhibition 111, 175 Gozu Tennō-sha (Edo) 16 Painting Research Group 115, 116, 121 relationship with imperial institution 127 H Youth Painting Competition 123, 175, 178 Hakodate 9, 31, 41 Japan Art Institute 6, 170 hakubutsugaku. See natural history studies Jiang Jiapu 22, 24, 25, 32, 60 Hankansha 69, 100 Jin Nong 62 Hara Tankyō 175, 177, 214 (n105), 217 (n37) Haruki Nanko 32 K Hasegawa Masanao 92 kachōga. See bird-and-flower painting Hasegawa Rankei 32, 33, 49 Kagawa Katsuhiro 141 Hashimoto Gahō 3, 101, 108, 110, 148, 153, 168, Kagetsurō (Nagasaki) 21, 26 220 (n3) kaiga 6, 7, 12, 94, 97, 103, 172 Hattori Hazan 67, 86–89, 93, 107, 166 Kanada Masukichi 78 He Ruzhang 74, 81, 99, 180 Kanda Hakusan 45, 163 Hidaka Tetsuō 24, 25, 59, 60, 182 Kan’eiji 6, 53 Higashi Fushimi-no-miya Yoshiakira, Prince. See Komatsu- Kangakai. See Painting Appreciation Society no-miya Akihito, Prince kangaku 11, 55–57, 73, 81–85, 91, 93, 95, 98, 102 Hijikata Hisamoto 116 Kano Akinobu 107 Hikitaya (Nagasaki) 21 Kano Chikanobu 120 Hirano Yasunojō 31, 46 Kano Eishū 93 Hōbunkan 3, 82–84, 85, 95 Kano Eitoku Tatsunobu 101, 107, 135, 218 (n24) Hokkaido 2, 31, 158 Kano Hōgai 3, 101, 108, 110, 220 (n3) Honda Kinkichirō 124 Kano Kazunobu 28 Hua Kuntian 23, 182 Kano Minenobu 121 Huang Xiquan 75, 81, 180 Kanō Natsuo 141 Huang Zunxian 74 Kano Seisen’in Osanobu 35, 153 Hu Gongshou 58 Kano Tomonobu 101 Huish, Marcus 168 Kano Tsunenobu 120 kanshi. See poetry I Katsu Kaishū 70, 85–87 Ichijō Saneteru 135 Katsushika Hokusai 18, 209 (n157) Ichikawa Beian 18 Kawabata Gyokushō 87, 89, 101, 108, 110, 148, 152, 166, Ichikawa Danjūrō IX 88, 211 (n25) 168, 175, 218 (n52), 220 (n3) Ichikawa Man’an 87, 206 (n90), 209 (n169) Kawabe Mitate 107, 123, 124, 151, 217 (n24), 217 (n42) Imao Keinen 148, 214 (n113), 218 (n56) Kawakami Tōgai 69, 92, 203 (n29), 206 (n90) 251.
Load more

Recommended publications
  • Japan Studies Review
    JAPAN STUDIES REVIEW Volume Nineteen 2015 Interdisciplinary Studies of Modern Japan Steven Heine Editor Editorial Board John A. Tucker, East Carolina University Yumiko Hulvey, University of Florida Matthew Marr, Florida International University Ann Wehmeyer, University of Florida Hitomi Yoshio, Florida International University Copy and Production María Sol Echarren Rebecca Richko Ian Verhine Kimberly Zwez JAPAN STUDIES REVIEW VOLUME NINETEEN 2015 A publication of Florida International University and the Southern Japan Seminar CONTENTS Editor’s Introduction i Re: Subscriptions, Submissions, and Comments ii ARTICLES Going Postal: Empire Building through Miniature Messages on German and Japanese Stamps Fabian Bauwens 3 Old, New, Borrowed, and Blue: Hiroshi Senju’s Waterfall Paintings as Intersections of Innovation Peter L. Doebler 37 Delightfully Sauced: Wine Manga and the Japanese Sommelier’s Rise to the Top of the French Wine World Jason Christopher Jones 55 “Fairness” and Japanese Government Subsidies for Sickness Insurances Yoneyuki Sugita 85 ESSAYS A “Brief Era of Experimentation”: How the Early Meiji Political Debates Shaped Japanese Political Terminology Bradly Hammond 117 The Night Crane: Nun Abutsu’s Yoru No Tsuru Introduced, Translated, and Annotated Eric Esteban 135 BOOK REVIEWS Scream from the Shadows: The Women’s Liberation Movement in Japan By Setsu Shigematsu Reviewed by Julia C. Bullock 169 Critical Buddhism: Engaging with Modern Japanese Buddhist Thought By James Mark Shields Reviewed by Steven Heine 172 Banzai Babe Ruth: Baseball, Espionage, & Assassination During the 1934 Tour of Japan By Robert K. Fitts Reviewed by Daniel A. Métraux 175 Supreme Commander: MacArther’s Triumph in Japan By Seymour Morris Reviewed by Daniel A. Métraux 177 CONTRIBUTORS/EDITORS i EDITOR’S INTRODUCTION Welcome to the nineteenth volume of the Japan Studies Review (JSR), an annual peer-reviewed journal sponsored by the Asian Studies Program at Florida International University Seminar.
    [Show full text]
  • Representations of Pleasure and Worship in Sankei Mandara Talia J
    Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively).
    [Show full text]
  • Japan Cultural Expo Presented and Co-Presented Projects (As of June 21, 2019)
    Japan Cultural Expo Presented and Co-presented Projects (as of June 21, 2019) *Japan Culture Expo collaborates with other organizations and entities in planning, production, and funding. Category Title Date Place Category Title Date Place 2019 Nara Palace Site Museum Summer Exhibition Nara Palace Site Museum, Nara Art and Cultural The Buddhist Sculptures of Daiho’onji Temple Art and Cultural 1 April 23 – June 16, 2019 Kyushu National Museum 11 for Children “In the Garden of the Nara Capital: July 20 – September 1, 2019 National Research Institute for Cultural Treasures Kyoto: Masterpieces by Kaikei and Jokei Treasures Unearthing the Ancient Gaze at Nature) Properties Tokyo: August 3 – September 29, Nara National Research Institute for Legendary Kyoto Painting from Maruyama Okyo to Tokyo University of the Arts (the Uni- Art and Cultural Art and Cultural 2019 2 Spring Special Exhibition “The Bone Story” April 23 – June 30, 2019 Cultural Properties (Asuka Historical 12 the Modern Era: A Virtual-Reality Environment and versity Art Museum) and the National Treasures Treasures Kyoto: November 2 – December Museum) Nihonga Workshop Museum of Modern Art, Kyoto 15, 2019 Japanese Culture Promotion at ICOM Kyoto 2019 Educational Events Associated with the Exhibition Art and Cultural National Archives of Modern Architec- Art and Cultural Noh Performance “Stone Bridge” at Opening Kyoto International Conference Hall, 3 “Early Drawings of Tadao Ando: Autonomy and June 8 – September 23, 2019 13 September 1 – 7, 2019 Treasures ture, Agency for Cultural
    [Show full text]
  • Nihontō Compendium
    Markus Sesko NIHONTŌ COMPENDIUM © 2015 Markus Sesko – 1 – Contents Characters used in sword signatures 3 The nengō Eras 39 The Chinese Sexagenary cycle and the corresponding years 45 The old Lunar Months 51 Other terms that can be found in datings 55 The Provinces along the Main Roads 57 Map of the old provinces of Japan 59 Sayagaki, hakogaki, and origami signatures 60 List of wazamono 70 List of honorary title bearing swordsmiths 75 – 2 – CHARACTERS USED IN SWORD SIGNATURES The following is a list of many characters you will find on a Japanese sword. The list does not contain every Japanese (on-yomi, 音読み) or Sino-Japanese (kun-yomi, 訓読み) reading of a character as its main focus is, as indicated, on sword context. Sorting takes place by the number of strokes and four different grades of cursive writing are presented. Voiced readings are pointed out in brackets. Uncommon readings that were chosen by a smith for a certain character are quoted in italics. 1 Stroke 一 一 一 一 Ichi, (voiced) Itt, Iss, Ipp, Kazu 乙 乙 乙 乙 Oto 2 Strokes 人 人 人 人 Hito 入 入 入 入 Iri, Nyū 卜 卜 卜 卜 Boku 力 力 力 力 Chika 十 十 十 十 Jū, Michi, Mitsu 刀 刀 刀 刀 Tō 又 又 又 又 Mata 八 八 八 八 Hachi – 3 – 3 Strokes 三 三 三 三 Mitsu, San 工 工 工 工 Kō 口 口 口 口 Aki 久 久 久 久 Hisa, Kyū, Ku 山 山 山 山 Yama, Taka 氏 氏 氏 氏 Uji 円 円 円 円 Maru, En, Kazu (unsimplified 圓 13 str.) 也 也 也 也 Nari 之 之 之 之 Yuki, Kore 大 大 大 大 Ō, Dai, Hiro 小 小 小 小 Ko 上 上 上 上 Kami, Taka, Jō 下 下 下 下 Shimo, Shita, Moto 丸 丸 丸 丸 Maru 女 女 女 女 Yoshi, Taka 及 及 及 及 Chika 子 子 子 子 Shi 千 千 千 千 Sen, Kazu, Chi 才 才 才 才 Toshi 与 与 与 与 Yo (unsimplified 與 13
    [Show full text]
  • Giving Birth to a Rich Nation and Strong Soldiers: Midwives and Nation Building in Japan Between the Meiji Period and the 1940S
    Giving Birth to a Rich Nation and Strong Soldiers: Midwives and Nation Building in Japan between the Meiji Period and the 1940s. Aya Homei Centre for the History of Science, Technology and Medicine, University of Manchester A paper for the Joint Princeton-Columbia Graduate Student Workshop (National Identity and Public Policy in Comparative Perspective) Princeton, September 29 - October 1, 2000 Introduction In 1916, in the midwifery journal Josan no Shiori Takatsuji published an article titled “Shin-shin no Kaizen wa Kokka Hukyo no Soseki nari (Improvement of spirit and body is a foundation for a rich and strong nation). From the Meiji period onwards Japan had been actively searching for the means to modernize the country, exemplified by the slogan hukoku kyohei (rich nation, strong soldiers). As part of this scheme, western medicine was vigorously examined and implemented in national policies. Simultaneously high mortality and need of human resources for the nationalistic cause (in the emerging industry in the Meiji period and in the sphere of military) made midwives a target for medicalization. Thus once midwives were medicalized through professionalization they were expected to play a central role in making the country fit for war in the industrial age. Especially during the 1930s and 1940s when countless regulations on population issues as well as maternal and infant protection were enacted (and not coincidentally another slogan umeyo huyaseyo, “give birth and multiply,” was promoted), midwives’ role appeared paramountly important. This essay deals with ways in which the birth attendants professionalized and at the same time acted as agents of liaison between the government who attempted to transport the gospel of hygiene (including racial hygiene) and the homes of Japan.
    [Show full text]
  • No.699 (April Issue)
    NBTHK SWORD JOURNAL ISSUE NUMBER 699 April, 2015 Meito Kansho Examination of Important Swords Type: Katana Kinzogan mei: Shikkake Norinaga kore suriage Honnami Koshitsu with kao Owner: NBTHK Length: 2 shaku 3 sun 2 bu (70.3 cm) Sori: 9 bu 1 rin (2.75 cm) Motohaba: 9 bu 7 rin (2.95 cm) Sakihaba: 7 bu 1 rin (2. 15 cm ) Motokasane: 2 bu 3 rin (0.7 cm) Sakikasane : 1 bu 7 rin (0.5 cm) Kissaki length: 1 sun 7 rin (3.25 cm) Nakago length: 6 sun 4 bu (19.4 cm) Nakago sori: 5 rin (0.15 cm) Commentary This is a shinogi-zukuri katana with an ihorimune. It is slightly wide, and the widths at the moto and saki are not much different. The shinogi is wide, there is a slightly high shinogi, a large hiraniku, and a strong or substantial shape. The blade is thin, and there is a large sori and a chu-kissaki. The jihada is itame mixed with mokume and nagare hada, and some parts of the jihada are visible. There are thick dense ji- nie, and some chikei. The hamon is ko-gunome mixed with ko-notare and togari. There are ashi, a dense nioiguchi, slightly uneven nie, some hotsure, frequent kinsuji, niesuji,sunagashi, and small yubashiri.The boshi is midarekomi, the tip is yakizume, and there is hakikake and yubashiri. The nakago is o-suriage. The tip of the nakago is sakikiri, and the yasurime are katte-sagari. There is a one mekugi ana, and on the ura side, under the mekugi ana, there is a kinzogan-mei, along the center.
    [Show full text]
  • Diss Master Draft-Pdf
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Visual and Material Culture at Hokyoji Imperial Convent: The Significance of "Women's Art" in Early Modern Japan Permalink https://escholarship.org/uc/item/8fq6n1qb Author Yamamoto, Sharon Mitsuko Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Gregory P. A. Levine, Chair Professor Patricia Berger Professor H. Mack Horton Fall 2010 Copyright by Sharon Mitsuko Yamamoto 2010. All rights reserved. Abstract Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto Doctor of Philosophy in History of Art University of California, Berkeley Professor Gregory Levine, Chair This dissertation focuses on the visual and material culture of Hōkyōji Imperial Buddhist Convent (Hōkyōji ama monzeki jiin) during the Edo period (1600-1868). Situated in Kyoto and in operation since the mid-fourteenth century, Hōkyōji has been the home for women from the highest echelons of society—the nobility and military aristocracy—since its foundation. The objects associated with women in the rarefied position of princess-nun offer an invaluable look into the role of visual and material culture in the lives of elite women in early modern Japan.
    [Show full text]
  • Is the Japanese Monarchy in Crisis Due to Its Gender Bias?
    2020 VII Is the Japanese Monarchy in Crisis Due to Its Gender Bias? Masako Kamiya Article: Is the Japanese Monarchy in Crisis Due to Its Gender Bias? Is the Japanese Monarchy in Crisis Due to Its Gender Bias? Masako Kamiya GAKUSHUIN UNIVERSITY Abstract: Japanese monarchical succession is restricted to male offspring of imperial lineage, with the order of succession being primogeniture. This rule is not written in the 1947 Constitution—which prohibits sex discrimination in Article 14—but rather in the Imperial House Law of 1947. Given the current gender composition of the imperial family, it is not difficult to imagine a future in which the existence of the imperial system is threatened by a lack of legitimate male heirs. The article takes this reality as its starting point and evaluates the divergent attitudes of fundamentalist, orthodox, and egalitarian monarchists towards male-line primogeniture and the case for a gender-neutral monarchy in Japan. The article advocates an egalitarian view of monarchy as being most consistent with international law, Japan’s 1947 Constitution, comparative practice in contemporary monarchies, and the historical record that includes eight Japanese empresses who ruled in their own right. The article then turns to consider the contemporary role of the Emperor. Although the Japanese monarchy is comparable to others due to its exclusively symbolic and religious nature, the article notes its uniquely gendered aspects, such as the lack of public involvement and visibility of female members of the imperial family. Politicians, however, are reluctant to amend the Imperial House Law, which presents a structural barrier to gender-neutral monarchy.
    [Show full text]
  • Nengo Alpha.Xlsx
    Nengô‐Tabelle (alphabetisch) A ‐ K Jahr Nengō Devise Jahr Nengō Devise Jahr Nengō Devise Jahr Nengō Devise 1772 安永 An'ei 1521 大永 Daiei 1864 元治 Genji 1074 承保 Jōhō 1175 安元 Angen 1126 大治 Daiji 877 元慶 Genkei 1362 貞治 Jōji * 968 安和 Anna 1096 永長 Eichō 1570 元亀 Genki 1684 貞享 Jōkyō 1854 安政 Ansei 987 永延 Eien 1321 元亨 Genkō 1219 承久 Jōkyū 1227 安貞 Antei 1081 永保 Eihō 1331 元弘 Genkō 1652 承応 Jōō 1234 文暦 Benryaku 1141 永治 Eiji 1204 元久 Genkyū 1222 貞応 Jōō 1372 文中 Bunchū 983 永観 Eikan 1615 元和 Genna 1097 承徳 Jōtoku 1264 文永 Bun'ei 1429 永享 Eikyō 1224 元仁 Gennin 834 承和 Jōwa 1185 文治 Bunji 1113 永久 Eikyū 1319 元応 Gen'ō 1345 貞和 Jōwa * 1804 文化 Bunka 1165 永万 Eiman 1688 元禄 Genroku 1182 寿永 Juei 1501 文亀 Bunki 1293 永仁 Einin 1184 元暦 Genryaku 1848 嘉永 Kaei 1861 文久 Bunkyū 1558 永禄 Eiroku 1329 元徳 Gentoku 1303 嘉元 Kagen 1469 文明 Bunmei 1160 永暦 Eiryaku 650 白雉 Hakuchi 1094 嘉保 Kahō 1352 文和 Bunna * 1046 永承 Eishō 1159 平治 Heiji 1106 嘉承 Kajō 1444 文安 Bunnan 1504 永正 Eishō 1989 平成 Heisei * 1387 嘉慶 Kakei * 1260 文応 Bun'ō 988 永祚 Eiso 1120 保安 Hōan 1441 嘉吉 Kakitsu 1317 文保 Bunpō 1381 永徳 Eitoku * 1704 宝永 Hōei 1661 寛文 Kanbun 1592 文禄 Bunroku 1375 永和 Eiwa * 1135 保延 Hōen 1624 寛永 Kan'ei 1818 文政 Bunsei 1356 延文 Enbun * 1156 保元 Hōgen 1748 寛延 Kan'en 1466 文正 Bunshō 923 延長 Enchō 1247 宝治 Hōji 1243 寛元 Kangen 1028 長元 Chōgen 1336 延元 Engen 770 宝亀 Hōki 1087 寛治 Kanji 999 長保 Chōhō 901 延喜 Engi 1751 宝暦 Hōreki 1229 寛喜 Kanki 1104 長治 Chōji 1308 延慶 Enkyō 1449 宝徳 Hōtoku 1004 寛弘 Kankō 1163 長寛 Chōkan 1744 延享 Enkyō 1021 治安 Jian 985 寛和 Kanna 1487 長享 Chōkyō 1069 延久 Enkyū 767 神護景雲 Jingo‐keiun 1017 寛仁 Kannin 1040 長久 Chōkyū 1239 延応 En'ō
    [Show full text]
  • Bushido: the Creation of a Martial Ethic in Late Meiji Japan
    BUSHIDO: THE CREATION OF A MARTIAL ETHIC IN LATE MEIJI JAPAN by OLEG BENESCH A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) FEBRUARY 2011 © Oleg Benesch, 2011 ABSTRACT This study examines the development of the concept of “bushido,” or the “way of the warrior,” in modern Japan, focusing on the period between the mid-nineteenth century and the early 1930s. The popular view holds that bushido was a centuries-old code of behavior rooted in the historical samurai class and transmitted into the modern period, where it was a fundamental component of Japanese militarism before 1945. In fact, the concept of bushido was largely unknown before the last decade of the nineteenth century, and was widely disseminated only after 1900, especially after the Russo-Japanese War of 1904-5. This study argues that modern bushido discourse began in the 1880s, and was dependent on political and cultural currents relating to Japan’s modernization and the nation’s attempts to redefine itself in the face of foreign “others,” primarily China and the West. Following more than a decade of largely unquestioned thrusts towards modernization and Westernization after 1868, Japanese thinkers looked to their own traditions in search of sources of national identity. The first discussions of bushido at this time were not the work of conservative reactionaries, however, but were conceived by relatively progressive individuals with considerable international experience and a command of Western languages. Some of the first modern writings on bushido clearly posit the concept as a potential native equivalent to the English ethic of “gentlemanship,” which was widely admired in late-nineteenth century Japan, and much of early bushido discourse should be seen primarily as a response to outside stimuli.
    [Show full text]
  • The Last Samurai: the Life and Battles of Saigo Takamori
    THE LAST SAMURAI The Life and Battles of Saigo- Takamori MARK RAVINA John Wiley & Sons, Inc. THE LAST SAMURAI THE LAST SAMURAI The Life and Battles of Saigo- Takamori MARK RAVINA John Wiley & Sons, Inc. This book is printed on acid-free paper. Copyright © 2004 by Mark Ravina.All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada Design and production by Navta Associates, Inc. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as per- mitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4470, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, e-mail: [email protected]. Limit of Liability/Disclaimer of Warranty:While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accu- racy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials.The advice and strategies contained herein may not be suit- able for your situation.You should consult with a professional where appropriate.
    [Show full text]
  • Political and Ritual Usages of Portraits of Japanese
    POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES by Yuki Morishima B.A., University of Washington, 1996 B.F.A., University of Washington, 1996 M.S., Boston University, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yuki Morishima It was defended on November 13, 2013 and approved by Katheryn Linduff, Professor, Art and Architecture Evelyn Rawski, Professor, History Kirk Savage, Professor, Art and Architecture Dissertation Advisor: Karen Gerhart, Professor, Art and Architecture ii Copyright © by Yuki Morishima 2013 iii POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES Yuki Morishima, PhD University of Pittsburgh, 2013 This dissertation examines portraits of Japanese emperors from the pre-modern Edo period (1603-1868) through the modern Meiji period (1868-1912) by questioning how the socio- political context influenced the production of imperial portraits. Prior to Western influence, pre- modern Japanese society viewed imperial portraits as religious objects for private, commemorative use; only imperial family members and close supporters viewed these portraits. The Confucian notion of filial piety and the Buddhist tradition of tsuizen influenced the production of these commemorative or mortuary portraits. By the Meiji period, however, Western portrait practice had affected how Japan perceived its imperial portraiture. Because the Meiji government socially and politically constructed the ideal role of Emperor Meiji and used the portrait as a means of propaganda to elevate the emperor to the status of a divinity, it instituted controlled public viewing of the images of Japanese emperors.
    [Show full text]