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Volume X Number 2 CONTENTS Fall 2002 2 Volume X Number 2 CONTENTS Fall 2002 From the Editors' Desk 編纂者から 2 Articles 論文 Early Modern Japanese Art History--An Overview of the State of the Field Patricia Graham 2 Early Modern Literature Haruo Shirane and Lawrence E. Marceau 22 Foreign Affairs And Frontiers in Early Modern Japan: A Historiographical Essay of the Field Brett L. Walker 44 Book Reviews. 書評 Timon Screech, Sex and the Floating World: Erotic Images in Japan 1700-1820 David Pollack 62 Cynthia Viallé & Leonard Blussé, eds., The Deshima Dagregisters, Volume XI, 1641-1650 Beatrice M. Bodart-Bailey 71 EMJ Annual Meeting Discussion ＥＭＪ大会討論 Literati and Society in Early Modern Japan: An EMJ Panel Discussion 75 Bibliographies 参考文献 Early Modern Japanese Art History: A Bibliography of Publications, Primarily in English Patricia J Graham 78 Bibliography of Literature in Early Modern Japan Haruo Shirane with Lawrence Marceau 105 Foreign Affairs and Frontiers in Early Modern Japan: A Bibliography Brett L. Walker 124 Editors Philip C. Brown Ohio State University Lawrence Marceau University of Delaware Editorial Board Sumie Jones Indiana University Ronald Toby Tokyo University For subscription information, please see end page. The editors welcome preliminary inquiries about manuscripts for publication in Early Modern Japan. Please send queries to Philip Brown, Early Modern Japan, Department of History, 230 West 17th Avenue, Colmbus, OH 43210 USA or, via e-mail to [email protected]. All scholarly articles are sent to referees for review. Books for review and inquiries regarding book reviews should be sent to Law- rence Marceau, Review Editor, Early Modern Japan, Foreign Languages & Lit- eratures, Smith Hall 326, University of Deleware, Newark, DE 19716-2550. E-mail correspondence may be sent to [email protected]. Subscribers wishing to review books are encouraged to specify their interests on the subscriber information form at the end of this volume. The Early Modern Japan Network maintains a web site at http://emjnet.history.ohio-state.edu/. We gratefully acknowledge the financial support of the East Asian Studies Pro- gram at the Ohio State University. EARLY MODERN JAPAN FALL, 2002 From the Editor use the term "Early Modern" or kinsei, to refer to 編纂者のメッセージ 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 round-table discussion held at our meeting in stead of attempting to identify broad, unifying conjunction with the Association for Asian Stud- artistic concerns for a wide variety of Early Mod- ies Annual meeting. The theme of last spring’s ern arts, most scholars have constructed histories discussion was Literati and Society in Early of particular types of Japanese arts, according to Modern Japan “Literati and Society in Early media, thematic cohesiveness (for example, the 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.” to the discipline of Japanese art history as prac- If readers would like to organize future panels, ticed by art historians in Japan, where such sepa- please contact Philip Brown at Department of th rate studies of the art of their culture remain the History, 230 West 17 Avenue, Columbus OH norm. Thus, scholars tend to construct histories of 43210 or at [email protected]. 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 1 the Field 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 manuscript and supplying titles of dissertations), John printmaking, the year 1608 marked the first pro- 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
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