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Figures for “Ema: Display Practices of Edo Period Votive Paintings” Hilary Katherine Snow 1-1. Small ema donations at Yushima shrine, Tokyo, January 15, 2006. Photograph by the author. 1-2. Kanô Kyûen, black horse ema, 1697, ink and color on wood, 46½ x 66 in., Gokokuji temple, Tokyo. Photograph by the author. 169 1-3. Tokiwa Mitsunaga, Nenjû gyô emaki (Picture scroll of yearly activities), 1158–65, Edo period copy by Sumiyoshi Gukei, Tanaka collection. From Komatsu Shigemi, ed. Nihon no emaki, vol. 8. Tokyo: Chûô Kôronsha, 1987. 170 1-4. Kanô Sanraku, “Pair of horses,” 1625, polychrome on wood, 25 ½ x 29 ½ in. each, Kaizu Tenjin shrine, Shige prefecture. From Money L. Hickman, ed. Japan’s Golden Age: Momoyama. New Haven: Yale University Press, 1996, p 139. 171 1-5. Tengu zôshi (The tengu book), 1296, Tokyo National Museum. From Komatsu Shigemi, ed. Zoku Nihon emaki taisei, vol .26. Tokyo: Chûô Kôronsha, 1993. 1-6. En’i, Ippen shônin eden (Illustrated life of the monk Ippen), 1299, Kankikôji, Kyoto. From Komatsu Shigemi, ed. Nihon no emaki, vol. 20. Tokyo: Chûô Kôronsha, 1988. 172 1-7. En’i, Ippen shônin eden (Illustrated life of the monk Ippen), 1299, Kankikôji, Kyoto. From Komatsu Shigemi, ed. Nihon no emaki, vol. 20. Tokyo: Chûô Kôronsha, 1988. 1-8. Sannô reikenki (Record of miracles at Sannô), 1299, Ômi Hie shrine, Shiga prefecture. From Komatsu Shigemi, ed. Zoku Nihon emaki taisei, vol. 12. Tokyo: Chûô Kôronsha, 1984. 173 1-9. Fudô riyaku engi emaki (Illustrated handscroll of benefits from Fudô), 1336–92, Tokyo National Museum. From Komatsu Shigemi, ed. Zokuzoku Nihon emaki taisei vol. 4. Tokyo: Chûô Kôronsha, 1995. 1-10. Takashina Takakane, Kasuga gongen genkie (Miracles of the Kasuga deity), 1309, Imperial Household Collection. From Komatsu Shigemi, ed. Zoku Nihon emaki taise,i vol. 14. Tokyo: Chûô Kôronsha, 1982. 174 1-11. Fujiwara no Takamasa, Boki ekotoba, 1351, Nishi-honganji temple, Kyoto. From Komatsu Shigemi, ed. Soku Nihon emaki, vol. 9. Tokyo: Chûô Kôronsha, 1990. 175 2-1 Jinrin kunmôzui (Illustrated encyclopedia of humanity), 1690, woodblock-printed book. From Gen Zaburô. Jinrin kunmôzui [Illustrated encyclopedia of humanity]. 1690. Edited by Masamune Atsuo 正宗敦夫. In vol. 3 of Nihon koten zenshû. Tokyo: Nihon Koten Zenshû Kankôkai, 1929, p 242. 2-2 Chôbunsai Eishi (1756–1829), “Ema hall,” woodblock-print triptych, ôban size, Ota Memorial Ukiyo-e Museum. 176 2-3 Kubo Shunman (1757–1820), “Mimeguri ema hall,” 1786–89, woodblock-print triptych, ôban size, Musées Royaux d’Art et d’Histoire, Brussels. From Narazaki Muneshige, ed. Ukiyo-e Masterpieces in European Collections: Musée Royaux d’Art et d’Histoire, Brussels. 12 vols. Tokyo: Kodansha, 1987, vol. 9, fig. 79. 177 2-4 Kubo Shunman (1757–1820), “Hisakataya shichiban no uchi” (Seven pictures for the Hisakataya), three of a set of seven, 1814–19, woodblock print, 8 1/16 x 7 3/16 in., Harvard University Art Museum/Arthur M. Sackler Museum. From Harvard University Library Visual Information Access. 178 2-5 Kubo Shunman (1757–1820), “Ema and millet cakes,” 1811, woodblock print, 4 ¼ x 7 ¼ in., Chester Beatty Library, Dublin. From Roger Keyes. The Art of Surimono: Privately Published Japanese Woodblock Prints and Books in the Chester Beatty Library, Dublin. 2 vols. London: Sotheby, 1985, vol. 2, p 356. 2-6 Utagawa Kunisada (1786–1864), “On-atsurae ema zukushi” (Commissioned ema), 1823, woodblock print, ôban size. From Jan van Doesburg. What About Kunisada? Dodewaard, Netherlands: Huys den Esch, 1990, p 62. 179 2-7 Utagawa Kunisada, “Jôrunji temple,” from the Kannon reikenki (Miracles of Kannon) series, 1859, woodblock print, ôban size, Museum of Fine Arts, Boston. From MFA Collections Database. 180 2-8 Ema hall, Kitano shrine, Kyoto. Photograph by the author. 2-9 Ema hall, Imamiya shrine, Kyoto. Photograph by the author. 181 3-1 Hasegawa Settan, from Edo meisho zue (Illustrated famous places of Edo), 1834– 36. From Waseda University Library Kotenseki Sogo Database. 3-2 Hasegawa Settan, from Edo meisho zue (Illustrated famous places of Edo), 1834– 36. From Waseda University Library Kotenseki Sogo Database. 182 3-3 Hasegawa Settan, from Edo meisho zue (Illustrated famous places of Edo), 1834– 36. From Waseda University Library Kotenseki Sogo Database. 3-4 “Map of Sensôji’s grounds.” From Matsudaira Kanzan’s Sensôjishi (Sensôji intentions), 1813. Reprinted by Tokyo: Sensôji Shuppanbu, 1939-42. 183 3-5 Detail of Teisai Hokuba, “Sensôji keidai zu byôbu,” 1830–44, color on silk, eight- fold screen, 19 ¾ x 95 ¾ in., private collection. From Yasumura Toshinobu. "Teisai Hokuba hitsu Sensôji keidai zu byôbû" [Teisai Hokuba's screen of "View of the Grounds of Sensôji"]. Kokka 1138 (1990): 41-45. 3-6 “Interior of Sensôji’s Kannon Hall.” From Tokyo meisho zue (Illustrated famous sites in Tokyo), 1896–1911. Edited by Asakura Haruhiko and Tsuchida Mitsufumi. In vol. 1, Meiji Tokyo meisho zue. Tokyo: Tokyodô Shupan, 1992, p 31. 184 3-7 From Tokyo meisho zue (Illustrated famous sites in Tokyo), 1896–1911. Edited by Asakura Haruhiko and Tsuchida Mitsufumi. In vol. 1, Meiji Tokyo meisho zue. Tokyo: Tokyodô Shupan, 1992, p 55. 3-8 From Tokyo meisho zue (Illustrated famous sites in Tokyo), 1896–1911. Edited by Asakura Haruhiko and Tsuchida Mitsufumi. In vol. 1, Meiji Tokyo meisho zue. Tokyo: Tokyodô Shupan, 1992, p 56. 185 3-9 Top row: Anonymous, “Horse,” 1632, lacquer and maki-e on board, 19 x 26 ½ in. each, Sensôji. Bottom row: Anonymous, “Horse,” 1651, lacquer and maki-e on board, 15 ½ x 21 ¼ in. each, Sensôji. Photographs by the author. 3-10 Genmyôtei Gyokusen, “Horse,” 1840, lacquer and maki-e, 21 ½ x 30 in., Sensôji. Photograph by the author. 186 3-11 “Horse ema.” From Matsudaira Kanzan’s Sensôjishi (Sensôji intentions), 1813. Reprinted by Tokyo: Sensôji Shuppanbu, 1939-42. 3-12 Tani Bunchô, “Horse,” 1831, colors on board, 33 ½ x 35 ¾ in., Sensôji. Photograph by the author. 187 3-13 Kanô Tôhaku, “Horse,” 1821, color on board, 61 x 61 ¼ in., Sensôji. Photograph by the author. 3-14 Wall painting at Kasuga shrine, repainted 1862. From Kawada Tadashi, Ema, vol. 92, Nihon no bijutsu. Tokyo: Shibundô, 1974, opposite page 1. 188 3-15 Takashina Takakane Kasuga gongen reigenki (Miracles of the Kasuga deity), 1309. From Nara Women’s University Image Database of Historical Resources of the Nara Region. 3-16 Kô Sûkoku, “Chasing the nue,” 1787, color on board, 105 ¾ x 140 ½ in., Sensôji. Photograph by the author. 189 3-17 Kikuchi Yôsai, “Night raid at Horikawa,” 1849, color on board, 70 ½ x 101 in., Sensôji. Photograph by the author. 3-18 Kô Sûkei, “Shôjô mai,” 1803, color on board, 100 x 147 ¼ in., Sensôji. Photograph by the author. 190 3-19 “Kyôgen Sarawaka ningyô,” 1664 (repaired 1863), colors on wood, 61 ½ x 87 ¾ in., Sensôji. Photograph by the author. 3-20 Ikeda Koson, “Peacocks in peonies,” before 1847, colors on board, 81 ½ x 40 in., Sensôji. Photograph by the author. 191 3-21 “Peacocks in peonies.” From Bue hengaku shû (Collection of plaques in the Edo region), 1862, n.p. 3-22 Utagawa Kunihide, “Sensôji grounds,” 1833, colors on board, 43 ½ x 66 in., Sensôji. Photograph by the author. 192 3-23 “In the vicinity of the Niomon gate,” 1888, colors on board, 23 ½ x 35 ½ in., Sensôji. Photograph by the author. 3-24 “Sensôji grounds,” 1899, colors on board, 22 x 34 in., Sensôji. Photograph by the author. 193 3-25 Hasegawa Settan, “Cherry blossom well,” 1839, colors on board, 42 ½ x 66 ¾ in., Sensôji. Photograph by the author. 3-26 Hasegawa Settan, “Helmet pulling,” 1840, colors on board, 72 ½ x 52 ¾ in., Sensôji. Photograph by the author. 194 3-27 Minamoto Kazunobu, “Benkei on the bridge,” 1847, colors on paper (mounted to board), 92 x 122 in., Sensôji. From Kinryûsan Sensôji, ed. Kinryûsan Sensôji ema zuroku [Catalog of ema at Kinryûsan Sensôji]. Tokyo: Kinryûsan Sensôji, 1978, no. 32. 3-28 Suzuki Tôun, “Benkei on the bridge,” 1897, relief, 69 x 125 ¼ in., Sensôji. Photograph by the author. 195 3-29 Torii Kiyomoto, “Kan’u,” 1859, colors on board, 72 ¼ x 54 in., Sensôji. Photograph by the author. 3-30 Irie Hokurei, “Yojô rending the garment,” 1842, color on board, 88 ¼ x 66 ¾ in., Sensôji. Photograph by the author. 196 3-31 Tsutsumi Tôrin III, “Kanshin,” 1789-1818, colors on board, 62 ¼ x 91 ¼ in., Sensôji. Photograph by the author. 3-32 Artist unidentified, “Couple praying,” 1863, colors on board, 37 x 21 ½ in., Sensôji. Photograph by the author. 197 3-33 Ranzan Soshi, “Six immortal poets,” 1866, colors on board, 34 ¾ x 46 ½ in., Sensôji. Photograph by the author. 3-34 Utagawa Kuniteru, “Jinmaku entering the wrestling ring,” 1867, lacquer and color on board, 72 x 140 in., Sensôji. Photograph by the author. 198 3-35 Utagawa Kuniteru, “Sumo wrestlers,” 1867, ink and color on paper, ôban triptych, Museum of Fine Arts, Boston. From MFA Collections Database. 3-36 Sumo portrait in Ryôgoku station, Tokyo, September 2004. Photograph by the author. 199 3-37 Utagawa Kuniyoshi, “Lonely house,” 1855, colors on board, 69 x 121 ¾ in., Sensôji. Photograph by the author. 3-38 Utagawa Yoshimori, An old picture of the Lonely House at Asajigahara, 1855, ink and color on paper, ôban, Museum of Fine Arts, Boston. From MFA Collections Database. 200 4-1. Utagawa Toyokuni, “Shakkyô” (Stone bridge), 1814, polychrome on wood, 75 ½ x 57 in., Naritasan Reikôkan. From Ôno Masaharu, and Ogura Hiroshi. Naritasan Shinshôji no ema [Ema of Naritasan Shinshôji]. Narita: Naritasan Shiryôkan, 1979, p 23. 4-2. Utagawa Toyokuni, Shakkyô (Stone bridge), 1813, woodblock print, ôban size, Waseda University Tsubouchi Memorial Theatre Museum. From the Tsubouchi Memorial Theatre Museum Digital Archives Collection.
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    Guide Book Michinoku Coastal Trail Ishinomaki (Kitakami, Kahoku, Ogatsu) Section ①Shirahama Beach Park and Kashima-jinja Shrine (Map title: Shirahama Swimming Beach, Shirahama Beach Park, Kashima-jinja Shrine (Beer Shrine)) In addition to the white sand beach, Shirahama Beach has a park with picnic and barbecue areas and hosts a wide variety of seasonal outdoor activities for visitors, including dragnet fishing from March through September. Nearby Kashima-jinja Shrine is reputedly home to a somewhat picky deity. According to legend, local residents would traditionally make ritual offerings of unfiltered sake (doburoku) to the deity. One year, however, the rice yield was so poor that they had to offer alcohol made from wheat instead. The following year, the rice crop was bountiful. The community expressed its gratitude with a traditional offering of sake, only to suffer a sudden outbreak of illness and injury. Putting their heads together, they came to the conclusion that the deity of this shrine preferred wheat-based offerings to rice-based sake. This preference earned Kashima the nickname the Beer Shrine, and to this day, worshippers still bring offerings of beer. Kashima-jinja Shrine was washed away by the 2011 tsunami, but the foundation of the original structure is still visible, and many of the monuments lost in the disaster have since been recovered. ②Ishinomaki Riverside Visitor Center/ Kitakami Tourism and Product Exchange Center Opened in April 2018, the Ishinomaki Riverside Visitor Center is a great place to take a break from walking the Michinoku Coastal Trail and learn about the natural wonders of the Sanriku region.
  • The Culture of Japanese Fascism Asia-Pacific: Culture, Politics, and Society &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ the Culture of Japanese Fascism

    The Culture of Japanese Fascism Asia-Pacific: Culture, Politics, and Society &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ the Culture of Japanese Fascism

    THE CULTURE OF JAPANESE FASCISM ASIA-PACIFIC: CULTURE, POLITICS, AND SOCIETY &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ THE CULTURE OF JAPANESE FASCISM &EJUFECZ "MBO5BOTNBO DUKE UNIVERSITY PRESS DURHAM AND LONDON 2009 © 2009 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ♾ Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging- in-Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Columbia University, which provided funds toward the production of this book. CONTENTS MARILYN IVY Foreword: Fascism, Yet? vii ALAN TANSMAN Introduction: The Culture of Japanese Fascism 1 Part I: Theories of Japanese Fascism KEVIN M. DOAK Fascism Seen and Unseen: Fascism as a Problem in Cultural Representation 31 RICHARD TORRANCE The People’s Library: The Spirit of Prose Literature versus Fascism 56 HARRY HAROOTUNIAN Constitutive Ambiguities: The Persistence of Modernism and Fascism in Japan’s Modern History 80 Part II: Fascism and Daily Life KIM BRANDT The Beauty of Labor: Imagining Factory Girls in Japan’s New Order 115 NORIKO ASO Mediating the Masses: Yanagi Sōetsu and Fascism 138 AARON SkABELUND Fascism’s Furry Friends: Dogs, National Identity, and Purity of Blood in 1930s Japan 155 Part III: Exhibiting Fascism AARON GEROW Narrating the Nation-ality of a Cinema: The Case of Japanese Prewar Film 185 MICHAEL BASKETT All Beautiful Fascists?: Axis Film Culture in Imperial Japan 212 AkIKO TAKENAKA Architecture for Mass-Mobilization: The Chūreitō Memorial Construction Movement, 1939–1945 235 JONATHAN M.