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Japan and Britain After 1859: Creating Cultural Bridges/Olive Checkland

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Japan and Britain After 1859: Creating Cultural Bridges/Olive Checkland Japan and Britain after 1859 This is a study of the cultural bridges between Japan and Britain after Japan was forced to open her doors to Western intrusion. The Japanese were shocked to discover they had no foreign trade with which to bargain. They quickly recognised the importance of ‘export’ware, pretty china, to create a demand. Their campaign to hijack the Great Exhibition, worldwide, succeeded beyond their wildest dreams. Everywhere Westerners were enchanted by Japanese pavilions, gardens and tea-houses. In Japan they snapped up books in English and had British architects build Western style buildings. In Britain, Japonisme became a craze. Everyone, including the music hall artiste Marie Lloyd, joined the fun. The wild success of The Mikado (1885) is a reminder of the excitement. Behind all this there were serious men and women, like the artist Frank Brangwyn, the anthropologist Isabella Bird, the poet Laurence Binyon and the potter Bernard Leach who were also committed to Japan and Japanese culture. It is the activities and experiences of these, and similar, individuals, and the broader background against which they operated, that are the main concern of this book. Olive Checkland is Research Fellow (Overseas) at Fukuzawa Memorial Centre, Keio University, Tokyo, Japan. Japan and Britain after 1859 Creating cultural bridges Olive Checkland First published 2003 by RoutledgeCurzon 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by RoutledgeCurzon 29 West 35th Street, New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2003. RoutledgeCurzon is an imprint ofthe Taylor & Francis Group © 2003 Olive Checkland All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. The publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility or liability for any errors or omissions that may be made. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Checkland, Olive. Japan and Britain after 1859: creating cultural bridges/Olive Checkland. p.cm. Includes bibliographic references and index. 1. Great Britain–Foreign relations–Japan 2. Great Britain–Foreign relations–20th century 3. Great Britain–Foreign relations–1837–1904 4. Japan–Foreign relations–Great Britain 5. Great Britain– Relations–Japan 6. Japan–Relations–Great Britain DA47.9.J3 C544 2003 303.48’252041’09 2002028447 ISBN 0-203-22183-4 Master e-book ISBN ISBN 0-203-27634-5 (Adobe eReader Format) ISBN0–7007–1747–1(Print Edition) For N.T. and S.T. With affection Contents List of illustrations ix Preface xi Author’s note xiv PART I The price of seclusion 1 1 Shirts, studs and wash hand basins 3 2 The Great Exhibition as a cultural bridge 14 3 Affirmative action, abroad and in Japan 29 4 Yokohama muki: Japanese export ware 42 PART II In Japan 57 5 Maruzen and the foreign book trade 59 6 Western architecture and Japanese architects 73 7 Christopher Dresser and industrial design 86 8 Paintings, photographs and prints 96 viii Contents PART III In Britain 109 9 Japonisme for all 111 10 Collecting Japanese art 125 11 Three painters, Menpes, Hornel, Brangwyn, and their patrons 140 12 ‘The lovely flower land of the Far East’: travel writing about Japan 156 PART IV The commercial spin-off 169 13 The Japan British Exhibition, London, 1910 171 14 Shopping for Japonoiserie 185 PART V Four bridge builders 197 15 Painter, poet, pearl-maker and potter: Kyosai, Binyon, Mikimoto and Leach 199 Appendix I: Catalogue of Japanese Exhibition and their products shown at the International Exhibition, Glasgow, 1901 (see Chapter 2) 213 Appendix II: Industrial art manufacture in Japan. Companies which worked with, and for, Kiritsa Kosko Kaisha (see Chapter 3) 216 Appendix III: British publishers with whom Maruzen was doing business between 1912 and 1941 (see Chapter 5) 219 Select bibliography 224 Index 233 Illustrations Tables 2.1 Japan’s commitment to the exhibition movement from 1873–1910 17 2.2 Japan’s commitment to the exhibitions in the United States of America 25 3.1 Hakurankai, exhibitions in Japan, 1871–1903 37 4.1 Exhibitions in Australia 51 4.2 Australian imports of china and lacquer ware from Japan, in Yen 51 4.3 Japanese trade with Australia, in Yen 51 4.4 American imports of china and lacquer goods from Japan, in Yen 52 4.5 Japanese trade with the United States, in Yen 52 4.6 British imports of china and lacquer ware from Japan, in Yen 53 4.7 Japanese trade with Britain, in Yen 53 4.8 Total worldwide exports of ‘industrial art objects’from Meiji Japan, in Yen 54 5.1 List of foreign books available from Z.P. Maruya & Co. (Maruzen), 1876 63 5.2 Maruzen’s profits 71 12.1 Numbers of Japan published 163 13.1 Japanese trade with Britain 179 Figures 1.1 Samurai, clumsily dressed in Western clothes with samurai sword 2 1.2 Undershirt and drawers 5 1.3 Shirts 5 1.4 Shirt collar 5 1.5 Shoes and shoehorn 5 1.6 Coats 1 6 x Illustrations 1.7 Coats 2 6 1.8 Coats 3 7 1.9 Coats 4 7 1.10 Hats 7 1.11 Jacket 8 1.12 Trousers and braces 8 1.13 Wash stand 8 1.14 Basin, jug, etc. 8 1.15 Chest of drawers 9 1.16 Table setting 10 1.17 Watch 11 1.18 Bed and chamber pot 12 2.1 Vienna Exposition (1873), Gottfried Wagener and twenty-five Japanese 19 2.2 Street of sgops at Japan British Exhibition, London, 1910 26 4.1 Girl decorating export ware 46 4.2 View of workshop for export ware 47 5.1 Maruzen in Yokohama, c.1880 60 6.1 Josiah Conder in Japanese dress 74 6.2 Keio University Library (1912) 81 9.1 ‘The geisha’/Miss Marie Lloyd 120 9.2 Duke and Duchess of Connaught, à la Japonaise 121 10.1 James Lord Bowes 129 11.1 E.A. Hornel, 1895 147 11.2 Frank Brangwyn’s design for an art gallery, Tokyo 152 13.1 Imre Kiralfy 173 13.2 Britannia and Yamato, Britain and Japan symbolically united 175 13.3 The Garden of Peace at the Japan Exhibition, 1910 178 15.1 Kyosai, Grasshopper and Poppy 201 15.2 Mikimoto designs, including a likeness of John Ruskin 208 Preface In the 1850s it was with a sense of increasing importance that the Japanese Samurai unsheathed their swords, and, brandishing them with a flourish, cried ‘revere the Emperor and expel the barbarian’. But the samurai sword was no match for the armoured ships of the ‘barbarians’. Nor, despite the primacy of the American, Commander Matthew Perry, was it, at that time, the Americans that the Japanese had to fear. It was the British, whose commercial supremacy then dominated the world, who were the real threat. Britain, being an island nation, situated off the west coast of Europe – as Japan was to be found off the east coast of Asia – became a model and a challenge. Establishing cultural bridges became an urgent priority. The young Samurai hot heads, still carrying their two swords – now modestly sheathed – set out from Japan to explore the West. They were mortified by the industrial power they saw in Britain and in Europe. The embarrassment of appearing in the West in their wonderful, impractical, voluminous clothes led at once to an appreciation of the need to know how to dress. What was a Japanese man to do with ‘shirts, studs and wash hand basins’? In Vienna, in 1873, the Iwakura Mission, the most influential delegation of new Japanese leaders ever sent overseas, was bowled over by the great Exposition. The exhibition movement of the nineteenth century, initiated by Britain in 1851, although disguised as cultural bridge building, was about trade and commercial prosperity. The Japanese were shocked. Japan had no overseas trade, nor any modern industry. With the courage of desperation they determined that they, the Japanese, would take on the Great Exhibition and create their own cultural bridges with the West. Far from retreating, the Japanese embraced these great Western competitive showcases. True to their resolve, at the great exhibitions throughout the developed world, the Japanese, with flare and pizzazz, bombarded the West with their culture. They erected Eastern pavilions and adorned them with the most exquisite Japanese furniture, faience and frivolities. As a result the Japanese corner of any exhibition was besieged by visitors, enchanted by this strange exoticism. xii Preface Strenuous efforts were made in Japan to encourage and market the export industry. Although the trading company Kiritsu Kosho Kaisha was not an obvious success, largely because of confusion over objectives, Japan’s strug- gles to create a viable export trade were, in the end, triumphant. Paradoxically, using the momentum gained from the exhibition, the Japanese encouraged their craftsmen at home to manufacture masses of cheap export ware. This could be china, lacquer ware, cloisonné ware, fans or folding screens. Having visited the exhibition every British housewife wanted a piece of Japan in her home. Japanese government strategy had indeed paid off. Their cultural bridges were second to none. In Japan curiosity about Britain and the West was tempered by a feeling of shame.
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