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Why Did Japan Industrialize During the Meiji Period? Objectives: Students Will Examine the Causes for Industrialization in Japan
Why did Japan end its isolation? Why did Japan industrialize during the Meiji Period? Objectives: Students will examine the causes for industrialization in Japan. Introduction Directions: Examine the two documents below and answer the questions that follow. Tokugawa Laws of Japan in 1634 * Japanese ships shall not be sent abroad. *No Japanese shall be sent abroad. Anyone breaking this law shall suffer the penalty of death... *The arrival of foreign ships must be reported to Edo (Tokyo) and a watch kept over them. *The samurai shall not buy goods on board foreign ships. Source: January 2002 Global History and Geography Regents Exam. Source: January 2002 Global History and Geography Regents Exam. Japan Opens Up Japan, under the rule of the Tokugawa clan (1603 to 1867), experienced more than 200 years of isolation. During this period, the emperors ruled in name only. The real political power was in the hands of the shoguns all of whom were from the Tokugawa family. The Tokugawa maintained a feudal system in Japan that gave them and wealthy landowners called daimyo power and control. After negative experiences with Europeans in the 1600s, the shoguns were extremely resistant to trade because they viewed outsiders as a threat to his power. Japan's isolation came to an end in 1853 when Commodore Matthew Perry of the United States Navy, commanding a squadron of two steam ships and two sailing vessels, sailed into Tokyo harbor. He sought to force Japan to end their isolation and open their ports to trade with U.S merchant ships. At the time, many industrialized nations in Europe and the United States were seeking to open new markets where they could sell their manufactured goods, as well as new countries to supply raw materials for industry. -
Some Observations on the Weddings of Tokugawa Shogun’S Daughters – Part 2
University of Pennsylvania ScholarlyCommons Department of East Asian Languages and Civilizations School of Arts and Sciences October 2012 Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2 Cecilia S. Seigle Ph.D. University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/ealc Part of the Family, Life Course, and Society Commons, Inequality and Stratification Commons, and the Social and Cultural Anthropology Commons Recommended Citation Seigle, Cecilia S. Ph.D., "Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2" (2012). Department of East Asian Languages and Civilizations. 8. https://repository.upenn.edu/ealc/8 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/ealc/8 For more information, please contact [email protected]. Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2 Abstract This section discusses the complex psychological and philosophical reason for Shogun Yoshimune’s contrasting handlings of his two adopted daughters’ and his favorite son’s weddings. In my thinking, Yoshimune lived up to his philosophical principles by the illogical, puzzling treatment of the three weddings. We can witness the manifestation of his modest and frugal personality inherited from his ancestor Ieyasu, cohabiting with his strong but unconventional sense of obligation and respect for his benefactor Tsunayoshi. Disciplines Family, Life Course, and Society | Inequality and Stratification | Social and Cultural Anthropology This is available at ScholarlyCommons: https://repository.upenn.edu/ealc/8 Weddings of Shogun’s Daughters #2- Seigle 1 11Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2 e. -
Pictures of an Island Kingdom Depictions of Ryūkyū in Early Modern Japan
PICTURES OF AN ISLAND KINGDOM DEPICTIONS OF RYŪKYŪ IN EARLY MODERN JAPAN A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2012 By Travis Seifman Thesis Committee: John Szostak, Chairperson Kate Lingley Paul Lavy Gregory Smits Table of Contents Introduction……………………………………………………………………………………… 1 Chapter I: Handscroll Paintings as Visual Record………………………………. 18 Chapter II: Illustrated Books and Popular Discourse…………………………. 33 Chapter III: Hokusai Ryūkyū Hakkei: A Case Study……………………………. 55 Conclusion………………………………………………………………………………………. 78 Appendix: Figures …………………………………………………………………………… 81 Works Cited ……………………………………………………………………………………. 106 ii Abstract This paper seeks to uncover early modern Japanese understandings of the Ryūkyū Kingdom through examination of popular publications, including illustrated books and woodblock prints, as well as handscroll paintings depicting Ryukyuan embassy processions within Japan. The objects examined include one such handscroll painting, several illustrated books from the Sakamaki-Hawley Collection, University of Hawaiʻi at Mānoa Library, and Hokusai Ryūkyū Hakkei, an 1832 series of eight landscape prints depicting sites in Okinawa. Drawing upon previous scholarship on the role of popular publishing in forming conceptions of “Japan” or of “national identity” at this time, a media discourse approach is employed to argue that such publications can serve as reliable indicators of understandings -
1 Bouilloire À Eau (Tetsubin) De Forme Cylindrique Décorée D’Un Dragon Et De Nuages En Relief
1 Bouilloire à eau (tetsubin) de forme cylindrique décorée d’un dragon et de nuages en relief. Période Meiji – Taisho. H. : 17 cm; l. : 14 cm. 150 - 180 € Round cylindrical iron water-kettle (tetsubin) decorated with a dragon with clouds relief. Meiji - Taisho Period. 2 Bouilloire à eau en métal de forme plate et arrondie (tetsubin). Avec une anse fixe et un motif en bas-relief figurant des chevaux. Le couvercle arbore une poignée en forme de pomme de pin. Période Meiji. H. : 22,5 cm; D. : 21 cm. 250 - 350 € Round flat iron water-kettle (tetsubin) with a fixed handle and decorated in low relief with horses. The lid has a pine-cone shaped knob. Meiji period. 3 Bouilloire à eau (tetsubin) de forme globulaire. Motifs en relief à picots (arare). Le couvercle de cuivre affiche sur l’intérieur la marque Ryûbundô. Période Meiji. l. : 17,5 cm; D. : 16,5 cm 280 - 320 € Globular iron water-kettle (tetsubin) decorated with hailstone (arare) motive. Copper lid marked at the inside Ryûbundô. Meiji Period. 4 Bouilloire à eau (tetsubin) en métal de forme ronde. Motifs en relief à picots (arare). Période Meiji – Taisho. l. : 20 cm; D. : 14 cm. 200 - 250 € Round iron water-kettle (tetsubin) decorated with hailstone (arare) motive. Meiji - Taisho Period. 5 Bouilloire à eau en métal (tetsubin). L’objet arbore un couvercle et des anses en laiton et des décors en relief figurant des phénix. Période Meiji – Taisho. l. : 19 cm; D. : 15 cm. 350 - 450 € Iron water-kettle (testubin) with brass lid and handle and decorated with a relief of phoenixes. -
JSSUS Tosho Article For
Overview and Development of Tsuba made by Japanese Swordsmiths By David Stiles Introduction I will introduce new Japanese language terms with an English, non-italicized explanation followed by the standard italicized Romaji and Kanji if possible. The italicized Japanese terms are not punctuated or pluralized like normal English words. To begin, I would like to introduce the topic of my essay: the handguards of Japanese swords referred to as tsuba (鍔) made by professional Swordsmiths, Tôshô (刀匠 ), or their apprentices. In part one of the essay I will present a historical background to the early swordsmith handguards Ko-Tôshô tsuba (古刀匠鍔 ) as well as characteristics that define them as a group. In part two of the essay I will present Tôshô tsuba (刀匠鍔 ) and the characteristics that define them as a group. There is an important caveat that must be stated in regards to this article. The reference material used for this introduction to Tôshô tsuba were written in English or were translated at some point from Japanese to English and are of a secondary nature. New historical or contemporary primary references were not translated and used for the basis of the article. Historical Background of Ko-Tôshô Tsuba The earliest Tôshô tsuba are referred to in Japanese as Ko- Tôshô ( 古刀匠 ) and date from the Genpei War ( Genpei kassen 源平合戦 ) (1180–1185) to middle Muromachi Period ( 室町時代 ) (1400- 1500). The Genpei War was the legendary conflict between the Taira ( 平氏 ) and Minamoto ( 源氏 ) clans during the late Heian Period ( 平安時代 ) (794-1185). There are references in historical documents of the Genpei War to the hand guards and blade collars made by professional swordsmiths or their apprentices. -
Japanisch Und Bujinkan Vokabelsammlung Von Kathrin Glück
Japanisch und Bujinkan Vokabelsammlung von Kathrin Glück Schriftsysteme ........................................................................................................................2 Rōmaji ................................................................................................................................2 Hiragana ひらがな ...........................................................................................................3 Katakana カタカナ ...........................................................................................................5 Kanji 漢字 .........................................................................................................................7 Zählen ..................................................................................................................................10 Zähleinheitsuffixe ..............................................................................................................10 Mitzählen ..........................................................................................................................11 Stück ................................................................................................................................13 Personen ..........................................................................................................................14 Graduierungen im Bujinkan ...............................................................................................15 Vokabeln ..............................................................................................................................20 -
ADVANCED DUNGEONS & DRAGONS® the Complete Ninja's
ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player's Handbook Rules Supplement The Complete Ninja's Handbook By Aaron Allston CREDITS Design: Aaron Allston Editing: Barbara G. Young Black and White Art: Jim Holloway Color Art: Clyde Caldwell, Fred Fields, Les Dorscheid Typography: Tracey Isler Production: Paul Hanchette Acknowledgements: Many elements of The Complete Ninja's Handbook were derived from parts of Oriental Adventures designed by David "Zeb" Cook. In particular, portions of the optional Advanced Martial Arts rules are drawn from Oriental Adventures. TSR, Inc. TSR Ltd. 201 Sheridan Springs Rd. 120 Church End, Lake Geneva Cherry Hinton WI 53147 Cambridge CB1 3LB USA United Kingdom ADVANCED DUNGEONS & DRAGONS, AD&D, DRAGON, and DUNGEON MASTER are registered trademarks owned by TSR, Inc. The TSR logo is a trademark owned by TSR, Inc. This book is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of TSR, Inc. Random House and its affiliate companies have worldwide distribution rights in the book trade for English language products of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. ©1995 TSR, Inc. All rights reserved. Printed in the U.S.A. Table of Contents Introduction Chapter 1: The Ninja Class Ninja and Rogue Ninja Experience Levels Ninja Class Requirements Alignment Weapons and Armor -
Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the -
Schaftliches Klima Und Die Alte Frau Als Feindbild
6 Zusammenfassung und Schluss: Populärkultur, gesell- schaftliches Klima und die alte Frau als Feindbild Wie ein extensiver Streifzug durch die großstädtische Populärkultur der späten Edo-Zeit gezeigt hat, tritt darin etwa im letzten Drittel der Edo-Zeit der Typus hässlicher alter Weiber mit zahlreichen bösen, ne- gativen Eigenschaften in augenfälliger Weise in Erscheinung. Unter Po- pulärkultur ist dabei die Dreiheit gemeint, die aus dem volkstümlichen Theater Kabuki besteht, den polychromen Holzschnitten, und der leich- ten Lektüre der illustrierten Romanheftchen (gōkan) und der – etwas gehobenere Ansprüche bedienenden – Lesebücher (yomihon), die mit einem beschränkten Satz von Schriftzeichen auskamen und der Unter- haltung und Erbauung vornehmlich jener Teile der Bevölkerung dien- ten, die nur eine einfache Bildung genossen hatten. Durch umherziehen- de Leihbuchhändler fand diese Art der Literatur auch über den groß- städtischen Raum hinaus bis hin in die kleineren Landflecken und Dör- fer hinein Verbreitung. Die drei Medien sind vielfach verschränkt: Holzschnitte dienen als Werbemittel für bzw. als Erinnerungsstücke an Theateraufführungen; Theaterprogramme sind reich illustrierte kleine Holzschnittbücher; die Stoffe der Theaterstücke werden in den zahllo- sen Groschenheften in endlosen Varianten recyclet; in der Heftchenlite- ratur spielt die Illustration eine maßgebliche Rolle, die Illustratoren sind dieselben wie die Zeichner der Vorlagen für die Holzschnitte; in einigen Fällen sind Illustratoren und Autoren identisch; Autoren steuern Kurz- texte als Legenden für Holzschnitte bei. Nachdrücklich muss der kommerzielle Aspekt dieser „Volkskultur“ betont werden. In allen genannten Sparten dominieren Auftragswerke, die oft in nur wenigen Tagen erledigt werden mussten. Die Theaterbe- treiber ließen neue Stücke schreiben oder alte umschreiben beziehungs- weise brachten Kombinationen von Stücken zur Aufführung, von wel- chen sie sich besonders viel Erfolg versprachen. -
Kanazawa Citizen’S Art Center Contemporary Art, Kanazawa
❖21st Century Museum of ❖The Kanazawa Citizen’s Art Center Contemporary Art, Kanazawa The Kanazawa Citizen’s Art Center is used as a The museum exhibits experimental place for art activities for residents centering contemporary artworks that visitors can touch on the special features of the red brick or sit on. It includes zones where visitors can warehouses that used to be spinning mills. enter for free. Both adults and children can experience an exciting time in the museum. Address: 1-1 Daiwa-machi Contact: Tel. 265-8300 Address: 1-2-1 Hirosaka Open: 24 hours a day and 365 days a year Contact: Tel. 220-2800 乙丸町 北安江町 浅 野 Open: 10 am to 6 pm (closes at 8 pm on Fridays and Saturdays) 北 陸 Admission fee: The fee varies with the special exhibition. 鉄 鳴和 川 道 Closed: Mondays and Dec. 29 to Jan. 3. Visitors can enter the 浅 野 JR北陸本線 free zone from 9 am to 10 pm everyday including Mondays. 川 駅 線 西5 駅西本町1 浅野本町 0m 道 159 路 広岡1 応化橋 Yamanoue Utatsuyama 二口町 Moriyama-kita Hikoso Ohashi Kanazawa Station Bridge ● Ishikawa Ongakudo Higashi-betsuin Temple ● Hikoso-machi Nakabashi Hon-machi 2 Higashi Chaya-gai District Kanazawa Yasue Higashiyama ● Kanazawa Rokumai Gold-Leaf Museum ● Utatsuyama Craft Workshop Musashi Asanogawa Ohashi Meitetsu ● Bakuro-machi A City of Rich, ● Bridge M’za Omi-cho Market Hashiba-cho Umenohashi Sanja Bridge Vibrant Culture 大豆田橋 Kamitsutsumi-cho The Kanazawa Tenjinbashi Citizen’s Art Center Ote-machi Bridge 大豆田大橋 ● 卯 Minami-cho 辰 入江 ト Kanazawa Castle Park ン Oyama Shrine ネ ● ル Saigawa River Motoguruma Kenrokuen-shita Naga-machi Buke -
Knights at the Museum Interactive Qualifying Project Submitted to the Faculty of the Worcester Polytechnic Institute in Fulfillment of the Requirements for Graduation
Knights! At the Museum Knights at the Museum Interactive Qualifying Project Submitted to the faculty of the Worcester Polytechnic Institute in fulfillment of the requirements for graduation. By: Jonathan Blythe, Thomas Cieslewski, Derek Johnson, Erich Weltsek Faculty Advisor: Jeffrey Forgeng JLS IQP 0073 March 6, 2015 1 Knights! At the Museum Contents Knights at the Museum .............................................................................................................................. 1 Authorship: .................................................................................................................................................. 5 Abstract: ...................................................................................................................................................... 6 Introduction ................................................................................................................................................. 7 Introduction to Metallurgy ...................................................................................................................... 12 “Bloomeries” ......................................................................................................................................... 13 The Blast Furnace ................................................................................................................................. 14 Techniques: Pattern-welding, Piling, and Quenching ...................................................................... -
From Ieyasu to Yoshinao
2021 Summer Special Exhibition From Ieyasu to Yoshinao The Transition to a Powerful Pre-Modern State July 17 (Sat.) - September 12 (Sun.), 2021 INTRODUCTION Striving through the sengoku (Warring States) period, Tokugawa Ieyasu (1543-1616) finally achieved the unification of the whole country. Yoshinao (1601-1650), the ninth son of Ieyasu, was assigned to govern the Owari domain during the era of peace. The two were father and son, yet they lived in contrasting times. Yoshinao, who inherited a large fortune of assets and texts from Ieyasu, established the foundations of the Owari domain and led Nagoya to prosperity. Focusing on the principles of their rule, passed down from Ieyasu to Yoshinao, this exhibition traces their lives, their administration, and Yoshinao’s feelings towards Ieyasu, as observed in historical documents and inherited objects. Part 1 Tokugawa Ieyasu, Toyotomi Family, and Tokugawa Yoshinao [ Exhibits Number: 1-42 ] Exhibition Rooms at Hosa Library [Section 1] Ieyasu during the Age of the Warring States: the Eve of Yoshinao’s Birth This section deals with the dramatic changes that occurred in the latter part of Ieyasu’s life, spanning the battle of Nagakute in 1584—in which Ieyasu and Nobukatsu (the second son of Nobunaga) fought Hideyoshi after Nobunaga’s death in 1582, Ieyasu’s subsequent vassalage to Hideyoshi, and the battle of Sekigahara in 1600. [Section 2] Yoshinao during the Age of the Warring States After the death of Toyotomi Hideyoshi on the 18th of the 8th month of 1598, Ieyasu increasingly came into conflict with Hideyoshi’s heir, Hideyori, and his vassals of western Japan, led by Ishida Mitsunari.