DOCSLIB.ORG

Visual and Material Culture at Hōkyōji Imperial Convent: the Significance of “Women’S Art” in Early Modern Japan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visual and Material Culture at Hōkyōji Imperial Convent: the Significance of “Women’S Art” in Early Modern Japan 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. Art associated with nuns reflects aristocratic upbringing, religious devotion, and individual expression. As such, it defies easy classification: court, convent, sacred, secular, elite, and female are shown to be inadequate labels to identify art associated with women. This study examines visual and material culture through the intersecting factors that inspired, affected, and defined the lives of princess-nuns, broadening the understanding of the significance of art associated with women in Japanese art history. Specific examples of visual and material culture are studied in four chapters that challenge existing conceptions and elucidate women’s art in Japan during the early modern period. Chapter One explores the historical circumstances of the convent’s origins and the social, political, and religious place of Hōkyōji in the visual culture of the early modern period. Chapter Two focuses on the painting program of Rice Cultivation in Four Seasons in the two most public rooms of Hōkyōji’s reception hall. The paintings are examined with consideration of the extent to which gender played a role in the decoration of the convent and how the choice of decorative theme may have impacted women in the convent. Chapter Three focuses on 1 objects created by Tokugon Rihō (later known as Hongakuin no miya), the twenty-second abbess of Hōkyōji, highlighting the religious and imperial education that informs her art. The final chapter addresses the cultural significance both within and without the convent of a Tale of Genji-themed painted incense album by Hongakuin no miya. The album reflects personal interest, education, and the anticipation of a late Edo Genji boom in art and literature in urban centers and epitomizes cultural currents in imperial Buddhist convents and Kyoto society during the eighteenth and nineteenth centuries. The trajectory the object takes from personal object of use to cultural marker is traced and discussed in this chapter. Through close study of objects associated with Hōkyōji nuns, it becomes possible to see how visual and material culture reflects, changes, and fulfills the lives of a segment of Japanese society for which our knowledge to date has been fragmented and incomplete. The larger goal of this dissertation is to contribute to an ongoing effort within the discipline to redefine and expand the borders of Japanese art history. 2 Acknowledgments My sincerest thanks go first and foremost to Abbess Tanaka Ekō of Hōkyōji Imperial Convent. From the beginning of this project, she graciously opened her convent, patiently answered questions, and supported my research. I am indebted to her generosity and consideration. Many thanks as well go to former Hōkyōji curator, Tanaka Masaru, for his help with viewing and handling Hōkyōji objects. I am fortunate to have had the experience of being taught by wonderful teachers at Berkeley, starting with my dissertation committee. My advisor, Gregory Levine, has always offered support for my interests, shared his great knowledge of pre- and early modern Japanese art history and history, and demanded diligence of thought and process, which has improved my research and writing skills. Patricia Berger and Mack Horton are models of academic excellence and mentorship in their respective fields. Their intellect and exuberance for everything they undertake continue to be inspiring. Classes with Margaretta Lovell, T. J. Clark, Joanna Williams, and Mary Elizabeth Berry stimulated and nurtured my interests in art history, material culture, and early modern Japanese history. Friends and colleagues at Berkeley created a rich, supportive community, and I give thanks to Soo Kim, Deborah Stein, Janice Kanemitsu, Barrett Heusch, Sung Lim Kim, Orna Tsultem, Doryun Chong, and Alka Hingorani for keeping me smiling along the way. Special thanks go to Sean McPherson for years of encouragement and caffeine. A Fulbright IIE Fellowship, fellowships from UC Berkeley, and a grant from the Institute of Medieval Japanese Studies funded research for this project at various stages. In Kyoto, I was greatly aided by Nedachi Kensuke, my advisor at Kyoto University. I offer my gratitude to him, Sasaki Jōhei, and the art history Kenkyūshitsu at Kyoto University. Special thanks go to Sakamura Masami for her help in reading primary sources in cursive Japanese and Sanetaka Yōko for bringing me on surveys of Reikanji Imperial Convent and Shogoin Imperial Temple. My greatest appreciation also goes to Patricia Fister of the International Research Center for Japanese Studies in Kyoto, whose generous support helped me greatly at different stages of this project. I am grateful to Barbara Ruch and the staff of the Institute of Medieval Japanese Studies for the initial introduction to Hōkyōji’s abbess and for kindly giving me access to their initial research of the Imperial Buddhist Convents kept at the Institute at Columbia University. The staff of the Japanese branch of IMJS, the Chūsei Nihon Kenkyūjo, offered assistance in Kyoto and a quiet place to study and for that I am thankful as well. i Finally, this project could never have been completed without the love and encouragement of my family. This dissertation is dedicated to my parents, Richard and Lily, for being so supportive; to Lani, for being my greatest cheerleader; to Norio, for being so understanding; and to Raphael, Leilani, and Karine, for simply being. ii Table of Contents Abstract 1 Acknowledgments i Table of Contents iii List of Illustrations vi Introduction 1 Methodology: Material and Visual Culture 6 Summary of Chapters 9 Prologue A Walking Tour of Hōkyōji 14 Chapter One Hōkyōji – Its Origins and Place in the Imperial Capital: The Convent as a Site of Women’s Authority 20 The Institutional Origins of Hōkyōji 23 What’s in a Name? Bikuni gosho/Ama monzeki in Kyoto 25 Convent Diaries: A Glimpse at the Daily Lives of Princess Nuns 31 The Imperial Family and Imperial Buddhist Convents 32 The Codification of Bikuni Gosho in the Early Edo Period 34 Gift-Giving as a Symbol of Authority and Independence 36 Personal Relationships and Power through Association 41 Hōkyōji’s Historical Affiliations with the Ashikaga, Daijiin, and Keiaji 44 Keiaiji and the Ama Gozan System 46 The Imperial Buddhist Convents’ “Purple Robe Incident” 48 Visual Reminders: The Location and Recognition of Hōkyōji in the Edo Period 51 Conclusion 57 Chapter Two The Question of Gendered Space: The Choice of Wall Painting Themes in the Hōkyōji Shoin 58 Overview of the Shoin at Hōkyōji 63 Rice Cultivation in Four Seasons in the Shoin 64 Rice Cultivation in Four Seasons Painting Programs: An Historical Overview 68 iii Daisen’in: An Early Example of Rice Cultivation in Four Season 69 Reading Gender in the Shōhekiga at Hōkyōji 73 Didactic Readings of Rice Cultivation in Four Seasons and their Gendered Implications 74 Omote and Oku: Painting Themes on Public and Private Spaces in Imperial Buddhist Convents 77 The Omote Shoin at Reikanji: A Comparative Study 81 A Historical Overview of Reikanji 81 The Omote Shoin at Reikanji 82 Chino’s Research on Gender, Architecture, and Shōhekiga in Japan 83 Conclusion: Gender and Hōkyōji 90 Chapter Three The Individual: the Artist, the Abbess 93 The Religious Training of Hongakuin no miya 95 Hongakuin no miya’s Self-Portrait 97 Identifying Hongakuin no miya 99 Portraits of Gen’yō 105 The Raichō Hanging Scroll: Painting as Education and the Kano Connection 107 Raichō as Bird and Flower Painting 108 Painting Model Precedents and Bird and Flower Motifs in the Early Edo Period 113 Raichō as Poem-Painting 116 Buddhist Precedents for Paintings with Birds and Flowers and Poems 119 Nyorai, Nyorai: Calligraphy and Devotional Practice 122 Ōbaku Calligraphy and Hongakuin no miya 124 Acts of Repetition: Devotional Calligraphy and the Distribution of Hongakuin no miya’s Brush 126 Conclusion 129 Chapter Four An Incense Album and its Place in Eighteenth Century Kyoto 130 Physical Attributes of the Genji Incense Album 134 The Aristocratic Community: The Genji Incense Album as Display Object 136 Ekotoba and the Systemization of Genji Images 138 Visual Differences and Intended Viewers of Genji Albums 140 The Genji Incense Album as Game Equipment 143 “Knowing Genji”: Dissemination of Genji in Visual Form 147 iv The Genji Incense Game 149 Genji Incense Symbols as Signs of Erudition 151 Social Etiquette: the Genji and Genji mon as Didactic Material 155 The Incense Game: Perpetuation of Tradition through Play 162 Conclusion 166 Conclusion The Legacy of Women’s Art at Hōkyōji 168 The Life of An Imperial Buddhist Nun in the Modern Era 168 Hōkyōji Today: The Legacy of Women’s Art 171 Bibliography 175 Illustrations 214 v List of Illustrations Introduction and Prologue 0.1 Front gate and informational sign.
Load more

Recommended publications
  • Prayer Machines in Japanese Buddhism
    九州大学学術情報リポジトリ Kyushu University Institutional Repository Dharma Devices, Non-Hermeneutical Libraries, and Robot-Monks : Prayer Machines in Japanese Buddhism Rambelli, Fabio University of California, Santa Barbara : Professor of Japanese Religions and IFS Endowed Chair Shinto Studies https://doi.org/10.5109/1917884 出版情報：Journal of Asian Humanities at Kyushu University. 3, pp.57-75, 2018-03. 九州大学文学 部大学院人文科学府大学院人文科学研究院 バージョン： 権利関係： Dharma Devices, Non- Hermeneutical Libraries, and Robot-Monks: Prayer Machines in Japanese Buddhism FABIO RAMBELLI T is a well-documented fact—albeit perhaps not their technologies for that purpose.2 From a broader emphasized enough in scholarship—that Japa- perspective of more general technological advances, it nese Buddhism, historically, ofen has favored and is interesting to note that a Buddhist temple, Negoroji Icontributed to technological developments.1 Since its 根来寺, was the frst organization in Japan to produce transmission to Japan in the sixth century, Buddhism muskets and mortars on a large scale in the 1570s based has conveyed and employed advanced technologies in on technology acquired from Portuguese merchants.3 felds including temple architecture, agriculture, civil Tus, until the late seventeenth century, when exten- engineering (such as roads, bridges, and irrigation sive epistemological and social transformations grad- systems), medicine, astronomy, and printing. Further- ually eroded the Buddhist monopoly on technological more, many artisan guilds (employers and developers advancement in favor of other (ofen competing) social of technology)—from sake brewers to sword smiths, groups, Buddhism was the main repository, benefciary, from tatami (straw mat) makers to potters, from mak- and promoter of technology. ers of musical instruments to boat builders—were more It should come as no surprise, then, that Buddhism or less directly afliated with Buddhist temples.
    [Show full text]
  • Full Download
    VOLUME 1: BORDERS 2018 Published by National Institute of Japanese Literature Tokyo EDITORIAL BOARD Chief Editor IMANISHI Yūichirō Professor Emeritus of the National Institute of Japanese 今西祐一郎 Literature; Representative Researcher Editors KOBAYASHI Kenji Professor at the National Institute of Japanese Literature 小林 健二 SAITō Maori Professor at the National Institute of Japanese Literature 齋藤真麻理 UNNO Keisuke Associate Professor at the National Institute of Japanese 海野 圭介 Literature KOIDA Tomoko Associate Professor at the National Institute of Japanese 恋田 知子 Literature Didier DAVIN Associate Professor at the National Institute of Japanese ディディエ・ダヴァン Literature Kristopher REEVES Associate Professor at the National Institute of Japanese クリストファー・リーブズ Literature ADVISORY BOARD Jean-Noël ROBERT Professor at Collège de France ジャン＝ノエル・ロベール X. Jie YANG Professor at University of Calgary 楊 暁捷 SHIMAZAKI Satoko Associate Professor at University of Southern California 嶋崎 聡子 Michael WATSON Professor at Meiji Gakuin University マイケル・ワトソン ARAKI Hiroshi Professor at International Research Center for Japanese 荒木 浩 Studies Center for Collaborative Research on Pre-modern Texts, National Institute of Japanese Literature (NIJL) National Institutes for the Humanities 10-3 Midori-chō, Tachikawa City, Tokyo 190-0014, Japan Telephone: 81-50-5533-2900 Fax: 81-42-526-8883 e-mail: [email protected] Website: https//www.nijl.ac.jp Copyright 2018 by National Institute of Japanese Literature, all rights reserved. PRINTED IN JAPAN KOMIYAMA PRINTING CO., TOKYO CONTENTS
    [Show full text]
  • The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr.
    [Show full text]
  • Treasures of Jodo Shinshu and the Hongwanji II —The Preservation of Beauty and Teachings—
    Special Exhibition Treasures of Jodo Shinshu and the Hongwanji II —The Preservation of Beauty and Teachings— March 4th to June 11th, 2017 at Ryukoku Museum List of Works Notes • The list numbers corespond to the exhibition labels. • Not all the works of this list will be exhibited at the same time because of the exhibition rotations. Chapter 1 Past Chief Priests of Hongwanji No. Title Artist or Author Materials Date Location and Owner [National Treasure] Inscription and Endorsed Muromachi period, 1 Colors on silk Hongwanji, Kyoto Portrait of Shinran (Anjō no Go'ei ) by Rennyo (1415-99) Bunmei 11 (1479) Momoyama period, 2 Portraits of Shinran (Hana no Go'ei ) Colors on silk Hongyō-ji, Shiga 16th-17th century Endorsed by Muromachi period, 3 Portraits of Shinran Colors on silk Konjōbō, Toyama Jitsunyo (1458-1525) Meiō 6 (1497) Endorsed by Muromachi period, 4 Portraits of Shinran Colors on silk Hōon-ji, Toyama Shōnyo (1516-54) 16th century Wood with Kamakura-Nambokuchō 5 Seated Image of Shinran pigments, Hongaku-ji, Fukui period, 14th century crystal Eyes Wood with toned Nambokuchō-Muromachi 6 Seated Image of Shinran repairs, Konkaikōmyō-ji, Kyoto period, 14th-15th century crystal Eyes Illustrated Biography of Shinran Nambokuchō period, 7 Colors on paper Kōraku-ji, Nagano (Hongwanji shōnin Shinran denne ) 14th century [Important Cultural Property] Inscription by Nambokuchō period, Jōsembō in Temma, 8 Illustrated Biography of Shinran Colors on paper Zonkaku (1290-1373) 14th century Osaka (Hongwanji shōnin Shinran denne ) by Tokuriki Zensetsu,
    [Show full text]
  • In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine
    In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Patricia Shehan Campbell, Chair Jeffrey M. Perl Christina Sunardi Paul S. Atkins Program Authorized to Offer Degree: Music ii ©Copyright 2017 Michiko Urita iii University of Washington Abstract In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita Chair of the Supervisory Committee: Professor Patricia Shehan Campbell Music This dissertation explores the essence and resilience of the most sacred and secret ritual music of the Japanese imperial court—kagura taikyoku and kagura hikyoku—by examining ways in which these two songs have survived since their formation in the twelfth century. Kagura taikyoku and kagura hikyoku together are the jewel of Shinto ceremonial vocal music of gagaku, the imperial court music and dances. Kagura secret songs are the emperor’s foremost prayer offering to the imperial ancestral deity, Amaterasu, and other Shinto deities for the well-being of the people and Japan. I aim to provide an understanding of reasons for the continued and uninterrupted performance of kagura secret songs, despite two major crises within Japan’s history. While foreign origin style of gagaku was interrupted during the Warring States period (1467-1615), the performance and transmission of kagura secret songs were protected and sustained. In the face of the second crisis during the Meiji period (1868-1912), which was marked by a threat of foreign invasion and the re-organization of governance, most secret repertoire of gagaku lost their secrecy or were threatened by changes to their traditional system of transmissions, but kagura secret songs survived and were sustained without losing their iv secrecy, sacredness, and silent performance.
    [Show full text]
  • Univerzita Karlova V Praze Filozofická Fakulta
    Univerzita Karlova v Praze Filozofická fakulta Ústav Dálného východu Bakalářská práce Kateřina Danišová Vztah umění a vytváření japonské národní identity v moderním období The Relation of Art and Japanese National Identity in the Modern Era Praha, 2011 vedoucí práce: Mgr. David Labus, Ph.D. Poděkování Tímto bych chtěla poděkovat Mgr. Davidu Labusovi, Ph.D., za vedení práce, užitečné rady a připomínky. Prohlašuji, že jsem bakalářskou práci vypracovala samostatně, že jsem řádně citovala všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného nebo stejného titulu. V Praze dne 9.7.2011 podpis Anotace Bakalářská práce se zaměřuje na představení nových západních uměleckých technik, které se v Japonsku rozšířily během období Meidži, dále na způsob jejich interakce s tradičními žánry a formami. Soustřeďuje se na role jedinců, zejména Ernesta Fenollosy a Okakury Tenšina, spolků a institucí při vytváření vědomí národní identity a také na roli, kterou kultura zastala ve vznikající moderní ideologii. Annotation This bachelor dissertation concentrates on the introduction of the new artistic techniques, which spread out in Japan during the Meiji period, and on their interaction with the traditional genres and forms. It examines the role of individuals, particularly Ernest Fenollosa and Okakura Tenshin, societies and institutions in the process of creating a national identity. It also deals with the part of the culture in the developing of a modern ideology. Klíčová slova Japonsko, japonské umění, umění v období Meidži, národní identita, interakce tradičního a moderního umění, moderní japonské umění, Okakura, Fenollosa, Conder, jóga, nihonga. Keywords Japan, japanese art, Meiji period art, national identity, traditional and modern art interaction, japanese modern art, Okakura, Fenollosa, Conder, jōga, nihonga.
    [Show full text]
  • Issue Print Test | Nonsite.Org
    ISSUE #13: THE LATIN AMERICAN ISSUE 13 nonsite.org is an online, open access, peer-reviewed quarterly journal of scholarship in the arts and humanities affiliated with Emory College of Arts and Sciences. 2015 all rights reserved. ISSN 2164-1668 EDITORIAL BOARD Bridget Alsdorf Ruth Leys James Welling Jennifer Ashton Walter Benn Michaels Todd Cronan Charles Palermo Lisa Chinn, editorial assistant Rachael DeLue Robert Pippin Michael Fried Adolph Reed, Jr. Oren Izenberg Victoria H.F. Scott Brian Kane Kenneth Warren FOR AUTHORS ARTICLES: SUBMISSION PROCEDURE Please direct all Letters to the Editors, Comments on Articles and Posts, Questions about Submissions to [email protected]. Potential contributors should send submissions electronically via nonsite.submishmash.com/Submit. Applicants for the B-Side Modernism/Danowski Library Fellowship should consult the full proposal guidelines before submitting their applications directly to the nonsite.org submission manager. Please include a title page with the author’s name, title and current affiliation, plus an up-to-date e-mail address to which edited text and correspondence will be sent. Please also provide an abstract of 100-150 words and up to five keywords or tags for searching online (preferably not words already used in the title). Please do not submit a manuscript that is under consideration elsewhere. ARTICLES: MANUSCRIPT FORMAT Accepted essays should be submitted as Microsoft Word documents (either .doc or .rtf), although .pdf documents are acceptable for initial submissions.. Double-space manuscripts throughout; include page numbers and one-inch margins. All notes should be formatted as endnotes. Style and format should be consistent with The Chicago Manual of Style, 15th ed.
    [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]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them.
    [Show full text]
  • Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
    UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance.
    [Show full text]
  • The History Problem: the Politics of War
    History / Sociology SAITO … CONTINUED FROM FRONT FLAP … HIRO SAITO “Hiro Saito offers a timely and well-researched analysis of East Asia’s never-ending cycle of blame and denial, distortion and obfuscation concerning the region’s shared history of violence and destruction during the first half of the twentieth SEVENTY YEARS is practiced as a collective endeavor by both century. In The History Problem Saito smartly introduces the have passed since the end perpetrators and victims, Saito argues, a res- central ‘us-versus-them’ issues and confronts readers with the of the Asia-Pacific War, yet Japan remains olution of the history problem—and eventual multiple layers that bind the East Asian countries involved embroiled in controversy with its neighbors reconciliation—will finally become possible. to show how these problems are mutually constituted across over the war’s commemoration. Among the THE HISTORY PROBLEM THE HISTORY The History Problem examines a vast borders and generations. He argues that the inextricable many points of contention between Japan, knots that constrain these problems could be less like a hang- corpus of historical material in both English China, and South Korea are interpretations man’s noose and more of a supportive web if there were the and Japanese, offering provocative findings political will to determine the virtues of peaceful coexistence. of the Tokyo War Crimes Trial, apologies and that challenge orthodox explanations. Written Anything less, he explains, follows an increasingly perilous compensation for foreign victims of Japanese in clear and accessible prose, this uniquely path forward on which nationalist impulses are encouraged aggression, prime ministerial visits to the interdisciplinary book will appeal to sociol- to derail cosmopolitan efforts at engagement.
    [Show full text]
  • The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
    Japanese Journal of Religious Studies 1993 20/2-3 The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’s Subjugation of Silla Akima Toshio In prewar Japan, the mythical tale of Empress Jingii’s 神功皇后 conquest of the Korean kingdoms comprised an important part of elementary school history education, and was utilized to justify Japan5s coloniza­ tion of Korea. After the war the same story came to be interpreted by some Japanese historians—most prominently Egami Namio— as proof or the exact opposite, namely, as evidence of a conquest of Japan by a people of nomadic origin who came from Korea. This theory, known as the horse-rider theory, has found more than a few enthusiastic sup­ porters amone Korean historians and the Japanese reading public, as well as some Western scholars. There are also several Japanese spe­ cialists in Japanese history and Japan-Korea relations who have been influenced by the theory, although most have not accepted the idea (Egami himself started as a specialist in the history of northeast Asia).1 * The first draft of this essay was written during my fellowship with the International Research Center for Japanese Studies, and was read in a seminar organized by the institu­ tion on 31 January 199丄. 1 am indebted to all researchers at the center who participated in the seminar for their many valuable suggestions. I would also like to express my gratitude to Umehara Takeshi, the director general of the center, and Nakanism Susumu, also of the center, who made my research there possible.
    [Show full text]