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The rapid development of Japan at the turn of the last century, including the defeat of Russia in 1904-5, intrigued the western Imperial powers, but also aroused reactions of contempt and suspicion. Britain was the most important of the powers upon which Japan earnestly wished to impress herself to mitigate the rising tide of anti-Japanese sentiment. An exhibition in London, therefore, was seen as a timely event by the Meiji Government to advance Japanese agendas in political, economic and educational terms. This is the first major study of this remarkable venture, fully reviewed and documented, and concerned principally with the Japanese side of the story.
The Japan-British exhibition in London, 1910 was the most concerted and systematic attempt by Meiji Japan to explain its traditional society and arts, modern industry and empire, to its most important international ally, Great Britain. This is a facsimile edition of the original book compiled and edited for the exhibition by Count Hirokichi Mutsu (1869-1942) and published in London and Tokyo in four parts in 1910 and 1911 by the Imperial Japanese Commission. This compendium of newspaper and journal articles, starting in March 1909 and ending in December of 1910, covers the preparation, activities and immediate aftermath of the Exhibition. Making widely available a veritable treasure trove of information and insight, it will be of interest to students and scholars of Japan and Britain alike, providing authoritative insights into contemporary attitudes in each country towards the other.
By examining chanoyu - the custom of consuming matcha tea - in the Meiji period, Gathering for Tea in Modern Japan investigates the interactions between intellectual and cultural legacies of the Tokugawa period and the incoming influences of Western ideas, material cultures and institutions. It explores the construction of Japan's modern cultural identity, highlighting the development of new social classes, and the transformation of cultural practices and production-consumption networks of the modern era. Taka Oshikri uses a wealth of Japanese source material - including diaries, newspaper, journal articles, maps, exhibition catalogues and official records – to explore the intricate relationships between the practice and practitioners of different social groups such as the old aristocracy, the emerging industrial elite, the local elite and government officials. She argues that the fabrication of a cultural identity during modernisation was influenced by various interest groups, such as the private commercial sector and foreign ambassadors. Although much is written on the practice of chanoyu in the pre-Tokugawa period and present-day Japan, there are few historical studies focusing on the late 19th and early 20th centuries. Gathering for Tea in Modern Japan thus makes a significant contribution to its field, and will be of great value to students and scholars of modern Japanese social and cultural history.
In recent years the increase in interest in Asian art has led to a number of books being published about Japanese and Chinese artists. However, the exciting Korean scene is still largely undocumented. Now Kim YoungNa reveals Korean modern and contemporary artists to the West. Twentieth-Century Korean Art provides a comprehensive, engaging survey that places emphasis on art historical narratives. It draws on primary sources and historical artefacts as well as on new interpretations of issues such as the identity of Korean art and the cultural ramifications of Japanese colonialism. Covering over one hundred year from the late 19th century through to the 1990s, the essays in this book examine how both external influences and wills-to-change within Korean society itself generated an artistic vitality against a shifting political, social, and cultural backdrop and how this necessarily involved East Asia at large and the West.
How Paris, London, Chicago, Berlin, and Tokyo created modernity through science and technology by means of urban planning, international expositions, and museums. At the close of the nineteenth century, industrialization and urbanization marked the end of the traditional understanding of society as rooted in agriculture. Urban Modernity examines the construction of an urban-centered, industrial-based culture—an entirely new social reality based on science and technology. The authors show that this invention of modernity was brought about through the efforts of urban elites—businessmen, industrialists, and officials—to establish new science- and technology-related institutions. International expositions, museums, and other such institutions and projects helped stem the economic and social instability fueled by industrialization, projecting the past and the future as part of a steady continuum of scientific and technical progress. The authors examine the dynamic connecting urban planning, museums, educational institutions, and expositions in Paris, London, Chicago, Berlin, and Tokyo from 1870 to 1930. In Third Republic Paris, politicians, administrators, social scientists, architects, and engineers implemented the future city through a series of commissions, agencies, and organizations; in rapidly expanding London, cultures of science and technology were both rooted in and constitutive of urban culture; in Chicago after the Great Fire, Commercial Club members pursued civic ideals through scientific and technological change; in Berlin, industry, scientific institutes, and the popularization of science helped create a modern metropolis; and in Meiji-era Tokyo (Edo), modernization and Westernization went hand in hand.
This book examines the two-way bridge-building cultural exchange which took place between Japan and Britain in the years after 1859 and into the early years of the twentieth century.
Provides an invaluable and very accessible addition to existing biographic sources and references, not least because of the supporting biographies of major writers and the historical and cultural notes provided.
Human geographers have been at the forefront of research that examines the relationships between space, culture and society. This volume contains twenty-one essays, published over the past thirty years, that are iconic instances of this investigative field. With a focus on four broad themes - landscape, identity, colonialism, nature - these essays represent some of the best and most innovative interventions that geographers have made on these topics. From the visual to the corporeal, from rural Ceylon to urban America and from the sixteenth century to the twenty-first, this volume brings together a set of theoretically sophisticated and empirically grounded works.
Drawing on untapped archives, as well as aggregating a wide range of existing published sources, this book recalibrates the understanding of women artists’ roles, outputs and receptions in London during what was indubitably a vibrant and innovative period in the history of British art, and in which the work of their male contemporaries is so well understood. The book takes its starting point from Alicia Foster’s article “Gwen John’s Self-Portrait: Art, Identity and Women Students at the Slade School,” published in 2000, where the expression “a talented and decorative group” was coined to describe common attitudes towards women artists in the late 19th and early 20th century London. This pejorative attribution strongly implied a status less significant to that of their male counterparts. The author challenges this statement's basic tenet by casting a wide net in examining women’s art education from the Slade School of Fine Art, through to the role of its graduates within a selection of London’s exhibition groups, societies and publications. This book also reconstructs ‘from scratch’ the role of the Women’s International Art Club (WIAC), hitherto entirely overlooked in art historical studies of the era. This book will be of interest to students and researchers in art and cultural history, gender studies,and in sociological studies of pre-War World War Britain.