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Photography in Japan 1853-1912 is a fascinating visual record of Japanese culture during its metamorphosis from a feudal society to a modern, industrial nation at a time when the art of photography was still in its infancy. The 350 rare and antique photos in this book, most of them published here for the first time, chronicle the introduction of photography in Japan and early Japanese photography. The images are more than just a history of photography in Japan; they are vital in helping to understand the dramatic changes that occurred in Japan during the mid-nineteenth century. These rare Japanese photographs--whether sensational or everyday, intimate or panoramic--document a nation about to abandon its traditional ways and enter the modern era. Taken between 1853 and 1912 by the most important Japanese and foreign photographers working in Japan, this is the first book to document the history of early photography in Japan a comprehensive and systematic way.
This fascinating Japanese photography book features over 140 images taken between 1853 and 1905 by the most important local and foreign photographers then working in Japan. Almost one-fourth of the images are hand colored, superb examples of a rich art form long since vanished. The Japan of this book too has disappeared, but author and compiler Terry Bennett has put together a unique portrait of the country at perhaps its most decisive turning point, a nation about to abandon its traditional ways and enter the modern age. Important features of Early Japanese Images include the following: A historical overview of the years 1853-1912 The story of early Western photographers in Japan The story of early Japanese photographers Over 100 images reproduced in original sepia tones Over 40 images reproduced as originally handcolored An invaluable index that identifies the photographers
"Expanding the canon of photographic history, Capturing Japan in Nineteenth Century New England Photography Collections focuses on six New Englanders, whose travel and photograph collecting influenced the flowering of Japonism in late nineteenth-century Boston. The book also explores the history of Japanese photography and its main themes. The first history of its kind, this study illuminates the ways photographs, seeming conveyors of fact, imprint mental images and suppositions on their viewers"--
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
Japan on the Silk Road provides for the first time the historical background indispensable for understanding Japan's current perspectives and policies in the vast area of Eurasia across the Middle East and Central Asia. Japanese diplomats, military officers, archaeologists, and linguists traversed the Silk Road, involving Japan in the Great Game and exploring ancient civilizations.The book exposes the entanglements of pre-war Japanese Pan-Asianism with Pan-Islamism, Turkic nationalism and Mongolian independence as a global history of imperialism. Japanese connections to Ottoman Turkey, India, Egypt, Iran, Afghanistan, and China at the same time reveal a discrete global narrative of cosmopolitanism and transnationality. The global team of scholars brings to light Japan’s intellectual and political encounters with the peoples and cultures of Asia, in particular Turks and Persians, Hindus and Muslims of India, Mongolians and the Uyghur of Inner Asia, and Muslims in China. Contributors include: Ian Nish, Christopher Szpilman, Sven Saaler, Selcuk Esenbel, Li Narangoa, Komatsu Hisao, Brij Tankha, Erdal Küçükyalcın, A. Merthan Dündar, Katayama Akio, Miyuki Aoki Girardelli, Klaus Röhborn, Mehmet Ölmez, Banu Kaygusuz, Oğuz Baykara, and Satō Masako.
This volume complements other published works about travel by nineteenth-century women writers by locating and creating ‘space’ for Japan which is missing within recent critical discourses on travel writing. It examines the narratives of women writers who travelled to Japan from the mid-1850s onwards, when Japan was first opened to the West, and became a highly desirable travel destination for decades thereafter. Many women travelled in this period, and although most left no record of their journeys, enough did to form a discrete body of literature spanning more than fifty years – from the end of the feudal Tokugawa era to the rise of Meiji Japan as a world power. Their narratives about Japan occupy a culturally significant place, not only in the genre of Victorian female travel writing, but in Victorian travel writing per se. The writers who are the subject of this book are divided into two groups: those who were ‘travellers-by-intent’, namely, Anna D’A, Alice Frere, Annie Brassey, Isabella Bird and Marie Stopes, and those who ‘travelled-by-default’ as the wives of diplomats, namely Mrs Pemberton Hodgson, Mrs Hugh Fraser and Baroness Albert d’Anethan.
The Photographic Experience deals with episodes and issues relating to the spread and practice of photography from its beginnings to World War I. Bridget and Heinz Henisch concern themselves with the reception accorded to the new art by professionals, amateurs, and the general public. They examine reactions to the new invention in the press, literature, poetry, music, and fashion; the response of intellectuals and painters; and the beliefs held by prominent photographers concerning the nature of the medium and its mission. With a wide array of images - many never before published - they illustrate the photograph's use as a record of public and private moments in life.