Music of Japan

Sakura -Japanese Folk Music

Tuesday, September 25, 2012

Kyoto OffCenter



Block Party
Renowned for its legendary temples and manicured gardens, Kyoto is one of Japan's top tourist destinations. Simon Rowe steps off the beaten path and delves into the ancient city's more charming corners.
By: Simon Rowe | Dec 2, 2009 | No Comments | 911 views
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“Autumn gales drive the moon, its reflection falls on the clear river, cold as a great length of glassy silk,” wrote Sesson Yubai, the 12th-century Zen master. He might have been perched on the banks of Kyoto’s Kamogawa River as he scribbled his ode to Japan’s most “desirable” season. Its wide flowing waters cut a swath through the ancient capital, dividing the heat and hustle of its downtown precincts from the cool, lofty ambience of its hillside temple precincts. No one can fully appreciate both without crossing the Kamogawa at least a half-dozen times.
Many do, but it’s usually within the air-conditioned comfort of a tour bus, which means the sights and smells of the city’s serene neighborhoods are sadly missed. A clean and efficient subway system makes the cross-town dash a breeze, city bus services run to a clockwork schedule, yet it’s only by putting your soles to the pavement that you can access Kyoto’s true back street charm.
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Time travel In Shimogyo-ku district, located in the city’s southeast and only 15 minutes walk from Kyoto train station, daily life can be experienced intimately and without charge down its alleys and narrow streets. Houses here are warped and withered showpieces of Edo Period (1600-1868) architecture, but they attract few ogling tourists. Just as well, since many of these dangerously leaning old-timers seem to be just a puff of wind away from becoming stove kindling. In Gojo-cho, to the north, some houses are barely able to hold their heavy wooden eaves from drooping into the streets.
Gojo-cho exudes a wonderful calmness during the summer months from May through to September, between the torrential downpours of the rainy season and the wrath of rogue typhoons later on. Doorways are left open on the hot evenings to catch any passing breeze. Noren entrance curtains flutter overhead, and behind them you might glimpse the impossibly cluttered interiors of their owners’ living rooms: old men sharing a beer over a TV baseball game, women kneading large tubs of rice dough in preparation for o-mochi (rice cake) season, or a tired-eyed salaryman dozing behind a newspaper after an uneventful day at the office. Through it all, homely smells of senko (incense) waft from family shrines and there is a constant trace of old tatami grass mats, shoyu (soy sauce) and fried fish on the breeze.
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Heat of the night
Scattered about the narrow alleys, ryokan (traditional inns) offer meals and lodging to tourists and traveling business folk. During Edo times, Shimogyo-ku’s inns were a popular pit-stop for roving samurai, merchants and geisha, and today they continue to offer moderately priced accommodation in cozy Kyoto-style surrounds. Ryokan Hiraiwa, on Kaminokuchi Street, tucked between the Takase and Kamo rivers, receives a steady stream of foreign travelers. Rooms are tiny, the walls paper-thin, and toilets are of the traditional “squat” variety, but the ¥4,500/8,000 per night tariff make it an excellent place to hang your hat. Green tea with a hot water urn, a starched and pressed cotton yukata (robe), and a thick fluffy futon laid out over tatami mats provide all the necessary comforts.
Nearby, and recognizable by its fluttering entrance curtain, stands Ume-yu, or “plum bath,” a local bathhouse where for ¥300 you can let the aches and pains of your swollen feet slowly dissolve in the hot spring water. First-timers should follow their nose; enter through the curtains, deposit shoes in a locker and proceed through a sliding door. Here an elderly cashier relieves you of your small change and directs you to a single-sex communal bath. Pick up a plastic stool, plonk yourself down at one of the shower heads and with towel and soap, get scrubbing. Once rinsed, you can ponder your tub options: a jet spa, a rocket-jet spa, a scalding hot bath, and an herbal essence bath. Deliverance from any dizziness comes in a deep cold-water pool fed by an icy spout that brings even the most pink-boiled bather slowly back to the land of the living.
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The Takasegawa River runs parallel to the Kamogawa, but because of its lower water volume and gently snaking course through Shimogyo-ku, it makes for a far more atmospheric neighborhood stroll. Weeping willows dip into the river while ducks and geese putter between small floating houses, purpose-built by the residents to keep the birds local.
“Local” is also how you could describe the atmosphere in a Shimogyo-ku izakaya, or local pub-restaurant. Decor may sometimes be a little greasy or down-at-heel, but these cramped and smoky mainstays of the Kyoto salaryman are a worthy once-off for a glimpse at daily life. Look for the telltale red lanterns hanging outside, take a deep breath and enter.
English-speaking staff might be lacking, but just pointing to dishes displayed will be enough to convey your order. Yakitori, takoyaki (octopus dumplings), cha-han (combination fried rice) and tsubo-yaki (shellfish grilled in its own shell) are popular year-round dishes. Even if you’re not dining, Shimogyo-ku makes for a lively evening stroll around 6pm, as weary office workers tackle their first tebasaki (yakitori chicken wings) and icy bottle of Kirin lager in what is sure to be a long night at the local bar.
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Getting there
The JR Tokaido and Sanyo shinkansen travel between Tokyo Station and Kyoto Station and take about two and a half hours. Tickets can be purchased at the station or any JTB travel bureau. The nearest airport to central Kyoto is Osaki’s Itami Airport. See Japan Airlines at www.jal.com or All Nippon Airways athttp://www.ana.co.jp/asw/index.jsp?type=e or information on flights from Haneda and other cities throughout Japan.
Where to stay The Tourist Information Center (tel: 075-371-5649) opposite Kyoto train station can help with accommodation, maps and sightseeing recommendations. One lodging recommendation is Ryokan Hiraiwa at 314 Hayao-cho, Kaminokuchi-agaru, Ninomiyacho-dori, Shimogyo-ku, Kyoto. Tel: 075-351-6748, fax 075-351-6969. Single rate ¥4,000, double rate ¥8,000. English service available.
Information In addition to the Tourist Information Center listed above, Japan Travel-Phone (tel: 075-371-5649, or toll free from outside Kyoto 0088-22-4800) provides advice and travel information in English. General information can also be found online at www.jnto.go.jp
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Summer Festival Fever
During almost every month of the year, high spirits, raucous behavior—or perhaps solemn self-reflection—prevail as Kyoto folk take part in the hundreds of city, shrine and neighborhood festivals. Summer is perfect festival weather. One of the most vibrant is the Gion Matsuri, July 17, featuring a parade of towering floats pulled through the city streets by men in traditional costume. Food stalls, beer stands and thousands of locals attired in yukata turn Kyoto into a huge street party.
Daimon-ji Yaki, on August 16, is another spectacular event in which the whole city gathers to bid farewell to the souls of their ancestors, sending them off with huge bonfires lit in the shape of the Chinese character “dai,” meaning “big.” Then, on October 22, the Kurama-no-hi Matsuri (Fire Festival) takes over and dozens of small shrines are whisked through the streets by young men bearing torches. It’s a big day on Kyoto’s calendar, as the Jidai Matsuri (Parade of the Ages), with more than 4,000 participants dressed in classical costumes, also makes its way past cheering office workers and school kids cramming the city. Starting from the Imperial Palace and ending up at Heian Shrine, the procession lasts four hours.

Monday, September 24, 2012

Contemporary Art in Japan


Ayami Nishimura by Rankin
Make up for art at Diesel
By: C.B. Liddell | Sep 13, 2012 



Cyber Gothic © Ayami Nishimura, Rankin
In the long history of art the earliest canvas was probably our own skin, as primitive man first took to daubing his uniquely hairless hide with colorful unguents. But skin art is not just confined to primitives or dudes with tattoos. The most widespread art form in the world today is female make-up, a movement with billions of participants and a massive turnover.
Who are the Picassos and Michelangelos of this army of illusionists? One of the best in terms of technique and a readiness to unleash her imagination is Japanese make-up artist Ayami Nishimura, the subject of a vivid (and free) exhibition at Shibuya’s Diesel Art Gallery.
The exhibition presents over 20 high-quality photographic prints of Nishimura’s work taken by celebrity photographer Rankin, as part of a book project by the two. While Rankin clearly knows his onions, what grabs you are the imaginative leaps made by Nishimura, who moved to London drawn by the punk, goth, and other scenes that have always infested its streets.
One image uses the glossy lips of a black-painted model to make a leopard-like pattern on her skin, creating a naked, smoking beast. Another turns volumes of Shakespeare into a stylish headdress! Yet another design turns the human ear of a model into a kind of prism, splitting light into separate colors that then swim over her face. While some veer into kid-in-the-candy-store overkill, Nishimura is also adept at “less is more,” as shown by the snowy Rasta of “Cyber Gothic” [pictured] who cries rainbow tears.
Metropolis - Japan's No. 1 English Magazine


Thursday, Sep. 20, 2012

The art of photography


By JEFF MICHAEL HAMMOND
Special to The Japan Times
This weekend sees the fourth installment of "Tokyo Photo" — Japan's first international photography fair, and now the biggest event of its kind in Asia. Since its inception in 2009, the fair has cast its net wide, and this year has more than 35 agencies and galleries taking part. Over half of them are from Tokyo, and they are joined by those from Shanghai, Berlin and Amsterdam, as well as some from New York, Los Angeles, London and elsewhere. With names such as Anders Peterson, Mika Ninagawa and Naoya Hatakeyama involved, the fair will have more than 1,000 photos on display, ranging from documentary and fashion to art photography.
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Beauty and the beard: "VLM Kate — Groom" (2005) by Inez van Lamsweerde and Vinoodh Matadin COURTESY OF GAGOSIAN GALLERY
With such scope, one might imagine that maintaining a focus and creating a coherent show would be a challenge, but as Louise Neri, director of the international Gagosian Gallery told The Japan Times, "One of the most distinctive characteristics of contemporary photography is its fluidity, which is paradigmatic of the times we live in. An image can start out in one context and migrate to others. Or one context can influence the reception of the same image in another."
llustrating this point is the featured work of Inez van Lamsweerde and Vinoodh Matadin, represented by Gagosian Gallery, which is just as relevant on the walls of a leading New York art gallery as it was on the cover of Vogue or The Face. Amid the ongoing brouhaha over the digital manipulation of images, from issues of truth to the portrayal of unnaturally thin women in fashion photography, van Lamsweerde and Matadin use similar techniques to different effect. They graft men's features onto the female form or otherwise de-naturalize and hybridize the image, commenting on both our sexual identities and the representation of our bodies in the media. Tokyo Photo reminds us, though, that this kind of boundary-breaking, and surreal imagery has its roots stretching far back. The striking commercial images from the 1970s and '80s by Guy Bourdin, which utilize narrative, enigma and intriguing juxtapositions, have long been accepted as fine art, as much as fashion photography, and they owe much to Bourdin's mentor and teacher in Paris, the surrealist Man Ray, who himself had made the journey from fine art into fashion photography as early as the 1920s.
News photo
Untitled, from Michael Ackerman's series "Fiction" (1995-2000) © MICHAEL ACKERMAN, COURTESY GALERIE VU', PARIS
Neri sees the rise of digital technology today less as a threat to professional photography than as a positive development allowing more people to get involved.
"This has greatly aided general awareness and visual literacy, particularly with regard to the photographic image," she said. "Consequently, this means that professional photographers are freer than ever before to experiment."
See for yourself at Tokyo Photo if you agree with Neri's observation that, as a result, professional photography has become "increasingly conceptual, nuanced, complex and subtle".
"Tokyo Photo 2012" at Tokyo Midtown Hall runs from Sep 28-Oct 1; open 11 a.m.-7 p.m. ¥1,500. www.tokyophoto.org.




Exhibition Information Exhibition
Important Cultural Properties "Mother and Child" Uemura Shoen 1934
Important Cultural Properties "Mother and Child" Uemura Shoen 1934


Special Exhibition for the 60th Anniversary National Museum of Modern Art
art in Brookings! 100 years of modern Japanese art Best Selection

Art Will Thrill You:! The Essense of Japanese Art



Important Cultural Properties
at the MOMAT
(including one long term loan work)

The collection at the main building of the National Museum of Modern Art, Tokyo (MOMAT) now has thirteen pieces that are designated as Important Cultural Properties by the Japanese government, comprising eight Japanese-style paintings, four oil paintings and one sculpture.

This section presents the thirteen Important Cultural Properties in the order of production date with brief comments.
*Two will be designated Important Cultural Properties later this year.


Please consult the web page Modern Japanese Art from the Museum Collection to know pieces on display. Do not miss Japanese-style paintings that are shown for only limited periods for preservation purposes.
Harada Naojiro (1863-1899)
Kannon Bodhisattva Riding the Dragon
1890
oil on canvas
272.0 x 181.0 cm
Long term loan (Collection of Gokokuji Temple)
The large canvas features Kannon in a white robe riding the dragon, with a willow branch in the right hand and a water cup in the left hand. Having studied in Germany, Harada made this piece referring to European religious paintings and Japanese pieces showing Kannon. Applying realistic representation of oil painting to a traditional Japanese subject, this ambitious work generated fierce debates about its theme and vivid depiction when first shown.
(Designated on June 8, 2007)
Hishida Shunso (1874-1911)
Bodhisattva Kenshu
1907
color on silk
hanging scroll
185.7 x 99.5 cm
Answering to the question from Chinese empress Wu hou (years of reign: 690–705), Bodhisattva Kenshu, the third founder of the Kegon sect of Buddhism, is said to have explained the doctrine of Kegon Sutra using a gold lion in the garden as an example. This piece shows a notable technique in which minute patterns are drawn on stippled colors. Hishida used to depict the air and light not with lines but with shades of colors. In this piece, the painter advanced his style to the next level, succeeding in expressing perspective and plasticity with subtle changes of color tones.
(Designated on June 6, 1979)
Shinkai Taketaro (1868-1927)
Bathing
1907
plaster
189.0 x 46.0 x 39.0 cm
(A bronze cast after the original plaster will be shown.)
Shinkai Taketaro studied sculpture in Germany and aimed to merge Western techniques and Eastern subjects. This is a pioneering nude sculpture in Japan that Shinkai sent to the first Bunten (Ministry of Education Fine Arts Exhibition).
Using a Japanese model in a reserved pose with a Tempyo-style chignon and a thin cloth in her hand, the piece shows a human body idealized in a European fashion. It exemplifies marriage of Japanese and Western art in a neat, graceful figure.
(The plaster designated on June 27, 2000)
Yorozu Tetsugoro (1885-1927)
Nude Beauty
1912
oil on canvas
162.0 x 97.0 cm
gift of Yagi Masaharu
Nude Beauty was Yorozu's thesis painting at the Tokyo Art School (now Tokyo University of the Arts). The flame-like movements of the weeds and simplified figure of the nude show influences of Matisse and van Gogh, whose works were beginning to be introduced in Japanese media at that time. The painter's intense colors and touches are said to have perplexed his teachers including Seiki Kuroda. This is a monumental work heralding the Taisho period (1912-26) when people advocated freedom of expression and respect for individuality.
(Designated on December 4, 2000)
Kishida Ryusei (1891-1929)
Road Cut Through a Hill
1915

oil on canvas
56.0 x 53.0 cm
Depicting a scene near Yoyogi where Kishida lived at the time, the painter tried to come close to nature again with an eye that had gone through influence of classical Western paintings. According the artist himself, it was a time when he began to escape from “influence of classical” Western paintings, and “the desire to directly face the mass of nature itself” returned. Closely composed and showing a unique spatial grasp that overwhelms the viewer, this is a highly prominent piece among paintings of the Taisho period (1912-26).
(Designated on June 22, 1971)
Kawai Gyokudo (1873-1957)
Parting Spring
1916
color on paper, a pair of six-fold screens
183.0 x 390.0 cm each
In a late-spring gorge where cherry petals flutter down, three waterwheel boats are moored on the river. During his sketching trips in 1915 and 1916, Gyokudo visited Nagatoro gorge where he enjoyed boating trips down the river. Using the scene of the gorge as the starting point, the painter added cherry petals fluttering down like a light snow to produce this masterpiece.
Interested particularly in the repeating rhythm of the waterwheels’ rotation, Gyokudo said he took the greatest pains in depicting the rapid flow of the water to express the motion. Combining the diverse appearances of nature—its grandeur as well as the subtlety seen in the changing seasons—and the daily life of the local people, this piece succeeds in creating a world brimming with poetic sentiment.
(Designated on June 22, 1971)
Tsuchida Bakusen (1887-1936)
Serving Girl at a Spa
1918
color on silk, a pair of two-fold screens
197.6 x 195.5 cm each
Juxtaposing a mountain range in the style of Yamato-epainting of the Heian period (794-1185), luxuriant pine trees reminiscent of wall paintings of the Momoyama period (1568-1600), and a sensual woman dressed in bright red reminding us of Pierre-Auguste Renoir, Bakusen produced Serving Girl at a Spa in sympathy and consultation with different styles of various times and places. This piece was sent to the first exhibition organized by the Kokuga Sosaku Kyokai (National Creative Painting Association), a group of artists that challenged the dominance of the Bunten (Ministry of Education Fine Arts Exhibition).
An intellectual integration of natural and feminine beauty—landscape and figure painting in fusion—Serving Girl at a Spa was an ambitious work by young Bakusen who aimed to create new modern Japanese-style painting free from traditions and conventions.
(Designated on June 7, 1999)
 
Murakami Kagaku (1888-1939)
Kiyohime at the Hidaka River
1919
color on silk, hanging scroll
142.5 x 55.7 cm
This is a piece based on a legend concerning Dojoji temple in which Kiyohime, a woman in the reign of Emperor Daigo (885-930), fell in love with a priest, and pursued him to the bank of the Hidaka River. Carried away by rage, she eventually got the priest incinerated with flames that she herself kindled.
Kagaku chose the scene just before the climax of the story when the heroine transformed herself into a huge serpent. Instead of suggesting a consuming grudge, however, the painter presents Kiyohime with her eyes closed, accompanied by a lonesome pine tree and a stick thrown away, to convey sadness and grief. This work succeeds in expressing the depth of human emotion with subdued colors and delicate lines.
(Designated on June 7, 1999)
Nakamura Tsune (1887-1924)
Portrait of Vasilii Yaroshenko
1920
oil on canvas
45.5 x 42.0 cm
gift of Osato Ichitaro
The model of this portrait is Vasilii Yaroshenko (1889-1952), a blind, then young Russian poet and Esperantist who appears also in a short novel of Lu Xun. Yaroshenko first came to Japan in 1914, then went wandering about Asian countries, and returned to Japan in 1919 to become a dependent at Nakamuraya, a baker in Shinjuku, Tokyo. This piece is characterized by soft brushwork reminiscent of the style of Renoir that Tsune greatly admired at that time, and the small number of colors used—chiefly the yellowish brown range. This piece unveils the deep spirituality of the model in placid light.
(Designated on June 11, 1977)
Yokoyama Taikan (1868-1958)
Metempsychosis
1923
sumi on silk, scroll
55.3 x 4,070.0 cm
part of the work
part of the work
A water drop that appears in the vapor of the air travels through a mountain stream, and grows into a great river that flows into the sea where waves form a dragon that rises up into the sky. This is a forty-meter scroll painting depicting the life of water on a grand scale. And that’s not the end of the story. The dragon in the sky turns into water drops again to live a new life. Taikan made free use of various techniques of suibokuga (sumi painting) to express his imposing view of nature and life where the vicissitude of all things was seen in the flow of water.
(Designated on June 15, 1967)
Kaburaki Kiyokata (1878-1972)
Portrait of San'yutei Encho
1930
color on silk, hanging scroll
138.5 x 76.0 cm
San'yutei Encho (1839-1900) was a rakugo (comic monologue) storyteller in the Meiji period (1868-1912) known for his masterful presentation of tales of human compassion (ninjo-banashi). Kiyokata was familiar with Encho because he was an old friend of the painter’s father. In this piece showing the moment just before Encho begins his story, the storyteller kneels in the formal seiza position, fixing his eyes on the audience beyond the teacup. Kiyokata painted Encho's personal appearance relying on memory, conveying the master's intensity and tension through the piercing eyes and the firm mouth. The kimono, cushion and props were carefully depicted based on sketches of the relics.
(Designated an Important Cultural Property on May 29, 2003)
Uemura Shoen (1875-1949)
Mother and Child 
1934
color on silk, framed, 168.0×115.5cm
A baby leans forward with one hand holding its mother’s kimono at the neck, and the mother holds the baby tight in her arms with an affectionate gaze. One common scene in everyday life has been elevated to a noble mother-and-child painting. Her mother’s death made Shoen often turn to the subject of motherhood. With this memorable piece first shown at the Imperial Academy’s art exhibition in autumn of the year of her mother’s death, Shoen broke new ground in her later years. Her portrayal of the skin, chignons and clothes shows her sensitivity and techniques that the painter acquired producing bijinga (‘pictures of beautiful women’).
(Designated an Important Cultural Property on June 27, 2011)
Yasuda Yukihiko (1884-1978)
Camp at Kisegawa 
1940/41
color on paper, a pair of six-fold screens, 167.7×374.0cm each
This is a scene from Azuma kagami, a historical account of the Kamakura shogunate, in which Minamoto no Yoshitsune, a younger brother of Minamoto no Yoritomo, the founder of the shogunate, hurries to the camp at Kisegawa after hearing that Yoritomo had raised an army. The stern composition with large blanks conveys the tension between the two warriors exchanging glances, creating chilliness that seems to suggest the tragedy awaiting the brothers. The painter is said to have consulted Yoritomo’s (now considered Ashikaga Tadayoshi’s) portrait housed in Jingo-ji, Kyoto, a Bishamonten (Vaishravana) statue from the Heian period (794–1185) for Yoshitsune’s image, and the descriptions in Gikeiki, an popular account of the life of Yoshitsune, for the costume, to produce this extraordinarily elaborate masterpiece of history painting.
(Designated an Important Cultural Property on June 27, 2011)

Then there are some great exhibitions of Western Art, including the Pre-Raphaelites...
Edward Burne-Jones
A Pre-Raphaelite Master in Tokyo’s Little London
By: C.B. Liddell | Aug 1, 2012 | Issue: 958 | 0 Comments | 797 views


The Death of Medusa (1882). Courtesy of Southhampton City Art Gallery

The Doom Fulfilled (Perseus Slaying the Sea Serpent) (1882). Courtesy of Southhampton City Art Gallery
If you exit Tokyo Station on the Marunouchi side there’s a slight chance that you might think you’ve wandered into a time warp. First, there is the Tokyo Station Hotel, built in the English neo-baroque style that was in vogue when it opened in 1914. Next, there is the art-deco-influenced façade of the Tokyo Central Post Office Building, dating from the 1930s, and now incorporated into a new 38-storey tower. Then, there is the Mitsubishi Ichigokan, a carbon copy of a prestigious late Victorian office building that formerly occupied the site, but which was built and opened only two years ago as the Mitsubishi Ichigokan Museum.
This preserved, restored and rebuilt piece of retro architecture helps give the area some of the old atmosphere that once earned it the nickname “Number One London.” It is also the perfect setting for an exhibition of the work of Edward Burne-Jones, one of the great painters of what was the greatest artistic movement of the 19th century, the Pre-Raphaelite Brotherhood. Yes—the Impressionists are overrated!
Unlike the Impressionists, who were obsessed with the visible and the mundane, the Pre-Raphaelites focused on the spiritual, the emotional, the mythic, and the symbolic, creating works of art that can still move us. The Impressionists by contrast have mainly ended up on biscuit tins. While pleasant to look at, their nice-looking lily ponds and fuzzy haystacks do little to uplift the human soul.
The spirituality of the Pre-Raphaelite movement is signaled by its name. Rather than the works of the high Renaissance, like those of da Vinci, Michelangelo, or Raphael, which reflected the “mechanistic” application of rules of perspective, the movement looked back to the more pietistic painters of the early Renaissance for inspiration.
The forthright Christian message is most obvious inThe Merciful Knight (1863), which shows a statue of Christ coming to life to bless an armored warrior who has spared an opponent. This theme of statues coming to life was clearly dear to Burne-Jones’s heart. As you wind your way through the intricate passages that link the intimate galleries of this museum, you’ll come upon various series of works, including the enchantingPygmalion (1878), based on the classical Greek myth of the sculptor who falls in love with a statue of a beautiful woman that is finally brought to life by the god Apollo.
Even more impressive are a pair of gouache paintings depicting the triumphs of the Greek hero Perseus. The Death of the Medusa (1882) and the The Doom Fulfilled(1882) might strike you as rather baffling compositions at first, but the initial confusion helps to give these works an energy entirely keeping with the drama they depict.
This is a richly rewarding exhibition that covers all of Burne-Jones’ career, including his close association and artistic collaboration with William Morris, the medievalist and design genius behind the English Arts and Crafts Movement. In this setting, with its strong period feel, we can almost imagine encountering these great men as well as their artworks.
Mitsubishi Ichigokan Museum, until Aug 19 (listing).


Mitsubishi Ichigokan Museum

Venue Information
Address: 2-6-2 Marunouchi
Address (日本語): 東京都千代田区丸の内2-6-2
Nearest Station: Tokyo.
Website: www.mimt.jp
Upcoming Events at this Venue
18th-century French painter.
September 8-January 6, ¥1,500 (door).







Sunday, September 23, 2012

Atrocities


File:Republic of China Armed Forces Museum Nanking.jpg



Rather than focus only on the good and the beautiful, on how scenic Japan is, and how rich its culture, I want to add one section of the history of Japan that reveals the depths of inhumanity into which Japan sank in the century following the forced end the U.S. brought to Japan's isolationism mid-Nineteenth Century. In becoming competitive, then growing into an imperial power, the Japanese government and military lost all sense of the humanity of those they conquered. As historian Chalmers Johnson put it:

"It may be pointless to try to establish which World War Two Axis aggressor, Germany or Japan, was the more brutal to the peoples it victimised. The Germans killed six million Jews and 20 million Russians (i.e. Soviet citizens); the Japanese slaughtered as many as 30 million  FilipinosMalaysVietnameseCambodiansIndonesians and Burmese, at least 23 million of them ethnic Chinese. Both nations looted the countries they conquered on a monumental scale, though Japan plundered more, over a longer period, than the Nazis. Both conquerors enslaved millions and exploited them as forced labourers—and, in the case of the Japanese, as (forced) prostitutes for front-line troops..."

There is a substantial and heart-breaking account of Japan's War Crimes at

http://en.wikipedia.org/wiki/Japanese_war_crimes

File:Chinese civilians to be buried alive.jpg

Chinese to be buried alive by Japanese soldiers during Nanking Massacre.

In my view, the atrocities committed throughout history by most nations should be taught in all schools as being the result of  racism, over-zealous patriotism, and misguided dis-regard for the value of life and respect for others. In the case of Japan, these abuses are the complete opposite of the Buddhist values that are essential to Japanese culture.  



Saturday, September 22, 2012

Tokugawa Japan

File:Tokugawa Ieyasu2.JPG





Tokugawa Japan

by Marcia Yonemoto, University of Colorado at Boulder

            Sir George Sansom’s history of Japan was first published in 1932 and used in U.S. college classrooms into the 1980s. In it, he described the Tokugawa period (1603-1868) as an era of oppressive “feudal” rule. In this view, hierarchical divisions between samurai, peasant, artisan, and merchant were strictly maintained. Sansom described a system in which swaggering samurai used their swords to cut down commoners. Miserable peasants barely eked out a living, and urban merchants were scorned as unethical profiteers. According to Sansom, change was loathed. The government kept the rest of the world out, denying “themselves all the gifts which the West then had to offer.” This move, said Sansom, “arrested the cultural development of Japan” (Sansom 1932, 455, 457).
            Scholars today largely dismiss this view. Yet it remains pervasive. Films and mangacomics glorify samurai bravado. But they ignore much else about the period. Thus, even the well-informed often are surprised when they read more recent histories of the period. Such newer works describe the political system as a rational “integral bureaucracy.” This system was “not merely a samurai institution.” Rather, it depended on non-elite “commercial agents and activities” (Totman 1981, p. 133). Newer histories call the era “a time of extraordinary social growth and change. In terms of population and production, urbanization and commercialization, and societal sophistication and elaboration, the century was one of unparalleled development.”
            
The Tokugawa Political Settlement
            The first Tokugawa shogun was Tokugawa Ieyasu (1542-1616). He came of age in an era of violence and conflict. During the Warring States period (c.1467-1590), centralized political authority—the imperial court and the military government (shogunate, or bakufu)—had lost its effectiveness. Practical political power had passed into the hands of approximately 200 local warlords, or daimyō. The daimyō controlled their own territories. These territories were called domains. By the end of the period, some daimyō had become extremely powerful. Each commanded large swaths of territory and tens of thousands of warriors.
            One such leader was Oda Nobunaga (1534-82). Nobunaga was a daimyō from the province of Owari in central Honshu. Using strategic alliances and brutal military tactics, Nobunaga brought about one-third of the country under his control. When he was assassinated in 1582, his most able general, Toyotomi Hideyoshi (1536-98), took his place. Hideyoshi was a brilliant military and political tactician. His talent and ambition had allowed him to rise from a humble peasant background. Building on Nobunaga’s achievements, Hideyoshi brought all of Japan under his control by about 1590.
            Two problems marked Hideyoshi’s later years. One was his growing belief that his power was unlimited. This megalomania was reflected in unsuccessful attempts to invade Korea and China. The second problem was his difficulty in producing an heir. At his death in 1597, he had only one infant son. He entrusted his son’s fate to five trusted allies. Each swore to protect the heir and help ensure the Toyotomi clan’s future. Among these allies was Tokugawa Ieyasu. Ieyasu controlled significant territory in northeastern Honshu. Ieyasu’s castle headquarters was located in the city of Edo (now Tokyo). Hideyoshi had been dead scarcely three years when Ieyasu turned on his former lord. In 1600, his forces defeated the Toyotomi. In 1603, Ieyasu established a new shogunate in his family’s name. He went to war once again in 1615 to completely wipe out the Toyotomi and their allies. From then on, the Tokugawa maintained political authority for 253 years without resorting to military combat.
            The primary political goal of Tokugawa Ieyasu and his heirs—his son, Hidetada (1578-1632) and grandson, Iemitsu (1604-1651)—was to cut off the roots of potential dissent and rebellion. In the late 1630s, Tokugawa Iemitsu expelled Portuguese and Spanish Catholic missionaries and traders. This decision was motivated more by the political threat posed by converts, especially daimyō converts, than by dislike of Christian doctrine or the foreign presence in Japan. The early shoguns were wary of other daimyō. Many of these daimyōwere recent allies who were not totally committed to Tokugawa rule.
            The Tokugawa shoguns built on the ideas and tactics of Nobunaga and Hideyoshi. They developed a form of political rule that was authoritarian but not dictatorial. This can be seen in the way the early shoguns distributed land to their daimyō allies. The Tokugawa kept only about a quarter of the land available for redistribution for themselves. Of the remaining lands, the shogunate allocated about 10 percent to blood relations (known as the collateral, or shinpan daimyō houses). Another 26 percent went to longtime loyal allies, thefudai daimyō. The remaining 38 percent went to the most recent, less stable allies. These allies were the “outside,” or tozama daimyō.
            The early Tokugawa shoguns’ use of land distribution to both win the allegiance and encourage the dependence of daimyō illustrates the blend of resourcefulness, pragmatism, and foresight characteristic of Tokugawa political rule. In its policies, the shogunate was careful to balance demands on daimyō with privileges granted to them. For example, the shogunate never directly taxed the daimyō. Instead, it exercised indirect levies such as requiring daimyō to supply labor and raw materials for the construction and maintenance of castles, roads, post stations, and the like. The shogunate also forced all daimyō to commute between their home domains and the shogunal capital of Edo, a time- and resource-consuming practice. The shogunate exercised authority by compelling the wives and children of all daimyō to reside permanently in Edo. There, they were under the shogun’s watchful eye. Daimyō were also required to secure shogunal approval before marrying. At the same time, daimyō were for the most part free to govern their domains as they saw fit. They issued their own law codes and administered justice. Some printed and circulated their own currency. The shogunate intervened only if requested to do so. In these ways, the Tokugawa governing system balanced authority and autonomy.

Economic Growth and Social Change
            Studying the Tokugawa era reveals many seeming contradictions. Of these, perhaps none is more striking than the contrast between the Tokugawa rulers’ vision of the ideal economic system and the reality of economic growth and change. With a few notable exceptions, the shogunate and daimyō viewed the economy in simple agronomist terms. In this view, the peasant’s role was to produce basic foodstuffs. Peasants were to give a good portion of their products in tax to support the ruling classes. Artisans used their skills to craft necessary non-food items. Finally, goods that could not be acquired through any other means could be purchased from merchants. Merchants were deemed the necessary evil of the economic system.
            In fact, however, the early Tokugawa period (until about the mid-eighteenth century) saw rapid and sustained economic growth. This growth occurred first in the agricultural sector. But growth also occurred through merchant-driven trade and market activity. The concentration of population in cities served as a major impetus for growth and change. Yet many Tokugawa authorities clung to their old notions of a static, agrarian-based economy. The samurai class, who were forbidden from engaging in profitable trade or farming, were disadvantaged by Tokugawa policies and attitudes toward the economy. The ruling class was prevented from taking advantage of economic growth. At the same time, substantial benefits went to merchants and even to market-savvy peasants. Economic growth thus contributed to the inversion of the status hierarchy enshrined in the “four class system.” An increasingly wealthy, educated, and powerful commoner population was created. Meanwhile, samurai, especially those of low rank, steadily became economically weaker.
            Growth in Agricultural Production and Population. During the Warring States period, agricultural production grew. Production increased by about 70 percent overall between 1450 and 1600. Growth continued into the early Tokugawa period. Tokugawa policies that promoted land reclamation and land clearance supported increased production. In addition, the disarming of peasants and local religious communities that came with the “Tokugawa peace” put more people back on the land. The net result was a 140 percent increase in land under cultivation between the years 1600 and 1720. Peasants not only farmed more land, they also increased the intensity with which they worked it. Through careful monitoring and the spread of information about cropping patterns, fertilizers, and the like, Japanese peasants in the Tokugawa period continued to increase their land’s productivity.
            The overall growth in agricultural productivity caused a rise in the general well-being of the people. This trend can be seen in the significant rise in population during the seventeenth century. Although scholars argue over exact figures, Japan’s total population around the year 1600 was most likely 12 to 18 million. The population at the time of the first reliable national census taken by the shogunate in 1720 was around 31 million. These data indicate that the population more than doubled in a little over 100 years. For a number of reasons, including family planning and voluntary limitation of family size among the peasantry, population growth leveled off in the eighteenth century. Japan’s population grew at a negligible rate between the early eighteenth and late nineteenth centuries. The economy, however, continued to grow, leading to an economic surplus. That surplus was a key factor in Japan’s rapid industrialization in the late nineteenth and early twentieth centuries.
            Growth in Markets and Trade. Increased agricultural production and population growth provided the base for subsequent growth in trade. Increases in trade were also enabled by such developments as the creation of reliable and effective transportation networks. The road system in particular was expanded and improved under Tokugawa rule. Shipping networks on sea routes were also expanded, especially those linking the major commercial centers in western and eastern Japan. Along with growth in trade came growth in the use of money. Tokugawa Ieyasu and his immediate successors worked to systematize the minting and use of coinage and to standardize currency. In turn, this greatly facilitated domestic trade. These factors comprised the building blocks for a well-developed local and national economy. Regional and domainal capitals were linked by good roads. Smaller market towns and settlements grew along these roads. Local areas developed specialty goods and products. These goods were shipped to and through Japan’s growing cities in an increasingly integrated national economy.


File:Tsunyaoshi.jpg  
       

Tokugawa Tsunayoshi
5th Edo Shogun
1680–1709
(the Gay Shogun)

 Growth of Cities.
During the Warring States period, local lords began to gather their warriors around them in headquarters centered on fortified castles. This tendency was formalized by Hideyoshi and Tokugawa Ieyasu, who demanded that their retainers live in the capital cities rather than in their domains. As a result, so-called castle towns (jōkamachi) sprung up in the late sixteenth and early seventeenth centuries. Some 90 new towns appeared between 1572 and 1590 alone. The number continued to grow in subsequent decades. The emergence of castle towns and later of cities had a significant economic impact. Building cities required assembling, equipping, feeding, housing, and supervising huge numbers of laborers and technical specialists. It also required importing vast amounts of resources: soil, stone, lumber, thatch, kilns for baking roof tiles, charcoal, and the like. From the late sixteenth century on, these labor forces came to number in the tens of thousands. As a result, as castle towns grew, laborers and service personnel settled in and around towns. Samurai settled near the castles of their lords. The commoners who served the samurai moved into adjacent areas. Over time castle towns evolved into urban areas.
            Development of the city of Edo is a prime example of the urbanization process. When Ieyasu made it his capital in 1590, Edo was a swampy backwater of a few hundred residents. Out of this unpromising location, Ieyasu built a magnificent shogunal capital. Laborers cut down forests, leveled hills to fill in wetlands, rerouted rivers, and dredged creeks and canals. They built bridges and walls, erected shrines and temples, and constructed buildings. Among the buildings erected were opulent daimyō mansions and the magnificent castle of the shogun. Warehouses, storefronts, and common dwellings were also built. By 1600, Edo was a town of some 5000 dwellings. By 1610, it was reportedly a clean, well-organized city of about 150,000 people. As samurai retainers of the shogun and of daimyō flooded into the city in the early seventeenth century, the population zoomed upward. By 1657, Edo had about 500,000 residents. By 1720, it was the world’s largest city outside of China, with a population of about 1.4 million. Half a million of these residents were samurai.
            Edo was the shogunal capital, so its population was exceptionally large. But smaller, regional castle towns also grew significantly. Kanazawa, headquarters of an extensive domain on the Japan Sea coast, was a town of 5,000 in 1580. It grew to 120,000 in 1710. Nagoya, a small town in the early seventeenth century, had become a regional center of 64,000 residents by 1692. Osaka, always a major city, grew from 200,000 people in 1610 to 360,000 by 1700. It hit a peak of half a million by the late eighteenth century.
File:Tokugawa Yoshimune.jpg

Tokugawa Yoshimune
 the Shogun 1716–1745

Growth was good for the economy in general. It affected different classes differently, however. In particular, merchants benefited from the increase in trade, markets, and urbanization. Samurai suffered from those same phenomena. Why did the samurai lose out? First, samurai were paid in fixed stipends, disbursed in rice. These stipends were based on an individual’s rank and office and did not increase at a pace equal to the rise in prices. Second, with the growth of the market and monetization of the economy, samurai had to trade their rice stipends for cash. This process was controlled by merchants in Edo and Osaka. It put samurai at the mercy of both the unstable market price for rice and the greed of merchant money changers. Finally, samurai were forbidden by law from engaging in farming or commerce, which might have afforded them some economic relief. All of these factors made it almost impossible for samurai to benefit from the growth occurring in the economy. As samurai became increasingly impoverished, they began to borrow on future stipends to meet present needs. Thus they put themselves in debt to merchant lenders. Having samurai at their mercy not only earned the merchants a measure of profit, it also gave them significant symbolic leverage over their samurai superiors. For the samurai, being indebted to lowly merchants was extremely galling. Many low-ranking samurai whose stipends gave them barely enough to get by felt they had to scrimp and save while merchants prospered. Matters were made worse by the fact that samurai had to keep up appearances. Protocol deemed that they dress properly, live in good style, and engage in the social activities (which involved expensive gift-giving) that were required of them, but were increasingly beyond their economic means.
            Tokugawa authorities were aware of the problems facing samurai. They repeatedly tried to shore up the political and moral order by elaborating on the unique role of samurai as moral exemplars and scholar/administrators. By definition, commoners could not fulfill those roles. Through the Kyōhō Reforms of the early eighteenth century and the Kansei Reforms at the turn of the nineteenth century, the shogunate enacted measures aimed at stabilizing and strengthening the economic and political status of the samurai. But the authorities’ reassertion of proper political order could not change reality. Neither shogun nor daimyō could offer much practical help to financially strapped samurai. More broad-minded thinkers such as the philosopher Ogyū Sorai (1666-1728) proposed radical reforms. One such reform was returning the samurai to the land so they could farm. Another was overhauling the office and rank system so that lower-ranking “men of talent” could rise to positions of power. These men often languished in idleness while less deserving sons of high-ranking families inherited their fathers’ positions. In the end, economic growth in the Tokugawa period favored commoners over the elite.

The Emergence of Commoner Culture
            While they were not shy about commenting wryly on the state of society, urban commoners were not political activists. Peasant protests did break out in the eighteenth century, largely due to authorities’ failure to provide relief during times of crop failure and food shortage. But the new urban bourgeoisie did not attempt to overthrow the warrior government. Rather, urban commoners tended to turn away from the troublesome world of politics. They used their newfound wealth to fashion a new style of life and art. While the new style borrowed aspects of elite “high” culture, it was in many ways utterly new to the early modern urban scene. By the Genroku period (1688-1703), one could see in Edo and other cities a flourishing merchant class that was developing a cultural style all its own. Merchants flaunted their wealth, building enormous houses and dressing in finery that exceeded that of samurai. The shogunate was not at all happy about this. It repeatedly issued laws forbidding merchants to wear fine silk clothes and restricting the construction of large and showy homes in merchant quarters.
            However, such laws were difficult to enforce. Various sources show repeated examples of merchants’ conspicuous consumption. By the mid-eighteenth century, popular representations abounded of the poor samurai pawning the clothes and swords off his back for a little extra cash. Then a merchant redeemed them and paraded around the city in the purchased finery. Such sights enraged samurai. Yet they had to suppress their anger and keep up the façade of reserve and prosperity appropriate to their status. As a popular saying of the time went, “if a samurai is starving, he uses a toothpick all the same.”
            Despite their economic plight (or perhaps to gain relief from the misery of it), samurai frequented the entertainment areas originally created by and for merchants. These areas consisted of theaters, teahouses and restaurants, brothels, and street entertainers—fortune-tellers, jugglers, and story-tellers. Brothels were a new feature in the cultural life of cities. Prostitution had a long history in Japan. Not until the Tokugawa period did the government seek to control it through licensing and surveillance. Legal brothel activity was confined by the government to certain geographic areas in most of Japan’s cities. These areas were referred to as the licensed quarters. Of course, there was also much illegal prostitution in cities. The shogunate could scarcely control it, much less eradicate it.
            The high-ranking courtesans (yūjo) of the Yoshiwara were not common prostitutes. Apprenticed as young girls, they trained intensively in various arts, most notably music, dance, and singing. They were ranked according to their level of training and experience, much like the geisha that still exist today. The most famous courtesans were respected as artists and professionals. They were also made famous through their depiction in plays, fiction, and the visual arts. Indeed, many became movie-star-like trendsetters. Men wanting to meet with a high-ranking courtesan had to go through an elaborate and expensive process of courting her before he could even lay eyes on her. Technically, the pleasure quarters were enclaves for commoners. Samurai were banned on the grounds that they were supposed to be upright, moral, and frugal characters with no time for crass indulgences. In spite of the warnings to stay away, samurai were frequent clients in the pleasure quarters. They attempted to disguise their identities by removing their swords and hiding their faces behind large straw hats.            
      
            The pleasure quarters could be extremely costly. Contemporary sources are filled with tales of wealthy merchants and samurai who drove themselves to financial ruin after falling in love with a courtesan. Indeed, the dilemmas of love and money were the fodder for many writers and artists of the Genroku period and later. This period saw the development not only of woodblock prints, or ukiyo-e, but also the emergence of the first great popular writers and dramatists. Two examples are Ihara Saikaku (1642-93) in prose fiction and Chikamatsu Monzaemon (1653-1725) in drama. Saikaku was an Osaka merchant and amateur poet who late in life turned to writing fiction. Most of his stories are based on the lives of Osaka commoners. Saikaku’s stories cover two general topics: love and money. They often have a light-handed, somewhat parodic moral message to them. The first of his works of prose fiction, Life of a Sensuous Man (Kōshoku ichidai otoko, 1682), is written in 54 chapters. (That this was a parody of the structure of Murasaki Shikibu’s eleventh-century classic The Tale of Genji would have been obvious to his audience.) The book was a commercial success, thus inspiring the rest of Saikaku’s early stories on similar themes from the perspectives of both men and women. Saikaku’s stories dramatized the lives of common city people, their obsession with making and spending money, and their free spirited nature, which led them into various sorts of romantic and financial binds. Saikaku almost single-handedly raised merchant life, previously seen as tedious and mundane, to the level of art.


            Chikamatsu Monzaemon wrote mainly for the theater, both kabuki and bunraku(puppet theater). Chikamatsu’s texts were written to be narrated or sung with musical accompaniment. They featured high drama, with twists and turns of plot. Early in his career, Chikamatsu wrote about contemporary events like the “great political disturbances” (oie sōdō) in military households. These works chronicled conflicts between rightful rulers and unlawful usurpers. Later on, Chikamatsu turned to more commoner-centered dramas. These focused on emotional conflicts, often conflicts between social duty or obligation (giri) and human feeling (ninjō). He is most famous for his plays dealing with “love suicides” (shinjū). Love suicides were a real-life phenomenon in which two lovers, committed to other people or occupations (the woman was often a courtesan, the man often a married merchant), resolve to die together rather than live apart. Plays based on this theme, such as Chikamatsu’s classic Love Suicides at Amijima (Shinjū ten no Amijima, 1721), were extremely popular. The essential conflict represented in shinjū tales, a conflict that pulls an individual in two irreconcilable directions, was at the core of most Tokugawa drama. Often, the only solution was death. Love suicide was seen to be the ultimate demonstration of love and devotion. It provided a kind of commoner’s version of the samurai’s seppuku, or suicide for honor.
            The themes of honor and sacrifice inherent in such highly dramatic stories made commoners feel their culture had something in common with that of the elites. Yet there is a distinct commoner twist to these ideas. This twist both honors and degrades the great samurai tradition of self-sacrifice. Actual incidents of love suicide seem to have proliferated in the late 1600s, perhaps becoming even more common in the 1700s. They became a cultural fad encouraged by the romanticization of the act on stage. In 1722, the shogunate forbade the treatment of shinjū on stage, seeing it as an offense against proper family order. The phenomenon of love suicide—both actual and staged—brings to the fore the issue of cultural fads and their spread: How, exactly, did ideas circulate?



Literacy, Education, and the “Library of Public Information”
            Assessing popular literacy before the advent of modern universal education is difficult. Historians use many techniques to estimate the nature and level of literacy in pre- and early-modern societies. Still, their findings are often tentative. Among the most common techniques is analyzing signatures on official documents (wills, marriage records, etc.) as a measure of people’s ability to write. Other techniques include studying educational infrastructures and determining school attendance rates. Historians also look at data on cultural phenomena such as publishing and circulation of books and other printed matter.
            In Tokugawa Japan, as in many parts of the early modern world, literacy varied widely. Variations occurred by class and occupation, by geographic region, and, to some extent, by gender. The ruling elites, Buddhist and Shinto clergy, and commoner intellectuals on the fringes of the elite (Confucian scholars, doctors, and minor officials) tended to be quite learned. They possessed considerable knowledge of Japanese and Sino-Japanese (orkanbun, the style of writing derived from classical Chinese, which was used in formal discourse). They also knew the classical works of both the Japanese and Chinese literary and philosophical traditions. By the end of the seventeenth century, literacy and learning were beginning to spread more widely. Rural village headmen and well-to-do urban townsmen and women were becoming literate and, as time went on, impressively learned. These people became the primary consumers of popular literature and of the arts.
            The infrastructure for popular education developed considerably in the Tokugawa period. Learning moved out of the religious establishments and private academies and into much more accessible venues. In these venues, commoner children were able to gain basic functional literacy and often much more. The demand for books was thus extremely high. Publishers in the major cities churned out texts of all sorts. While Buddhist and Confucian texts remained the mainstays of highbrow publishing, many more publishers produced for the general reading audience. Illustrated fiction and poetry were popular. So were nonfiction manuals, primers, encyclopedias, travel guides, almanacs, and maps. As printed materials circulated among ever-greater numbers of readers, they conditioned in people certain patterns of thought and ultimately of behavior. As one scholar has put it, there emerged in Tokugawa Japan a broad-based and widely read “library of public information,” which produced commonly held forms of social knowledge (Berry 2006, 13, 17).
            When faced with the question of precisely what percentages of what sorts of people were literate, historians do not give a precise answer. The data simply is not conclusive. The best we can do is point to figures that may serve as broad indicators of the dimensions of literacy. Among samurai, who made up 6 to 7 percent of the population, literacy was almost universal and generally of a very high level. The degree of learning varied, however, according to rank, office, and wealth. There are accounts of illiterate samurai, especially later in the Tokugawa period. These cases occurred among the lowest, most impoverished ranks. Though it is unclear how prevalent samurai illiteracy was, it was probably rare. It was certainly the source of great shame for the unlettered individual and his family.
            High literacy is common in an elite ruling class. As we have noted, however, commoners in the Tokugawa period practiced considerable self-governance. The Tokugawa state was very bureaucratic. Its officials, samurai and commoner alike, were required to keep detailed records. They also had to write a great deal of correspondence. Official duties thus demanded high levels of literacy not only among samurai, but also among the upper strata of urban and rural commoner populations who held such responsible positions as city ward official or village headman. Recent research indicates that, by the end of the seventeenth century, the rural elite—numbering some 200-300,000 out of a total population of around 30 million, or less than 0.1 percent of the population—possessed “extraordinarily high literacy and numeracy” in order to fulfill their many administrative duties (Rubinger 2007, 30).
            Below the rural elite were the landowning farmers. Their numbers varied over time and by region. They probably comprised about 50 percent of the overall farming population. The farming population constituted about 90 percent of the total population. Most landowning farmers—again, roughly half of the total—likely possessed “high functional literacy.” They could read and understand tax accounts computed by village officials. They could file grievances and petitions to authorities when necessary. Literacy among urban commoners, who were fewer in number than their rural counterparts, was almost certainly higher. Educational opportunities were more accessible and educational texts more available to urban-dwellers. Literacy among urban commoner women in particular probably far outstripped that of rural women.
            Literacy and education were by no means monopolized by the elite in Tokugawa Japan. Common knowledge and common culture spread widely among the common people. This widening of the knowledge base greatly facilitated the subsequent development of the modern industrial nation-state.

The Discontented and the End of an Era
            In other times and places, learning among the common people has been a recipe for dissent. Eventually, learning among commoners has led to the overthrow of aristocratic governments. This was not true in Tokugawa Japan. Unrest did occur. Peasant protest in particular was widespread and sometimes intense in the late eighteenth and early nineteenth centuries. Ultimately, however, those responsible for overthrow of the Tokugawa regime were members of the ruling class itself: the samurai. This kind of “aristocratic revolution” is unusual in world history.
            Why and how did samurai overthrow a government that was ostensibly created in their own interest? To answer this question, one must first look at which samurai became involved in the movement to overthrow the shogunate and “restore” the emperor. The major actors were low-ranking samurai from the tozama domains. Particularly involved were the powerful and autonomous domains of Satsuma in southernmost Kyūshū, Chōshū in far western Honshu, and Tosa on Shikoku. Low-ranking samurai had long observed that the system of rank and office under the Tokugawa had become entirely hereditary. They believed it did not sufficiently take merit into account. One born into a family of low rank could never expect to obtain an official appointment or rise to a position of any power or wealth. Moreover, many low-ranking samurai felt themselves to be abler than those of higher birth. Those of higher birth glided into office by virtue of blood right. Many of the low-ranking samurai were not afraid to speak their minds. In the later Tokugawa period, the phrase daimyō gei, or “a daimyō’s skill,” came to indicate someone or something entirely lacking in talent or quality.
            Samurai grievances were compounded by the events of the early decades of the nineteenth century. Bad crop harvests in the 1830s resulted in widespread famine, disease, and death. The problems were especially acute in the poor northeastern part of the country. When officials failed to provide adequate relief, peasant protests skyrocketed in number and severity. At the same time, Japanese leaders watched nervously as the great Qing empire in China was decimated by the British in the first Opium Wars of 1839-1842. China was thereafter “carved up like a melon” by the other Western powers. The Japanese had already fended off advances by the Russians in the 1790s and early 1800s and by the British in the 1820s. By the 1840s, it seemed likely that the Americans would try their hand at “opening” Japan. In 1853, a U.S. naval delegation led by Commodore Matthew C. Perry arrived with demands from U.S. President Millard Fillmore. Fillmore demanded that Japan agree to trade and diplomatic relations with the United States. The shogun was given a half-year to consider Perry’s request. Observers, especially powerful daimyō, saw that the shogunate had no new ideas about how to handle the foreign threat, much less the domestic problems wracking the country. In the end, shogunal officials agreed, in spite of the emperor’s disapproval, to sign trade and diplomatic treaties with the United States. As in China, the terms gave great advantages to the Western powers. Japan was relegated to semi-colonial status.
            For pro-imperial, anti-shogunal forces, the foreign crises, in particular the signing of the treaty with the United States, were the last straw. Plans to overthrow the Tokugawa regime began in earnest in the 1860s. Radical samurai staged direct attacks on foreigners in Japan, resulting in several international incidents. The most serious of these incidents sparked the bombardment of domains in Satsuma and Chōshū by Western naval forces. Finally, in January 1868, combined military forces of the domains of Satsuma and Chōshū marched into Kyoto, took control of the imperial palace, and proclaimed the restoration of the emperor and the abolition of the Tokugawa shogunate. Court nobles and daimyō would form a new government in place of the old. Although its exact structure was unclear in early 1868, the restoration was a clear denunciation of Tokugawa rule. The last shogun, Tokugawa Yoshinobu (or Keiki), retreated to Edo. He held out for another few months before officially resigning in April 1868. Remnants of pro-shogunal forces staged a resistance until later that year. They were ultimately defeated.
            Although the Tokugawa regime ended in 1868, it bequeathed a deep and rich political, economic, and cultural legacy to modern Japan. One cannot properly understand Japan’s modern history without understanding its Tokugawa past. Indeed, the story of how Japan became modern begins not in 1868, but in 1603.

Sources Cited
Berry, Mary Elizabeth, Japan in Print: Information and Nation in the Early Modern Period(Berkeley: University of California Press, 2006).
Rubinger, Richard, Popular Literacy in Early Modern Japan (Honolulu: University of Hawai’i Press, 2007).
Sansom, G.B., Japan: A Short Cultural History (New York: Century, 1932).
Totman, Conrad, Japan Before Perry: A Short History (Berkeley: University of California Press, 1981).
Notes
The Tokugawa Political Settlement
For a biography of Oda Nobunaga, see Jeroen Lamers, Japonius Tyrannus: The Japanese Warlord Oda Nobunaga Reconsidered (Leiden: Hotei Publishing, 2001).
For a biography of Hideyoshi, see Mary Elizabeth Berry, Hideyoshi (Cambridge, MA: Harvard University Press, 1982).
For a useful and visually rich (hundreds of illustrations, graphs and maps) survey of the founding and development of the city of Edo, see Akira Naito, Edo, the City That Became Tokyo: An Illustrated History (New York: Kodansha International, 2003).
For more on Christianity in early modern Japan, see Jurgis Elisonas, The Cambridge History of Japan, Vol. 4: Early Modern Japan (Cambridge: Cambridge University Press, 1988); for a study of international relations and diplomacy in the Tokugawa period that refutes the idea that Tokugawa Japan was a “closed country,” see Ronald P. Toby, State and Diplomacy in Early Modern Japan: Asia in the Development of the Tokugawa Bakufu(Princeton: Princeton University Press, 1984).
Historians have characterized the type of government practiced in the Tokugawa period in various ways: “an integrated yet decentralized state structure,” the “compound state,” and Edwin O. Reischauer’s celebrated oxymoron “centralized feudalism” are only a few of the often awkward terms devised to describe the essential Tokugawa balance of authority and autonomy. “Integrated yet decentralized state structure” comes from Eiko Ikegami, The Taming of the Samurai: Honorific Individualism and the Making of Early Modern Japan(Cambridge, MA: Harvard University Press, 1995), pp. 164-176. Ikegami also uses the term “neo-feudal” in a comparative context. “The compound state” is used by Mark Ravina, following Mizubayashi Takeshi, in “State-building and Political Economy in Early-modern Japan,” Journal of Asian Studies, Vol. 54, No. 4 (November 1995), pp. 997-1022. “Centralized feudalism” appears in Edwin O. Reischauer, “Japanese Feudalism,” in Rushton Coulborn, ed., Feudalism in History (Princeton: Princeton University Press, 1956).

Economic Growth and Social Change
When speaking in aggregate demographic or economic terms, it is important to note that growth and decline, whether in terms of population or economy, varied considerably in terms of geographic region. In general, the most economically advanced and prosperous areas of the country were the Kinai Plain, the area of central-western Honshu surrounding the cities of Kyoto and Osaka; northern Kyūshū; and, by the mid-Tokugawa period, the Kantō Plain area around the city of Edo. By contrast, the most economically backward and poor areas of Japan tended to be found in the northeast, in what is today called the Tōhoku region and in the Tokugawa period was comprised of the large province of Dewa and Mutsu.
The Emergence of Commoner Culture
For a partial translation of Saikaku’s Life of a Sensuous Man, see Haruo Shirane, ed., Early Modern Japanese Literature: An Anthology, 1600-1900 (New York: Columbia University Press, 2003), pp. 45-57.
A full translation of Chikamatsu’s Love Suicides at Amijima can be found in Donald Keene,Four Major Plays of Chikamatsu (New York: Columbia University Press, 1988).
Literacy, Education, and the Library of Public Information
In his recent study of popular literacy in early modern Japan, Richard Rubinger argues that “…the Japanese data demonstrate that in certain circumstances geography may be a more influential variable with respect to literacy attainment than gender.” See Richard Rubinger,Popular Literacy in Early Modern Japan (Honolulu: University of Hawai’i Press, 2007), p. 7.
For an absorbing account of a ne’er-do-well samurai in the early 19th century who claimed to have overcome illiteracy in order to write his autobiography of sorts, see Katsu Kōkichi,Musui’s Story: The Autobiography of a Tokugawa Samurai, translated by Teruko Craig (Tucson: University of Arizona Press, 1988).
The definition of 90 percent of Japan’s population as farmers is based on the estimate that by 1700, roughly 10 percent of Japan’s population lived in cities with populations over 10,000; half of that 10 percent lived in cities with populations over 100,000. By comparison, only 2 percent of Europeans lived in cities of over 100,000. This made Tokugawa Japan one of the most urban countries in the world at the time. Figures on urbanization are from Andrew Gordon, A Modern History of Japan: From Tokugawa Times to the Present (New York: Oxford University Press, 2003), p. 23.
The Discontented and the End of an Era
The term “aristocratic revolution” comes from Thomas C. Smith, “Japan’s Aristocratic Revolution,” in Native Sources of Japanese Industrialization, 1750-1920 (Berkeley: University of California Press, 1988), pp. 133-147.
For more on the debate on merit, see Thomas C. Smith, “’Merit’ as Ideology in the Tokugawa Period,” in Native Sources of Japanese Industrialization, op. cit., p. 169.
File:TokugawaYoshinobu.jpg
Tokugawa Yoshinobu, the last Shogun, in French military uniform, c.1867