Synthesized answer
The provided passages offer several clues about the historical context and scholarly debates of the early 20th century. Captain Brinkley's work, published in 1902, was written in the aftermath of Japan's victory in the 1894-1895 war [2]. This war is presented as having changed the European and American perception of Japan from a "pretty toy country" to a nation that was discarding "Oriental garments" and proving itself more significant than a mere "phenomenon in the world of physics" [2]. This suggests a prevailing Western viewpoint that previously underestimated Japan's capabilities and cultural depth, viewing it through a lens of exoticism or novelty.
The notes also reveal engagement with existing scholarship and a desire to establish accurate classifications. References to consulting "Dr. Anderson's 'Catalogue of Japanese and Chinese Paintings in the British Museum'" [1], and mentions of "Gowland, in the 'Journal of the Society of Chemical Industry,'" [4] indicate an awareness of and reliance on contemporary academic and scientific publications. Furthermore, the repeated emphasis on historical accuracy and the clarification of artist lineages and dates, as seen in notes…
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From the book
← Chapter IX Japan: Its History, Arts, and Literature , Volume VII ( 1902 ) by Captain F. Brinkley Index → 4109823 Japan: Its History, Arts, and Literature , Volume VII 1902 Captain F. Brinkley Appendix Appendix Note 1. — Lit. , a "placed thing;" that is to say, an object of art, such as a vase or statue, serving merely for ornamental purposes. Note 2. —Pronounced "Go Dashi," according to the Japanese sound of the same characters. Note 3. —The greatest of these men whose names are household words in Japan, were Li Lung-yen (Japanese Ri Riumin), Ma Yuen (Japanese Bayen), Muh Ki (Japanese…
← Front matter Japan: Its History, Arts, and Literature , Volume VII ( 1902 ) by Captain F. Brinkley Chapter II → 4109814 Japan: Its History, Arts, and Literature , Volume VII 1902 Captain F. Brinkley JAPAN ITS HISTORY ARTS AND LITERATURE Chapter I JAPANESE PICTORIAL ART J apan's victorious war with the neighbouring Empire in 1894-1895 showed the world that she was something more than a kind of pretty toy country, where the trivial tourist might enjoy the sight of people using paper pocket-handkerchiefs, feeding themselves with two sticks instead of a knife and fork, and living in houses…
Title: Sarumawashi by Matsuo Bashō ← Volume VI Japan: Its History, Arts, and Literature ( 1902 ) by Captain F. Brinkley Volume VIII → Captain F. Brinkley 4109813 Japan: Its History, Arts, and Literature 1902 Brinkley - Japan - Volume 7.djvu/15 Oriental Series AMBASSADORS' EDITION Limited to Seven hundred fifty numbered and registered copies of which this is No. 108 The Goddess of Fortune (Benziaten) The Goddess of Fortune Oriental Series JAPAN ITS HISTORY, ARTS, AND LITERATURE BY CAPTAIN F. BRINKLEY Volume VII J. B. MILLET COMPANY BOSTON AND TOKYO Copyright , 1902 By J. B. MILLET…
ven hundred years after its products had come into actual use. There is not any irreconcilable contradiction, of course. The Japanese historian may maintain that the mirror had been in his countrymen's possession and had been regarded by them as a rare and wonderful object, long before they understood the processes of its manufacture. But, as a matter of fact, he does not appear to have yet noticed the discrepancy between attested facts and the statements he advances. Note 14. —Indra and Brama are generally coloured red and green, respectively. Note 15. —It is significant that painting also…
ry. But Nobuiye flourished in the first part of that century, and the great Kinai in the second half of the seventeenth. These comments are made simply in the interests of accuracy, and not with any intention of criticising an author whose knowledge, considering the circumstances under which it was acquired, must be pronounced remarkable, and who has brought so much light to bear on every branch of Japanese art. Note 38. —Runinaga and Yoshishige are described by tradition as the first really skilled artists of Kaga. Their personal names were respectively Jiro and Goro, and their carvings…
More questions about this book
- The text details various notes on Japanese art terms and history, including a significant chronological difference in the development of wood-engraving between Japan and Europe. How might such a foundational difference in artistic technology influence the unique aesthetic qualities and societal role of art in each culture?
- Notes 8 and 9 discuss conflicting dates for the origin of color-printing and the evolving definitions of terms like "nishiki" and "suri-mono." If you were tasked with creating a timeline of Japanese printmaking, how would these inconsistencies challenge your work, and what steps would you take to address them?
- Considering the emphasis on Chinese artists as "household words in Japan" (Note 3) and the prelate Kukai bringing numerous paintings from China in 806 (Note 5), how would you explain the profound and sustained influence of Chinese culture on early Japanese artistic development to a complete novice?
- Note 6 describes maki-mono scrolls as either telling a story directly or illustrating accompanying text. What does this dual function reveal about the relationship between visual art and narrative in historical Japanese culture, and how might it differ from contemporary Western approaches to art and storytelling?