Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama’s writings that serves not only to provide an excellent introduction to Tokugawa cultural history but also to fill many gaps in our knowledge of the daily life and diversions of the urban populace of the time. Many essays focus on the most important theme of Nishiyama’s work: the seventeenth to nineteenth centuries as a time of appropriation and development of Japan’s culture by its urban commoners. In the first of three main sections, Nishiyama outlines the history of Edo (Tokyo) during the city’s formative years, showing how it was shaped by the constant interaction between its warrior and commoner classes. Next, he discusses the spirit and aesthetic of the Edo native and traces the woodblock prints known as ukiyo-e to the communal activities of the city’s commoners. Section two focuses on the interaction of urban and rural culture during the nineteenth century and on the unprecedented cultural diffusion that occurred with the help of itinerant performers, pilgrims, and touring actors. Among the essays is a delightful and detailed discourse on Tokugawa cuisine. The third section is dedicated to music and theatre, beginning with a study of no, which was patronized mainly by the aristocracy but surprisingly by commoners as well. In separate chapters, Nishiyama analyzes the relation of social classes to musical genres and the aesthetics of kabuki. The final chapter focuses on vaudeville houses supported by the urban masses.

The Genius of Japanese Carpentry tells the story of the 1200-year-old Yakushiji monastery in Nara and the dedicated modern-day craftsmen who are working to restore what has been lost to the depredations of time, fire and warfare. Although the full monastery reconstruction will not be completed until 2030, one of the main temples, the Picture Hall, has been completely restored employing the same woodworking technology used to create the original building. This new edition of an architectural classic is by Azby Brown—one of the world's leading experts on Japanese architecture. It contains a new preface and many new text materials and photographs—most of them now available in color for the first time. Azby Brown chronicles the painstaking restoration of the temple through extensive interviews with the carpenters and woodworkers along with original drawings based on the plans of master carpenter Tsunekazu Nishioka. An inspiring testament to the dedication of these craftsmen and their philosophy of carpentry work as a form of personal fulfillment, The Genius of Japanese Carpentry offers detailed documentation of this singular project and a moving reminder of the unique cultural continuity found in Japan.

"Kanban, a fusion of art and commerce, refers to the traditional signs Japanese merchants displayed on the streets to advertise their presence, denote the products and services to be found inside, as well as to give individual identity and expression to the shop itself. This book will trace the history of the shop sign in Japan, explore some of the businesses and trades represented, and help the reader travel back to the world of traditional Japan, made emblematic in the fascinating world of kanban"--

Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge. These enormous and intricately detailed depictions of the ancient imperial capital were unprecedented in the history of Japanese painting and remain unmatched as representations of urban life in any artistic tradition. Capitalscapes, the first book-length study of the Kyoto screens, examines their inception in the sixteenth to early seventeenth centuries, focusing on the political motivations that sparked their creation. Close readings of the Kyoto screens reveal that they were initially commissioned by or for members of the Ashikaga shogunate and that urban panoramas reflecting the interests of both prevailing and moribund political elites were created to underscore the legitimacy of the newly ascendant Tokugawa regime. Matthew McKelway’s analysis of the screens exposes their creators’ masterful exploitation of ostensibly accurate depictions to convey politically biased images of Japan’s capital. His overarching methodology combines a historical approach, which considers the paintings in light of contemporary reports (diaries, chronicles, ritual accounts), with a thematic one, isolating individual motifs, deciphering their visual language, and comparing them with depictions in other works. McKelway’s combined approach allows him to argue that the Kyoto screens were conceived and perpetuated as a painting genre that conveyed specific political meanings to viewers even as it provided textured details of city life. Students and scholars of Japanese art will find this lavishly illustrated work especially valuable for its insights into the cityscape painting genre, while those interested in urban and political history will appreciate its bold exploration of Kyoto’s past and the city’s late-medieval martial elite.

Despite the enormous work on diasporas relating to Africa, the majority of this work focuses on trade diasporas located in West African groups, only mentioning the pre-colonial period in passing. Therefore, there is a need to redirect research on diasporas from within Africa to include non-economic diasporas during this time period. Diasporas and Ethnic Identity in Africa: The Edo ne Ekue among the Northeast Yoruba, 1485–1995 fills a gap by discussing the existence of diasporas in pre-colonial Africa that have been neglected by African scholars. Using the Edo ne Ekue as a case study, Uyilawa Usuanlele examines Edo people by shedding light on their political institutions, trading networks, and associations as autonomous and distinct within the Benin Kingdom. This book also discusses how the Edo ne Ekue simultaneously linked their institutions with the royal court of the Benin Kingdom at the expense of the local rulers of their host communities. Throughout this study, Usuanlele provides a better understanding of ethnic identity, state by state relations and their members outside their territorial boundaries to discover the dynamics of political, economic, and social changes within and between communities during and after pre-colonial times.

A Prospect Best Book of 2021 ‘A fascinating and timely book.’ William Boyd ‘Gripping…a must read.’ FT ‘Compelling…humane, reasonable, and ultimately optimistic.’ Evening Standard ‘[A] valuable guide to a complex narrative.’ The Times In 1897, Britain sent a punitive expedition to the Kingdom of Benin, in what is today Nigeria, in retaliation for the killing of seven British officials and traders. British soldiers and sailors captured Benin, exiled its king and annexed the territory. They also made off with some of Africa’s greatest works of art. The ‘Benin Bronzes’ are now amongst the most admired and valuable artworks in the world. But seeing them in the British Museum today is, in the words of one Benin City artist, like ‘visiting relatives behind bars’. In a time of huge controversy about the legacy of empire, racial justice and the future of museums, what does the future hold for the Bronzes?