Sixty years on from the end of the Pacific War, Japan on Display examines representations of the Meiji emperor, Mutsuhito (1852-1912) and his grandson the Showa emperor, Hirohito who was regarded as a symbol of the nation, in both war and peacetime. Much of this representation was aided by the phenomenon of photography. The introduction and development of photography in the nineteenth century coincided with the need to make Hirohito’s grandfather, the young Meiji Emperor, more visible. Photo books and albums became a popular format for presenting seemingly objective images of the monarch, reminding the Japanese of their proximity to the Emperor, and the imperial family. In the twentieth century, these 'national albums’ provided a visual record of wars fought in the name of the Emperor, while also documenting the reconstruction of Tokyo, scientific expeditions, and imperial tours. Drawing on archival documents, photographs, and sources in both Japanese and English, this book throws new light on the history of twentieth-century Japan and the central role of Hirohito. With Japan’s defeat in the Pacific War, the Emperor was transformed from wartime leader to peace-loving scientist. Japan on Display seeks to understand this reinvention of a more 'human’ Emperor and the role that photography played in the process.

It was not until Japan's opening to the West during the Meiji period (1868-1912) that terms for "art" (bijutsu) and "art museum" (bijutsukan) were coined. The Imperial Museums of Meiji Japan documents Japan's unification of national art and cultural resources to forge a modern identity influenced by European museum and exhibition culture. Japan's Imperial Museums were conceived of as national self-representations, and their creation epitomized the Meiji bureaucracy's mission to engage in the international standards and practices of the late nineteenth century. The architecture of the museums, by incorporating Western design elements and construction methods, effectively safeguarded and set off the nation's unique art historical lineage. Western paradigms and expertise, coupled with Japanese resolve and ingenuity, steered the course of the museums' development. Expeditions by high-ranking Japanese officials to Europe and the United States to explore the burgeoning world of art preservation and exhibition, and throughout Japan to inventory important cultural treasures, led to the establishment of the Imperial Museums in the successive imperial cities of Nara, Kyoto, and Tokyo. Over the course of nearly four decades, the English architect Josiah Conder, known as "the father of modern Japanese architecture," and his student Katayama Tokuma, who became the preeminent state architect, designed four main museum buildings to house the national art collection. These buildings articulated the museums' unified mission to preserve and showcase a millennium-long chronology of Japanese art, while reinforcing the distinctive historical and cultural character of their respective cities. This book is the first English-language study of the art, history, and architecture of Japan's Imperial Museums, the predecessors of today's national museums in Tokyo, Kyoto, and Nara. The Imperial Museums of Meiji Japan examines the museums' formative period and highlights cross-cultural influences that enriched and complicated Japan's search for a modern yet historically grounded identity.

The scenes and images that best typify Japan are showcased in this lavishroduction - full colour photographs throughout, with a succinct andlluminating text. Part 1 presents the tremendous range of landscapes andustoms in the various distinctive regions of this suprisingly large andiverse nation, while Part 2 concentrates on the arts and traditions of aulture that has been nurtured over centuries. Part 3 offers essentialackground on the country's history, language and people.

From rugged Japanese firemen's ceremonial robes and austere rural work-wear to colorful, delicately-patterned cotton kimonos, this lavishly illustrated volume explores Japan's rich tradition of textiles. Textiles are an eloquent form of cultural expression and of great importance in the daily life of a people, as well as in their rituals and ceremonies. The traditional clothing and fabrics featured in this book were made and used in the islands of the Japanese archipelago between the late 18th and the mid 20th century. The Thomas Murray collection featured in this book includes daily dress, work-wear, and festival garb and follows the Arts and Crafts philosophy of the Mingei Movement, which saw that modernization would leave behind traditional art forms such as the hand-made textiles used by country people, farmers, and fisherman. It presents subtly patterned cotton fabrics, often indigo dyed from the main islands of Honshu and Kyushu, along with garments of the more remote islands: the graphic bark cloth, nettle fiber, and fish skin robes of the aboriginal Ainu in Hokkaido and Sakhalin to the north, and the brilliantly colored cotton kimonos of Okinawa to the far south. Numerous examples of these fabrics, photographed in exquisite detail, offer insight into Japan's complex textile history as well as inspiration for today's designers and artists. This volume explores the range and artistry of the country's tradition of fiber arts and is an essential resource for anyone captivated by the Japanese aesthetic.

One of the twentieth century's leading abstract expressionists, Sam Francis (1923-94) was one of the few visual artists who traversed the globe multiple times during the 1950s and 1960s, becoming one of the first postwar American painters to develop a truly international reputation. Francis's engagement with the world and his fascination and involvement with different cultures, in particular that of Japan, is explored in this compelling volume, published in conjunction with the exhibition Sam Francis and Japan: Emptiness Overflowing at the Los Angeles County Museum of Art. Richard Speer, a co-curator of the exhibition, offers astute insights into the visual, technical, and philosophical affinities between traditional Asian art and Francis's work as a modern abstract painter. He delves into the relationship of Francis's aesthetics to much older Japanese artistic traditions, in particular the concept of ma, a symbolically rich in-between zone that is paralleled in the lyrical deployment of negative space in Francis's paintings. In addition, Speer looks at Francis's friendships with many of the Gutai and Monoha artists and highlights their shared conceptual theories involving notions of time, space, and a limitless continuum. A contemplative and discerning overview of the artist in Japan, the book draws on archival research and individual interviews with Francis's Japanese colleagues, as well as family and friends. It suggests the transformative power of art as a cultural bridge while expanding our insight into the artist's visual language and his devotion to the image. Francis's own aphoristic essay "One Ocean One Cup," first published in Japan in 1977, revealing the artist's reactions to living and working in the transcendental Japanese environment, rounds out the book. Exhibition: The Los Angeles County Museum of Art, United-States (04.10.2020 - 24.01.2021).

Mine Okubo was one of 110,000 people of Japanese descent--nearly two-thirds of them American citizens -- who were rounded up into "protective custody" shortly after Pearl Harbor. Citizen 13660, her memoir of life in relocation centers in California and Utah, was first published in 1946, then reissued by University of Washington Press in 1983 with a new Preface by the author. With 197 pen-and-ink illustrations, and poignantly written text, the book has been a perennial bestseller, and is used in college and university courses across the country. "[Mine Okubo] took her months of life in the concentration camp and made it the material for this amusing, heart-breaking book. . . . The moral is never expressed, but the wry pictures and the scanty words make the reader laugh -- and if he is an American too -- blush." -- Pearl Buck Read more about Mine Okubo in the 2008 UW Press book, Mine Okubo: Following Her Own Road, edited by Greg Robinson and Elena Tajima Creef. http://www.washington.edu/uwpress/search/books/ROBMIN.html

This compact travel guide and pictorial is the #1 selling travel book in Japan! Packed with cultural and historical information along with charming photographs, you can take a trip to Japan to always remember. Japan is a country shrouded in mystery, even now in the 21st century. The myriad facets that, when put together, compose the whole of this nation are impossible to capture fully. But in The Little Book of Japan, the dynamic photographer-writer team of Gorazd Vilhar and Charlotte Anderson do an admirable job of creating a celebration in words and images that encapsulates what makes this country so extraordinary. Small and easily portable, this Japan travel guide is organized in a series of 44 highlights with photographs contained within four chapters: Cultural Icons, Traditions, Places, and Spiritual Life. Under these four overarching ideals, Vilhar and Anderson explore a wide range of topics from Japanese cultural icons and traditions to Japan's spiritual life to its unique cities and villages. Broad enough to satisfy anyone with interest in the culture, art, and beliefs of this unique island nation, yet comprehensive enough for the true Japanophile, The Little Book of Japan is a stunning collection of photographs and thoughtful mini essays. With everything from Cherry Blossoms to Sushi, Calligraphy to Kimonos, Old Tokyo to Hiroshima, to intimate details of Buddhism and Pilgrimages, this book is a beautiful and enjoyable way to learn more about the fascinating island nation of Japan.

This beautifully designed book is a celebration of one of the world's most creative, dynamic and fascinating cities: Tokyo. It spans 400 years, with highlights including Kano school paintings; the iconic woodblock prints of Hiroshige; Tokyo Pop Art posters; the photography of Moriyama Daido and Ninagawa Mika; manga; film; and contemporary art by Murakami Takashi and Aida Makoto. Visually bold and richly detailed, this publication looks at a city which has undergone constant destruction and renewal and it tells the stories of the people who have made Tokyo so famous with their insatiable appetite for the new and innovative - from the samurai to avantgarde artists today. Co-edited by Japanese art specialists and curators Lena Fritsch and Clare Pollard from Oxford University, this accessible volume features 28 texts by international experts of Japanese culture, as well as original statements by influential artists.

Japan and the United States became close political allies so quickly after the end of World War II, that it seemed as though the two countries had easily forgotten the war they had fought. Here Yoshikuni Igarashi offers a provocative look at how Japanese postwar society struggled to understand its war loss and the resulting national trauma, even as forces within the society sought to suppress these memories. Igarashi argues that Japan's nationhood survived the war's destruction in part through a popular culture that expressed memories of loss and devastation more readily than political discourse ever could. He shows how the desire to represent the past motivated Japan's cultural productions in the first twenty-five years of the postwar period. Japanese war experiences were often described through narrative devices that downplayed the war's disruptive effects on Japan's history. Rather than treat these narratives as obstacles to historical inquiry, Igarashi reads them along with counter-narratives that attempted to register the original impact of the war. He traces the tensions between remembering and forgetting by focusing on the body as the central site for Japan's production of the past. This approach leads to fascinating discussions of such diverse topics as the use of the atomic bomb, hygiene policies under the U.S. occupation, the monstrous body of Godzilla, the first Western professional wrestling matches in Japan, the transformation of Tokyo and the athletic body for the 1964 Tokyo Olympics, and the writer Yukio Mishima's dramatic suicide, while providing a fresh critical perspective on the war legacy of Japan.