In lieu of an abstract, here is a brief excerpt of the content:

Preface This volume was first planned to serve as the third volume in a projected series of three on the history of Japanese art, under the general editorship of Professor Samuel Morse, with the assistance of Quitman Phillips and myself. It is the first to be published. The subject of Japanese art and its shifting parameters after the beginning of the Meiji period is an extremely complex one, and the subject can be approached from a number of angles. In the end, seventeen authors, from both the scholarly and the museum fields, enthusiastically agreed to make their own contributions to this volume, and the narrative they present can in many ways be regarded as a mirror in which so much of Japanese cultural, social, and even political history of the period can find reflection. Many other points of view could theoretically be incorporated as well, and it is with regret that given the length of the present volume, it was not possible to include the contributions originally planned for Brenda Jordan on Kawanabe Kyōsai and his Western enthusiasts, or Ryûichi Kaneko’s essay on the development of Japanese photography. Fortunately both of these scholars have written eloquently on these subjects elsewhere. It is a pleasure for me to thank so many friends and colleagues for the many efforts they have undertaken to help bring this book about. First of all, I owe a special debt of thanks to Mrs. Toshiko McCallum, whose translations and considerable editorial assistance have done so much to make this book a reality. Ms. Maggie Assad provided expert editorial skills in preparing the manuscript. I would like to thank as well Professors Kendall Brown, Kathy Harper, and Donald McCallum for a number of cogent and thoughtful suggestions and insights that have materially improved the manuscript. In addition to the generous assistance from the Kajima Foundation, there have been a number of sources helping to provide funds toward this publication. The Clark Center for Japanese Art in Hanford, California, contributed funds to underwrite the translations of articles originally written in Japanese, and the Paul I. and Hisako Terasaki Center for Japanese Studies at UCLA contributed funds toward the editing of the individual essays. Finally, I want to offer special thanks for the efforts made by our editor at the University of Hawai‘i Press, Patricia Crosby, who has been unstinting both in her enthusiasm and her efforts to see this complex project through. Drew Bryan, our scrupulous copy editor, Susan Stone, who prepared the index, Lori Paximadis, who corrected the proofs, and Cheri Dunn and other members of the staff of the University of Hawai‘i Press have also been also extremely helpful. x | Preface A Note on Japanese Names In the body of the text, Japanese names are presented in the usual way, family name first, followed by personal name. Contributing authors to this volume, however, have their names listed in Western fashion, personal name followed by family name. ...

Share