Copying the Master and Stealing His Secrets

Acknowledgments

Acknowledgments xiii The idea for this book was initially suggested by Frank Chance,over coffee, as we were discussing John Singleton’s two-part panel on Japanese apprenticeship during the 1994 Association for Asian Studies meeting, at which those panels were being presented.I took Frank’s suggestion for a book on Japanese painters’ training seriously, having no idea of the difficulties that would be incurred with this topic.Now,some years later,this project is coming to fruition, and I owe an enormous debt of gratitude to my coauthors for their support and contributions during the course of this project. We are deeply indebted to many people and institutions for help with this book.John Singleton and J.Thomas Rimer provided unfailing guidance and support. Hiroshi Nara advised, admonished, critiqued, and otherwise supported our efforts immensely. Dr. Kawanabe Kusumi and Kamiyama Fumiko answered many questions and provided me with research materials and photographs for illustration. Yamaguchi Seiichi, Yasumura Toshinobu, Oikawa Shigeru, and Yoshida Susugu answered questions about the Kano school and nineteenth-century art in Japan. Lauren Weingarden advised me concerning French painting and the Academy in France.I am also grateful to Mikiko Hirayama for advice and help and for making available to me early drafts of her doctoral dissertation.Thanks go to Courtney Shimoda for helping us to edit the final draft of the manuscript.Stephen Addiss,Keith Brown, Kathy Linduff, Patricia Crosby, Joshua Mostow, and Gene Phillips must also be thanked for their invaluable comments and suggestions on earlier drafts of the manuscript.We also would like to thank Patricia Crosby and the pro- duction staff of the University of Hawai‘i Press for encouraging our interest in this project and for much patience and help in bringing it to publication. I am also indebted to Dean Jerry Draper and the faculty of the Department of Art History, Florida State University, for substantial research and illustration support for this book, particularly for a grant to assist with color illustrations.Thanks also go to the Japan Iron and Steel Federation endowment at the University of Pittsburgh for financial support for research, the presentation of papers associated with this research, and publication subvention. Victoria Weston acknowledges the Yokoyama Taikan Kinenkan, the Tokyo University of Fine Arts and Music,the Tenshin Memorial Museum of Art Ibaraki, and the Nagano Prefectural Shinano Art Museum. She thanks the Endowed Faculty Career Development Fund at the University of Massachusetts Boston for funds to provide color illustrations in her chapter. Finally, she wishes to give special thanks to her husband, Kenji Hayao, her mother-in-law, Frances Hayao, and Yokoyama Takashi. Karen Gerhart is grateful to Northern Arizona University’s summer Organized Research Grant program for funding her research and translation time for her chapter.Frank Chance acknowledges the National Diet Library of Japan,the Museum of the Tokyo University of Fine Arts and Music,Mrs. Mary Burke and the Mary and Jackson Burke Foundation, the Philadelphia Art Museum, Kyoto University, and Saishòji in Tokyo for permission to use photographs. Martha McClintock thanks Kawashima Junji of Koga and Kawai Masatomo for their ongoing encouragement of her research on Okuhara Seiko. She also gratefully acknowledges the cooperation of the Koga City Museum of History,Ibaraki Prefectural Museum of Modern Art,Fujita Art Museum, Mrs.Michiko Okuhara,and private collectors for allowing their works to be reproduced here.Funding for her research related to this publication was provided by a research grant from the Kajima Art Foundation. —Brenda G. Jordan Acknowledgments xiv ...