Meiji: Japan's Transition into a Global Society

Exhibition

Exhibition Overview

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Meiji: Japan's Transition into a Global Society
Alison Miller, curator
Asia Gallery, Spencer Museum of Art, University of Kansas, Lawrence, Kansas

The art of Japan’s Meiji period (1868-1912) reflects a story of transformation, adaptation, and rapid change set against a world of increasing globalization. Literally meaning “enlightened rule,” the Meiji period began after the forced opening of trade by American Commodore Matthew Perry and his fleet of “black ships” in 1853. After two and a half centuries of near isolation, the opening of Japan’s borders created both opportunity and internal conflict. To successfully transition into a world of growing globalization, Japan adopted many institutions and practices from Western nations, with the government employing foreign experts to assist in education and training of professionals, government officials, and the military. At the same time, many Japanese felt it crucial to maintain their traditions and culture in the face of rapid national transformations.

This exhibition was organized by guest curator Alison Miller, KU graduate student in art history.

Exhibition images

Works of art

Kōkyo (active 1877–1904), Russian warships sunk by the Japanese Destroyers, Hayatori and Asagiri, at Port Arthur, 3 a.m. February 14th 1904
Russian warships sunk by the Japanese Destroyers, Hayatori and Asagiri, at Port Arthur, 3 a.m. February 14th 1904
Kōkyo
1904, Meiji period (1868–1912)
Masatoshi (active Meiji period (1868–1912)), 香炉 koro (incense burner)
香炉 koro (incense burner)
Masatoshi
circa 1880s, Meiji period (1868–1912)
Miharu (Meiji period (1868–1912)), 香炉 koro (incense burner)
香炉 koro (incense burner)
Miharu
circa 1880s, Meiji period (1868–1912)
Miyagawa Kōzan (1842–1916), bowl with chrysanthemums
bowl with chrysanthemums
Miyagawa Kōzan
late 1800s, Meiji period (1868–1912)
Seishi (Meiji period (1868–1912)), vase with dragon around neck
vase with dragon around neck
Seishi
circa 1880s, Meiji period (1868–1912)
Utagawa Sadahide (1807–1873), Yokohama shōkan Furansujin umanori nozu 横浜商館 佛蘭西人 馬乗之図 (Picture of Horse-riding French Woman from Yokohama Trade Center)
Yokohama shōkan Furansujin umanori nozu 横浜商館 佛蘭西人 馬乗之図 (Picture of Horse-riding French Woman from Yokohama Trade Center)
Utagawa Sadahide
1861, 1st month, Edo period (1600–1868)
Utagawa Yoshikazu (active 1850–1870), Yokohama Ijin Yoshiki nozu (View of Foreigner Residence in Yokohama)
Yokohama Ijin Yoshiki nozu (View of Foreigner Residence in Yokohama)
Utagawa Yoshikazu
1861, 1st month, Edo period (1600–1868)
Utagawa Sadahide (1807–1873), Yokohama iijin minami-ka shuen nozu 横浜異人南家酒宴之図 (Picture of Foreign Merchant Dining in Yokohama)
Yokohama iijin minami-ka shuen nozu 横浜異人南家酒宴之図 (Picture of Foreign Merchant Dining in Yokohama)
Utagawa Sadahide
1861, 1st month, Edo period (1600–1868)
Utagawa Yoshitora (active 1830–1870), Yokohama Hatoba Keshiki (View of Yokohama Harbor)
Yokohama Hatoba Keshiki (View of Yokohama Harbor)
Utagawa Yoshitora
1861, 2nd month, Edo period (1600–1868)
four-legged urn
four-legged urn
circa 1880, Meiji period (1868–1912)
月岡芳年 Tsukioka Yoshitoshi (1839–1892), Fuwa Bansaku and the Monster
Fuwa Bansaku and the Monster
月岡芳年 Tsukioka Yoshitoshi
1865, 8th month, Edo period (1600–1868)
月岡芳年 Tsukioka Yoshitoshi (1839–1892), Spirit of General Tamichi as a Great Snake
Spirit of General Tamichi as a Great Snake
月岡芳年 Tsukioka Yoshitoshi
1880, Meiji period (1868–1912)
Yoshu Nobuyasu, The Emperor's Triumphant Return
The Emperor's Triumphant Return
Yoshu Nobuyasu
1895, Meiji period (1868–1912)
Toyohara Kunichika (1835–1900), Scene from Banchō Sarayashiki
Scene from Banchō Sarayashiki
Toyohara Kunichika
1892, 10th month, Meiji period (1868–1912)
Utagawa Yoshiiku (1833–1904), Gods disguised as prospective customers of a brothel (demons disguised as brothel customers)
Gods disguised as prospective customers of a brothel (demons disguised as brothel customers)
Utagawa Yoshiiku
1860, Edo period (1600–1868)
Toyohara Chikanobu (1838–1912), View of the Russian War, Capture of Chengchou Castle
View of the Russian War, Capture of Chengchou Castle
Toyohara Chikanobu
1904, Meiji period (1868–1912)
No. 495, Uyeno, Tokyo
No. 495, Uyeno, Tokyo
circa 1880, Meiji period (1868–1912)
Utagawa Yoshitaki (1841–1899), Actor Nakamura Shojura as Mitsukuni
Actor Nakamura Shojura as Mitsukuni
Utagawa Yoshitaki
circa 1880s, Meiji period (1868–1912)
Utagawa Yoshiiku (1833–1904), Night Parade of 100 Demons (frog triptych)
Night Parade of 100 Demons (frog triptych)
Utagawa Yoshiiku
1893, Meiji period (1868–1912)
月岡芳年 Tsukioka Yoshitoshi (1839–1892), Priest Raigō of Mii Temple Transformed into a Rat
Priest Raigō of Mii Temple Transformed into a Rat
月岡芳年 Tsukioka Yoshitoshi
1891, Meiji period (1868–1912)
untitled
untitled
circa 1900, Meiji period (1868–1912)
untitled
untitled
circa 1900, Meiji period (1868–1912)
untitled
untitled
circa 1900, Meiji period (1868–1912)
Yabu Chōsui (1814–1867), hanging scroll of a Skull
hanging scroll of a Skull
Yabu Chōsui
1800s, Edo period (1600–1868)
綱島亀吉 Tsunashima Kamekichi; 月岡芳年 Tsukioka Yoshitoshi (1839–1892), 神田明神写真師の勉強 Kanda myōjin shashinshi no benkyō (Photographer's Study of Kanda Myojin)
神田明神写真師の勉強 Kanda myōjin shashinshi no benkyō (Photographer's Study of Kanda Myojin)
月岡芳年 Tsukioka Yoshitoshi, 綱島亀吉 Tsunashima Kamekichi
1881, 1st month, Meiji period (1868–1912)
Taniguchi Kōkyō (1864–1915), Autumn Song from the Odes of Wu
Autumn Song from the Odes of Wu
Taniguchi Kōkyō
late 1800s–early 1900s, Meiji period (1868–1912) or Taisho period (1912–1926)
Mitsuyu Chihagi (active early 1900s), Seated Woman
Seated Woman
Mitsuyu Chihagi
mid 1930s, Showa period (1926–1989)
Hashimoto Kansetsu (1883–1945), Summer Landscape
Summer Landscape
Hashimoto Kansetsu
early 1900s, Meiji period (1868–1912)
Hashimoto Kansetsu (1883–1945), Winter Landscape
Winter Landscape
Hashimoto Kansetsu
1911, Meiji period (1868–1912)
Toyohara Chikanobu (1838–1912), Teikoku gikai kizokuin no zu (Picture of the Imperial Assembly)
Teikoku gikai kizokuin no zu (Picture of the Imperial Assembly)
Toyohara Chikanobu
1890, Meiji period (1868–1912)
Adachi Ginkō (active 1874–1897); 佐々木豊吉 Toyokichi Sasaki, Kijō saihō no zu (Picture of Noble Ladies Sewing)
Kijō saihō no zu (Picture of Noble Ladies Sewing)
Adachi Ginkō, 佐々木豊吉 Toyokichi Sasaki
1887, Meiji period (1868–1912)
Watanabe Nobukazu (1872–1944), Kōi godairei no zu (Picture of Noble's Imperial Ceremony)
Kōi godairei no zu (Picture of Noble's Imperial Ceremony)
Watanabe Nobukazu
1900, Meiji period (1868–1912)
Mizuno Toshikata (1866–1908), untitled
untitled
Mizuno Toshikata
1904, Meiji period (1868–1912)
Toyohara Chikanobu (1838–1912), The Illustrious Nobility of the Empire
The Illustrious Nobility of the Empire
Toyohara Chikanobu
1887, Meiji period (1868–1912)

Events

January 27, 2007
Workshop
Japan: Open for Influence
10:30AM–12:30PM
Gallery 317 Central Court, Gallery 318
January 27, 2007
Workshop
Japan: Open for Influence
1:30–3:30PM
Gallery 317 Central Court, Gallery 318
February 8, 2007
Screening
Topsy-Turvy
6:30–9:30PM
309 Auditorium
February 15, 2007
Talk
Guest curator Alison Miller on Cultural Intersections
12:15–1:15PM
Gallery 318

Resources

Audio

Didactic – Art Minute
Didactic – Art Minute
Episode 100 Mar, Apr-2007, Alison Miller I’m David Cateforis with another Art Minute from the Spencer Museum of Art. After more than two hundred years of relative isolation, Japan opened its borders in 1853, paving the way for the Meiji period that followed from 1868 to 1912. The Meiji government launched grand initiatives to industrialize and modernize the nation. This prompted many questions about how to integrate foreign culture and technology while preserving traditional Japanese values. Meiji: Japan’s Transition into a Global Society presents visual representations of those debates through June 17 in the Spencer’s Asia Gallery. Many of the included objects, such as the woodblock print The Illustrious Nobility of the Empire, express Japan’s desire to be seen as an equal to European and American powers. Here, the Emperor acts as both a symbol of the Japanese nation, and a model for the Japanese citizenry. Although created using the traditional Japanese woodblock technique, this print incorporates new chemical-based dyes of European origin, and shows the Emperor in European-style military dress, with his wife in a high Victorian bustle, both seated in highly decorative European chairs. With thanks to Alison Miller for her text, from the Spencer Museum of Art, I’m David Cateforis.

Documents

Media Release