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

Masatoshi (active Meiji period (1868–1912)), 香炉 koro (incense burner)
Masatoshi (active Meiji period (1868–1912))
circa 1880s, Meiji period (1868–1912)
Miharu (Meiji period (1868–1912)), 香炉 koro (incense burner)
Miharu (Meiji period (1868–1912))
circa 1880s, Meiji period (1868–1912)
Miyagawa Kōzan (1842–1916), bowl with chrysanthemums
late 1800s, Meiji period (1868–1912)
Seishi (Meiji period (1868–1912)), vase with dragon around neck
Seishi (Meiji period (1868–1912))
circa 1880s, Meiji period (1868–1912)
four-legged urn
circa 1880, Meiji period (1868–1912)
月岡芳年 Tsukioka Yoshitoshi (1839–1892), Fuwa Bansaku and the Monster
1865, 8th month, Edo period (1600–1868)
Yoshu Nobuyasu, The Emperor's Triumphant Return
Yoshu Nobuyasu
1895, Meiji period (1868–1912)
Toyohara Kunichika (1835–1900), Scene from Banchō Sarayashiki
1892, 10th month, Meiji period (1868–1912)
No. 495, Uyeno, Tokyo
circa 1880, Meiji period (1868–1912)
Utagawa Yoshitaki (1841–1899), Actor Nakamura Shojura as Mitsukuni
circa 1880s, Meiji period (1868–1912)
untitled
circa 1900, Meiji period (1868–1912)
untitled
circa 1900, Meiji period (1868–1912)
untitled
circa 1900, Meiji period (1868–1912)
Yabu Chōsui (1814–1867), hanging scroll of a Skull
1800s, Edo period (1600–1868)
Taniguchi Kōkyō (1864–1915), Autumn Song from the Odes of Wu
Taniguchi Kōkyō (1864–1915)
late 1800s–early 1900s, Meiji period (1868–1912) or Taisho period (1912–1926)
Mitsuyu Chihagi (active early 1900s), Seated Woman
Mitsuyu Chihagi (active early 1900s)
mid 1930s, Showa period (1926–1989)
Hashimoto Kansetsu (1883–1945), Summer Landscape
early 1900s, Meiji period (1868–1912)
Hashimoto Kansetsu (1883–1945), Winter Landscape
1911, Meiji period (1868–1912)
Mizuno Toshikata (1866–1908), untitled
1904, Meiji period (1868–1912)

Events

January 27, 2007
Workshop
10:30AM–12:30PM
Gallery 317 Central Court, Gallery 318
January 27, 2007
Workshop
1:30–3:30PM
Gallery 317 Central Court, Gallery 318
February 8, 2007
Screening
6:30–9:30PM
309 Auditorium
February 15, 2007
Talk
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