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

Russian warships sunk by the Japanese Destroyers, Hayatori and Asagiri, at Port Arthur, 3 a.m. February 14th 1904, Kōkyo
Kōkyo
香炉 koro (incense burner), Masatoshi
Masatoshi
香炉 koro (incense burner), circa 1880s, Meiji period (1868–1912)
香炉 koro (incense burner), Miharu
Miharu
香炉 koro (incense burner), circa 1880s, Meiji period (1868–1912)
bowl with chrysanthemums, Miyagawa Kōzan
Miyagawa Kōzan
bowl with chrysanthemums, late 1800s, Meiji period (1868–1912)
vase with dragon around neck, Seishi
Seishi
vase with dragon around neck, circa 1880s, Meiji period (1868–1912)
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
Utagawa Sadahide
Yokohama Ijin Yoshiki nozu (View of Foreigner Residence in Yokohama), Utagawa Yoshikazu
Utagawa Yoshikazu
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
Utagawa Sadahide
Yokohama Hatoba Keshiki (View of Yokohama Harbor), Utagawa Yoshitora
Utagawa Yoshitora
Yokohama Hatoba Keshiki (View of Yokohama Harbor), 1861, 2nd month, Edo period (1600–1868)
four-legged urn
Utagawa Yoshitora
four-legged urn, circa 1880, Meiji period (1868–1912)
Fuwa Bansaku and the Monster, 月岡芳年 Tsukioka Yoshitoshi
月岡芳年 Tsukioka Yoshitoshi
Fuwa Bansaku and the Monster, 1865, 8th month, Edo period (1600–1868)
Spirit of General Tamichi as a Great Snake, 月岡芳年 Tsukioka Yoshitoshi
月岡芳年 Tsukioka Yoshitoshi
Spirit of General Tamichi as a Great Snake, 1880, Meiji period (1868–1912)
The Emperor's Triumphant Return, Yoshu Nobuyasu
Yoshu Nobuyasu
The Emperor's Triumphant Return, 1895, Meiji period (1868–1912)
Scene from Banchō Sarayashiki, Toyohara Kunichika
Toyohara Kunichika
Scene from Banchō Sarayashiki, 1892, 10th month, Meiji period (1868–1912)
Gods disguised as prospective customers of a brothel (demons disguised as brothel customers), Utagawa Yoshiiku
Utagawa Yoshiiku
View of the Russian War, Capture of Chengchou Castle, Toyohara Chikanobu
Toyohara Chikanobu
View of the Russian War, Capture of Chengchou Castle, 1904, Meiji period (1868–1912)
No. 495, Uyeno, Tokyo
Toyohara Chikanobu
No. 495, Uyeno, Tokyo, circa 1880, Meiji period (1868–1912)
Actor Nakamura Shojura as Mitsukuni, Utagawa Yoshitaki
Utagawa Yoshitaki
Actor Nakamura Shojura as Mitsukuni, circa 1880s, Meiji period (1868–1912)
Night Parade of 100 Demons (frog triptych), Utagawa Yoshiiku
Utagawa Yoshiiku
Night Parade of 100 Demons (frog triptych), 1893, Meiji period (1868–1912)
Priest Raigō of Mii Temple Transformed into a Rat, 月岡芳年 Tsukioka Yoshitoshi
月岡芳年 Tsukioka Yoshitoshi
Priest Raigō of Mii Temple Transformed into a Rat, 1891, Meiji period (1868–1912)
untitled
月岡芳年 Tsukioka Yoshitoshi
untitled, circa 1900, Meiji period (1868–1912)
untitled
月岡芳年 Tsukioka Yoshitoshi
untitled, circa 1900, Meiji period (1868–1912)
untitled
月岡芳年 Tsukioka Yoshitoshi
untitled, circa 1900, Meiji period (1868–1912)
hanging scroll of a Skull, Yabu Chōsui
Yabu Chōsui
hanging scroll of a Skull, 1800s, Edo period (1600–1868)
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
月岡芳年 Tsukioka Yoshitoshi; 綱島亀吉 Tsunashima Kamekichi
Autumn Song from the Odes of Wu, Taniguchi Kōkyō
Taniguchi Kōkyō
Autumn Song from the Odes of Wu, late 1800s–early 1900s, Meiji period (1868–1912) or Taisho period (1912–1926)
Seated Woman, Mitsuyu Chihagi
Mitsuyu Chihagi
Seated Woman, mid 1930s, Showa period (1926–1989)
Summer Landscape, Hashimoto Kansetsu
Hashimoto Kansetsu
Summer Landscape, early 1900s, Meiji period (1868–1912)
Winter Landscape, Hashimoto Kansetsu
Hashimoto Kansetsu
Winter Landscape, 1911, Meiji period (1868–1912)
Teikoku gikai kizokuin no zu (Picture of the Imperial Assembly), Toyohara Chikanobu
Toyohara Chikanobu
Kijō saihō no zu (Picture of Noble Ladies Sewing), Adachi Ginkō; 佐々木豊吉 Toyokichi Sasaki
Adachi Ginkō; 佐々木豊吉 Toyokichi Sasaki
Kijō saihō no zu (Picture of Noble Ladies Sewing), 1887, Meiji period (1868–1912)
Kōi godairei no zu (Picture of Noble's Imperial Ceremony), Watanabe Nobukazu
Watanabe Nobukazu
untitled, Mizuno Toshikata
Mizuno Toshikata
untitled, 1904, Meiji period (1868–1912)
The Illustrious Nobility of the Empire, Toyohara Chikanobu
Toyohara Chikanobu
The Illustrious Nobility of the Empire, 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