Images of Late Medieval Disease Critters and Meiji Toys

Japanese historical visual materials are becoming available online in increasing quantities and variety, as seen in two posts from the last week from Pink Tentacle and BiblioOdyssey. The former posted an entry titled “Mythical 16th-century disease critters” which introduces a text owned and published online by the Kyushu National Museum:

Harikikigaki, a book of medical knowledge written in 1568 by a now-unknown resident of Osaka, introduces 63 of these creepy-crawlies and describes how to fight them with acupuncture and herbal remedies. The Kyushu National Museum, which owns the original copy of Harikikgaki, claims the book played an important role in spreading traditional Chinese medicine in Japan.      

BiblioOdyssey’s post introduces a database of late 19th-century, early 20th-century water color depictions of toys. These seem to be by Koizumi Kawasaki (1877-1942): “Japanese Toy Design.” 

Add these to other resources like the Nagasaki University Library’s Metadata Database of Japanese Old Photographs, Database of Nationally Designated Cultural Properties and the Tohoku University Library’s Kano Collection – Image database.

'China Network' at Cambridge

If you will forgive the promotion, this may be of interest to other Frogs…

Cambridge University’s humanities centre (CRASSH) recently received funding for a two-year network on China, on the theme of modernity. Most of the scholars involved are approaching this from the field of comparative literature, but also there are historians and translation scholars. There will be conferences in Cambridge (this May), Yale (later this year) and Tsinghua (2009).

Some information is online here about the May conference http://www.crassh.cam.ac.uk/events/2007-8/chinaconference.html.

Three thoughts on Visibility

  • My favorite new blog Photoshop Disasters has a Korean Basic Instinct 2 poster in which Sharon Stone’s head has been altered from the US version: Cosmo7 cites the fact that the hair is wet, which is the photoshop ‘tell’ but can’t explain why they would do that. I suspect that the wet hair is a side-effect of needing a head shot that was oriented differently, that they wanted to shift Stone’s gaze away from the viewer, make her less …. well, here’s where my complete lack of exposure to Korean media becomes a liability. Either they want her to be less aggressive (which doesn’t entirely make sense, given the movie) or more aloof.
  • Dr. Virago and Dr. Crazy (Dr. Crazy’s analogy to Star Trek/Lost In Space/Heroes is worth the price of admission) among others, are having an interesting discussion about how scholars achieve “visibility” and “impact” both within their subfields and in the discipline. Their discussion doesn’t directly touch Asian Studies, but it does have some thought-provoking ideas for both young and feeling-marginalized scholars.
  • I just got my current Journal of Japanese Studies in the mail, and two of the three articles are about Korea: one about the development of the Korean Civil Code under Japanese protectorate and the other about middle-class Koreans in 1930s Japan. The latter is by an old grad school friend, Jeff Bayliss, who’s teaching a course combining Korean and Japanese history which is exactly the kind of thing I’ve been thinking about for a long time. I’m a little jealous, yes, but mostly I’m thrilled to see the crossover scholarship being taken seriously.

What if?

Geez, now everybody wants to play. On March 7 our own Charles Hayford started the ball rolling by posting on Five things that Didn’t Happen (But Might Have). This led to Michael Turton coming up with a list for Taiwan history. Now the New York Review of Books is getting in the act, with a piece by Perry Link entitled He Would have Changed China. It is a review of Zong Fengming’s book of conversations with Zhao Ziyang Link starts of with a few favorite Chinese history counterfactuals, like what would have happened to Lu Xun if he had lived past 1949, and then gets on to Zhao, who has also been a subject for these types of games. Link shows that during his years of house arrest Zhao did a lot of reading and came to the conclusion that China needed more democracy, more rule of law and less nationalism. He also concludes that Zhao would have probably had very little effect even if he had held on to power in 1989 and if his thinking had evolved in the same way. The real power was always with Deng Xiaoping and to a lesser extent Chen Yun. Still, lots of people in China like to imagine something that might have been better.

Conceptual art

Two pines

 

Several generations later, in Zhao Mengfu’s “Twin Pines, Level Distance,” something new appears. No more realism; no more romanticism; in a sense, no more painting. Now the landscape image is an extension of writing, a form of embodied thought, an essence of landscapeness, a text to be read. In the contemporary West we have a term for this: conceptual art.

With Asia Week in New York the NYT has a review of a show called “Anatomy of a Masterpiece: How to Read Chinese Paintings” There is a slide-show too! It looks like a nice show and a good book. Given some of the interest in connecting Chinese art to western traditions in the last post and the comments I thought I would post this.

Via HNN 

Conference at the Huntington Library

I’ve been wanting to write about a wonderful local resource, the Huntington, for a long time, but couldn’t figure out how to work it into a post. It is located in the wealthy town of San Marino, an interesting community just south of Pasadena. The Huntington (or, to use its full name, The Huntington Library, Art Collections, and Botanical Gardens), has one of the best archives in the country for British and American history and literature, 15th century European books, history of science, maritime history, and Renaissance exploration and cartography. The place has the manuscript collection of Jack London, for cripes sake. They also have an excellent research library that has a surprisingly large number of Japan-related items. In fact, the last time I searched under “Japan” I got more than 1800 hits – we’re not talking about Japanese-language materials, but still, some interesting things can be found. Their art collection, which focuses on British and French art of the 18th and 19th centuries, probably has some ripe examples of Japonisme, though I haven’t investigated.

Most fun, perhaps, is the Japanese garden, which Kendall Brown wrote about in his book Japanese-Style Gardens of the Pacific West Coast. The garden is a wonderful example of American Japonisme and Orientalism that embodies, in a physical landscape, certain ideas about “the East” from the early 20th century. It was, after all, “collected” by the railroad magnate Henry E. Huntington (1850-1927). Like many Japanese-style gardens in the region, it’s questionable authenticity has not prevented it from becoming both a major tourist destination and an important community resource for Japanese Americans. It also happens to be incredibly beautiful, like the sprawling cactus garden, the extensive Australian garden, the British herb and rose gardens, and the newly installed Chinese “Garden of Flowing Fragrance.”

A lot of people, particularly scholars who work in American history, spend time researching and writing, and enjoying the grounds, at the Huntington during the week. It’s not a bad life, from what I can tell. The research program includes conferences, fellowships, and other interesting opportunities.

So, finally, I wanted to mention that the Huntington is hosting a conference, April 4-5, 2008, titled “Pacific Passages: Connecting East, West, and Center in the Pacific Basin.”

Histories of the Pacific, histories in the Pacific, histories around the Pacific—the proliferation and increasing prominence of Pacific history offers various ways to conceptualize its geographies and understand its peoples. This conference examines different approaches to Pacific histories and cultural encounters throughout the Basin and also considers oceanic frameworks as a historical methodology.

The schedule includes two papers that are obviously related to Japan, and others may also be related: David Howell, “Homeland Security: Preparing for Foreign Invasion in Late Tokugawa Japan” and Andrea Geiger, “Cross-Pacific Debates about the Contours of Race and Class: Meiji-Era Japanese Immigrant Challenges to North American Categories of Exclusion.”

To register, email skrasnoo@huntington.org or call 626-405-3432.

The Impossible Nude

Following up a quote on Thomas Hahn’s site I got a hold of Francois Julien’s The Impossible Nude – Chinese Art and Western Aesthetics.1 Jullien is interested in the question of why the Chinese artistic tradition did not have nudes and, by extension, why the Western tradition was so obsessed with them.

The existence of the nude is made possible primarily by what, which the Greeks, we came to understand by “form”: a form that functions as a model, whose background is often mathematized and geometrized, and takes on the value of an ideal as it fixes an identity of essence (the eidos) -this is what was consecrated by the nude. p.33

Durer

The nude is thus a form in the Platonic sense, “whose contour detaches it from the world and resettles it in itself” (p.75) and always posed (p.78) Chinese artists were always more interested in things in relationship to their surroundings, and thus were always uninterested in painting “mirrored reflections” (which Da Vinci, for one very much wanted to do), avoided poses and instead wanted to capture the “natural” which is seen through interaction.

Here is an illustration from the painter’s manual The Mustard Seed Garden, showing a man

 

Fall Walk

“in the autumn, in the mountains, walking with hands clasped behind his back.” This indicates that the natural context-the setting and the season-which is defined beforehand, but not actually depicted, is considered inseparable from the representation of the figure itself. Otherwise, the critic goes on to say, “the mountain is merely a mountain, and the man is merely a man.”…then the intimacy of their relationship falls apart and the co-originality that the painter was trying to trace….is lost. p.55 Jullien compares the nude to something Chinese artists really liked to paint: rocks. He quotes Su Dongpo “Men, animals, palaces and even tools all have a constant form; on the other hand, mountains, rocks, bamboos, trees, waves or mist have no constant form but nevertheless possess an internal coherence that is constant” Rocks are called ‘cloud-roots’ because they contain just the same active qi as a cloud or a human, and that is what the artist should depict.(p.71)

Ni Zan

Here is Ni Zan’s “elegant rock” which “remains blurred, vaguely defined, indistinct.. The mass of concentrated energy is not circumscribed within the form of the rock…and its “form” without being completely individualized is not inconsistent either, contains all forms, or rather it excludes none. (p.77)”It’s a good book, and if you ever wondered why Chinese painting and Western painting did not come together very well in the 20th century you should read it.

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  1. U of Chicago Press, 2007. It’s a good book, if a little sinological for me.  

Five Things That Didn’t Happen (But Might Have)

Kate Merkel-Hess at China Beat had an intriguing list last month, Five Chinese Historical Events That Don’t Get Much Attention, (2/ 11/08) which was in turn inspired by Jeremiah Jenne’s piece at Jottings From the Granite Studio about the most important Chinese historical figure most people have never heard of.

That got me to thinking – why discriminate against an event just because it didn’t happen? Very un-Daoist. So to kick things off, here are five things that didn’t happen. We don’t mean alleged “failure” to follow European models, such as the once common “failure to modernize,” but turns not taken. You’ll see that they fall into different ontological categories, since there is a lot of wiggle room when it comes to things that don’t exist.

 

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How things work (in China)

I have been reading a really interesting book on Chinese tools. Well, actually the most interesting thing about it is the title:

Hommel, Rudolf P. China at Work; an Illustrated Record of the Primitive Industries of China’s Masses, Whose Life Is Toil, and Thus an Account of Chinese Civilization,1

You can’t get a much more orientalist sub-title than that. The author spent a lot of time in China between 1921 and 1930 and toured all over Central China photographing and describing Chinese tools. He seems to know a good deal about tools and making stuff, which means he occasionally makes interesting observations about the effectiveness of these tools and comparisons with versions in other countries.2

 

Here in honor of Gary Gygax is a crossbow trap

Crossbow trap

 

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  1. Cambridge, Mass., M.I.T. Press, 1969. (Re-print of the 1937 edition 

  2. He does tell us that he like the Chinese, and after telling us how to make he explains that this is the origin of the false rumor that Chinese like to eat rotten eggs 

Macroeconomics never gives you more than an overview

Stephen Roach, Chairman of Morgan Stanley Asia has an op-ed in the New York Times (UPDATE: reprinted in Japan Focus) arguing that Japan’s post-bubble recession and fifteen year stagnation may well be what the US economy is facing now. I think he’s right about some of the dangers, but I think he’s leaving out some critical components. Macroeconomics never gives you more than an overview, and I think the situation in the US is much worse.

Roach writes:
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First, kill all the Legalists

Sam at Useless Tree draws our attention to a really interesting website called 新法家(in English the New Legalist) I’m not quite sure who these people are, but the website is out of Beijing and quite impressive. Sam does not much care for them, seeing them as “nationalists who are appropriating ancient Legalist texts, together with some Taoist volumes, to fashion a neo-traditionalist legitimation for a contemporary Chinese assertion of power globally” That sounds about right to me.

Sam is much bothered by their attempts to tie together Legalism and Daoism, but to me it just sounds like Huang-Lao stuff, as there were lots of links between Legalism and Daoism right from the start. I am also not that surprised to find people looking back to the Legalists themselves, as this was a big item in the early 20th century as people began going through the Chinese tradition looking for the genealogy of a modern nation in the Chinese past. The New Legalists may seem weird, but they have a long way to go before they can match up with Kang Youwei.

Of course these people are looking into the past to find something different than the Chinese thinkers of a century ago. They are finding environmentalism and anti-globalization ideas, along with lots of occasions for nationalist chest-thumping. As Sam points out it is pretty bizarre to see Han Fei as a Green. Still they do seem to be drawing on a pretty wide range of classical thought. According to their mission statement

The Chinese people have built up a unique and comprehensive thought system covering medicine, economics and politics. This system aims at a dynamic balance between different parts of the human body, between different groupings of people within a society, and between human society and nature. All its subsystems follow the principle of “guiding changes towards balance” (from The Yellow Emperor’s Four Cannon ) economically, arranging production and consumption in accord with the change of seasons and with nature’s productive capabilities at the time; and politically, allocating limited resources among people according to their respective contributions to the society1

This actually does sound bit like a lot of the Warring States-Han stuff you would find in Mark Edward Lewis’s work. For me the most interesting part is the twisted Marx quote at the end. A lot of the site has an anti-capitalist feel, or at least a feel that China is best off if it does not totally adapt American culture. Part it seems to be vaguely Maoist egalitarianism and concern for the workers, “end capital’s hegemony in the name of liberty” and part of it an even more vague utopianism that owes something to Mao and also a lot various bits of traditional Chinese thought.


  1. 中国人还在这一伟大哲学的基础上建立起了独特的医学、政治、经济体系——她追求人体内部、社会与自然、社会内部各阶层之间 的动态平衡,她的医学、政治、经济都按“应化之道、平衡而止”(《黄帝四经·道法》)的原则构建——经济上,她按照自然时序与产出能力进行生产和消费;政 治上,她按一个人对社会贡献的大小对有限的资源进行配置  

Why is Obama winning?

There are few things I enjoy more than following American elections in the Chinese press. Zaobao (from Singapore) had something recently on Obama and why he is doing so well. Like many foreigners I think they were mystified by this unknown becoming known, but they put some thought into it. They rejected the Clinton camp’s suggestion that his success is entirely attributable to his 花言 (flowery words). After all, many prominent officials and movie stars are supporting him. I get the impression that they think American voters are sheep (which I might be inclined to agree with) but that they also think that American elites are significantly harder to fool (which I really doubt, but then I’m an American not a Confucian). They do point out that as a young man Obama can deal with the grind of the campaign trail, and that he has been successful in raising small amounts of money from lots of people. The one I found most interesting is that they claim that people are worried about American becoming a banana republic if we end up with a Clinton to follow a Bush who followed a Clinton who followed a Bush. I have heard Americans mention that, but I doubt many Democratic primary voters will switch to McCain on that basis. I guess from an Asian perspective that problem jumps out at you more. It’s a nice piece that explains things pretty well. As much as I find some of their thinking odd I wish the American press ran articles on foreign elections that were half as informative.

Strawberry Cake

One of my students is doing an honors thesis on kissing. Specifically she is looking at a series of articles from Ling Long that explain what kissing is and why Shanghai women of the 1930’s should be doing more of it if they want to be modern women. One of the interesting things about Ling Long is that there are lots of pictures of scantily clad women (usually foreigners) in it. She suggests that the pictures (like the text of most of the issues) was intended to present modern, western ideas about sexuality and the role of women to Chinese people in a way that was both intimate and at the same time foreign enough to not be threatening. Thus foreign movie stars were great subjects.

It is an interesting thesis1 in part because it is interesting and in part because I think it offers an insight that helps us to understand some aspects the modern Chinese press. Even fairly serious Chinese papers tend to have a lot of cheesecake shots (almost always women. sorry) like this set of photos of Jessica Alba2 Part of it is just the idea that this will sell papers, but I find the text fascinating, as they seem to be dressing it up as something that will help us (Chinese readers) to understand the West. Here is the caption

中国日报网环球在线消息:Jessica Alba在出演电影《甜心辣舞》中,用热辣的舞姿,加上漂亮的脸蛋,赢取了“美国甜心”的称号。一组Jessica Alba的内衣泳装照,甜蜜诱人好似草莓蛋糕,解释了秀色可餐一词。

An overly literal translation might be: Jessica Alba in the film Honey? used her hot and spicy dancing and  and a beautiful face to win the title of “America’s Sweetheart”3 In this set of photos of Jessica Alba in her underwear and swimwear she is as sweet and tempting as a strawberry cake, looking both sexy and tasty?

Very weird, in part because it is always hard to really translate some types of language, but also because the ‘serious’ American press does not dress up its pictures of movie stars this way. But as long as it helps you to understand Americans I guess it is o.k.


  1. Which she explains much better than this 

  2. No, I have not done a comparative study of the frequency of scantily clad women in the Western and Chinese press 

  3. This is the hook for the ‘story’ and it seems quite wrong 

Perennial Question: Martial Arts in Chinese Militaries?

I got a query from a reader which echoes a question I’ve gotten in class1 many times:

With China’s long history of martial arts, how prominent can it be said such arts were (if at all) in actual military affairs outside the realm of legends?

My immediate thought is that there’s almost no connection whatsoever: what little I have read of pre-modern Chinese military theory places most of the emphasis on strategy (e.g. Sunzi) and unit organization (e.g. Huang, 1597). In massed combat, individual fighting skills mostly take a backseat to numbers, tactics, technology and discipline. There are times when smaller numbers of skilled warriors can overcome a disadvantage of numbers — the Mongols come to mind — but their combat style isn’t really part of any conventional martial art tradition. Chinese culture being largely Confucian, there isn’t as much of a warrior literature, either2 in which individual soldiers might be valorized for bravery, strength and skill. There is some of that which comes out of the operatic/dramatic tradition, and Ming literature like the Romance of the Three Kingdoms, but it’s a late development with almost no connection to actual military practices.

In fact, about the only place I’ve run across a connection between martial arts and combat is in histories of the Boxer Uprising like Paul Cohen’s History in Three Keys, in which he actually argues that most of the “fighting style” of the Fists United in Righteousness, etc., was based on imitation of stage fighting. Anyone know of other examples, or major sources that I’ve missed?


  1. Actually, the question is usually much less carefully phrased, and I hear it at least as often in Japanese history  

  2. Again, I’m think of Japanese examples like the Heike monogatari, etc.  

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