By Maki Fukuoka
This publication is an exploration of the method wherein the Shohyaku-sha formed the idea that of shashin. As such, it disrupts the dominant narratives of images, paintings, and technology in Japan, supplying a prehistory of jap images that calls for the authorized historical past of the self-discipline to be rewritten.
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Additional resources for The Premise of Fidelity: Science, Visuality, and Representing the Real in Nineteenth-Century Japan
1765 four. 10Kondō Shūen, Reseda Odorata (mignonette), from Honzō kai buppin mokuroku, 1835 four. 11Portrait of C. P. Thunberg, Voyage de C. P. Thunberg au Japon, 1796 four. 12Kondō Shūen, Portrait of C. P. Thunberg, from Itō Keisuke, Taisei honzō meiso, 1829 four. 13Aōdō Denzen, Shinakawashihoi, from Edo meisho zu, 1804–1818 four. 14Katsushika Hokusai, Orchid, from Santei gafu, 1816 four. 15Katsushika Hokusai, Plum, from Santei gafu, 1816 four. 16Kawahara Keiga, Magnolia, from Sōmoku kajitsu shashin zufu, 1868 four. 17Iwasaki Kan’en, Chōsen asagao, from Honzō zufu, earlier than 1830 five. 1Shimo’oka Renjō, Portrait of Kimura Masanobu, 1862 five. 2Inside of the field protecting the portrait of Kimura Masanobu, 1862 five. 3Uchida Kuichi, Portrait of Itō Keisuke, 1871 five. 4Recto, Uchida Kuichi, Portrait of Itō Keisuke, 1871 five. 5Portrait of Iinuma Yokusai, 1863 five. 6Shimizu Kōsui, copied after Charles Wirgman, Portrait of Itō Keisuke, 1861 five. 7Pierre Jean François Turpin, Rhapontic, from Flore Médicale, 1814–1820 five. 8Takahashi Yuichi, Bodaiju, from “Kaiunrō zufu zassan,” 1863–1865 five. 9Itō Keisuke, Snow pea, from “Kaiunrō zufu zassan,” 1863–1865 colour plates stick to bankruptcy three Acknowledgments it'd be a real understatement to claim that this undertaking got here simply. it'd be much more erroneous to represent this undertaking as my solo activity. The generosity and aid of associations, colleagues, buddies, and relatives were instrumental to this book. because the “genesis” second in a graduate seminar at the highbrow historical past of contemporary Japan within the fall of 1999, Professor Tetsuo Najita’s perception and feedback helped greatly in modeling this undertaking. within the division of paintings heritage on the collage of Chicago, the place I accomplished my graduate paintings, Professors Tom Gunning and Joel Snyder urged me with care and ability to guide my principles from a (sometimes beneficial) erroneous course again to a suitable course. Tom’s generosity in sharing his wisdom and ideas of modernity proceed to form my curiosity and study. operating with Joel has opened many closed doorways of inquiry approximately images and representations and guided me into unexplored territories. Professor Susan Burns stepped into this undertaking on the ultimate degree of dissertation, and her feedback introduced into mild a confident standpoint at the broader old panorama that grew to become crucial in revision. In Tokyo, Professor Kinoshita Naoyuki on the collage of Tokyo kindly authorised me to his kenkyūshitsu in November 2001. His eye for items and background, and his uncanny manner of navigating the unusual proceed to mesmerize and encourage me. Kinoshita-sensei’s humor gave me a profound experience of convenience that lasts to today. seeing that my first archival study journey to Nagoya in 2001, Endo Shōji has been greater than beneficiant in sharing his assortment and information of fabrics concerning the Shōhyaku-sha. I merely wish that I did a few justice to the wealth of the Shōhyaku-sha fabric. additionally in Nagoya, Yokoyama Susumu of the Higashiyama Botanical backyard welcomed me with nice kindness in the course of my repeated visits to the files.