國立虎尾科技大學 |

Political and ritual usages of portraits of Japanese emperors in eighteenth and nineteenth centuries.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Political and ritual usages of portraits of Japanese emperors in eighteenth and nineteenth centuries./
Author:	Morishima, Yuki.
Description:	1 online resource (295 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 75-06(E), Section: A.
Contained By:	Dissertation Abstracts International75-06A(E).
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9781303780028

Political and ritual usages of portraits of Japanese emperors in eighteenth and nineteenth centuries.
Morishima, Yuki.

Political and ritual usages of portraits of Japanese emperors in eighteenth and nineteenth centuries. - 1 online resource (295 pages)

Source: Dissertation Abstracts International, Volume: 75-06(E), Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2013.

Includes bibliographical references

This dissertation examines portraits of Japanese emperors from the pre-modern Edo period (1603-1868) through the modern Meiji period (1868-1912) by questioning how the sociopolitical context influenced the production of imperial portraits. Prior to Western influence, premodern Japanese society viewed imperial portraits as religious objects for private, commemorative use; only imperial family members and close supporters viewed these portraits. The Confucian notion of filial piety and the Buddhist tradition of tsuizen influenced the production of these commemorative or mortuary portraits. By the Meiji period, however, Western portrait practice had affected how Japan perceived its imperial portraiture. Because the Meiji government socially and politically constructed the ideal role of Emperor Meiji and used the portrait as a means of propaganda to elevate the emperor to the status of a divinity, it instituted controlled public viewing of the images of Japanese emperors. Such differences between the private and public functions of imperial portraits suggest that imperial portraits from the pre-modern and post-Meiji periods developed for different purposes, moving from a religious, commemorative purpose to a more secular, political one. By examining the psychological responses to the representations of Japanese emperors through primary documents, including official documents, diaries, and letters, I show that images exerted an emotive force on viewers. I also address the following questions: 1) What makes the portrait more than an image? 2) What gives that image meaning? 3) And how can a portrait become the focus of devotion? Imperial portraits, whether used for religious or political reasons, maintain a spiritual connection to reality and illustrate the power of representation. I conclude that this research on portraits of Japanese emperors will help scholars understand how the power of representations did affect changes in behavioral patterns from the Edo to the Meiji periods.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781303780028Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

Political and ritual usages of portraits of Japanese emperors in eighteenth and nineteenth centuries.
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500 $a Source: Dissertation Abstracts International, Volume: 75-06(E), Section: A.
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520 $a This dissertation examines portraits of Japanese emperors from the pre-modern Edo period (1603-1868) through the modern Meiji period (1868-1912) by questioning how the sociopolitical context influenced the production of imperial portraits. Prior to Western influence, premodern Japanese society viewed imperial portraits as religious objects for private, commemorative use; only imperial family members and close supporters viewed these portraits. The Confucian notion of filial piety and the Buddhist tradition of tsuizen influenced the production of these commemorative or mortuary portraits. By the Meiji period, however, Western portrait practice had affected how Japan perceived its imperial portraiture. Because the Meiji government socially and politically constructed the ideal role of Emperor Meiji and used the portrait as a means of propaganda to elevate the emperor to the status of a divinity, it instituted controlled public viewing of the images of Japanese emperors. Such differences between the private and public functions of imperial portraits suggest that imperial portraits from the pre-modern and post-Meiji periods developed for different purposes, moving from a religious, commemorative purpose to a more secular, political one. By examining the psychological responses to the representations of Japanese emperors through primary documents, including official documents, diaries, and letters, I show that images exerted an emotive force on viewers. I also address the following questions: 1) What makes the portrait more than an image? 2) What gives that image meaning? 3) And how can a portrait become the focus of devotion? Imperial portraits, whether used for religious or political reasons, maintain a spiritual connection to reality and illustrate the power of representation. I conclude that this research on portraits of Japanese emperors will help scholars understand how the power of representations did affect changes in behavioral patterns from the Edo to the Meiji periods.
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