Changes

*Seikanron

*Seikanron

*Satsuma Rebellion & other shizoku rebellions

*Satsuma Rebellion & other shizoku rebellions

*Constitution

*Constitution

*National Diet

*National Diet

Japan also began along the path of imperialism in the Meiji period, annexing [[Ezo]] ([[Hokkaido|Hokkaidô]]) in [[1869]], the [[Ryukyu Islands|Ryûkyû Islands]] in [[1879]], [[Taiwan]] in [[1895]], and [[Colonial Korea|Korea]] in [[1905]]-[[1910]].

Japan also began along the path of imperialism in the Meiji period, annexing [[Ezo]] ([[Hokkaido|Hokkaidô]]) in [[1869]], the [[Ryukyu Islands|Ryûkyû Islands]] in [[1879]], [[Taiwan]] in [[1895]], and [[Colonial Korea|Korea]] in [[1905]]-[[1910]].

==Economics==

==Economics==

In terms of commerce, industry, and infrastructure, the country modernized perhaps more quickly than any country ever has. Railroads, electricity, gaslamps, steamships, and countless other technological advances which began to be introduced in the [[Bakumatsu]] era spread, quickly becoming ubiquitous. Banks, factories, import-export companies, and the first ''[[zaibatsu]]'' and ''[[keiretsu]]'' conglomerates, among other sorts of modern corporate businesses abounded, and Japan quickly became a competitive force on the world stage.

In terms of commerce, industry, and infrastructure, the country modernized perhaps more quickly than any country ever has. Railroads, electricity, gaslamps, steamships, and countless other technological advances which began to be introduced in the [[Bakumatsu]] era spread, quickly becoming ubiquitous. Banks, factories, import-export companies, and the first ''[[zaibatsu]]'' and ''[[keiretsu]]'' conglomerates, among other sorts of modern corporate businesses abounded, and Japan quickly became a competitive force on the world stage. Modern technologies for factory mass production became widespread, particularly for the production of textiles. For the entire Meiji period, textiles accounted for roughly half of all of Japan's exports.<ref>Ellen Conant, "Cut from Kyoto Cloth: Takeuchi Seihô and his Artistic Milieu," ''Impressions'' 33 (2012), 74.</ref>

 

The government hired some 3,000 [[oyatoi gaikokujin|foreigners]] to serve as advisors and teachers in guiding these infrastructure efforts, and in teaching the first generation of Japanese experts at the newly established Imperial universities. The majority by far were experts in engineering and architecture, and were employed by the [[Ministry of Education]].<ref>William Coaldrake, ''Architecture and Authority in Japan'', Routledge (1996), 216.</ref> Numerous iconic new modern buildings were constructed at this time, combining modern Western style, methods, and materials with Japanese traditional elements.

The government hired some 3,000 [[oyatoi gaikokujin|foreigners]] to serve as advisors and teachers in guiding these infrastructure efforts, and in teaching the first generation of Japanese experts at the newly established Imperial universities. The majority by far were experts in engineering and architecture, and were employed by the [[Ministry of Education]].<ref>William Coaldrake, ''Architecture and Authority in Japan'', Routledge (1996), 216.</ref>

Much of these economic changes were driven by individual entrepreneurs, including many of the former merchant class (such as the founders of [[Echigoya|Mitsukoshi]], [[Takashimaya]], etc.), and also many of the former samurai class; for example, the [[Shimazu clan]] shifted their family wealth into the Shimazu Corporation, and low-ranking samurai [[Iwasaki Yataro|Iwasaki Yatarô]] founded [[Mitsubishi]]. But much of this economic modernization and growth was also fueled by the government, which promoted nationalist slogans such as ''bunmei kaika'' (文明開化, "civilization and enlightenment"), ''fukoku kyôhei'' (富国強兵, "prosperous country, strong military"), ''wakon yôsai'' (和魂洋才, "Japanese spirit, Western technique"), and ''shokusan kôgyô'' (殖産興業, promotion of industry).

Much of these economic changes were driven by individual entrepreneurs, including many of the former merchant class (such as the founders of Mitsukoshi, etc.), and also many of the former samurai class; for example, the [[Shimazu clan]] shifted their family wealth into the Shimazu Corporation, and low-ranking samurai [[Iwasaki Yataro|Iwasaki Yatarô]] founded [[Mitsubishi]]. But much of this economic modernization and growth was also fueled by the government, which promoted nationalist slogans such as ''bunmei kaika'' (文明開化, "civilization and enlightenment"), ''fukoku kyôhei'' (富国強兵, "prosperous country, strong military"), ''wakon yôsai'' (和魂洋才, "Japanese spirit, Western technique"), and ''shokusan kôgyô'' (殖産興業, promotion of industry).

Meanwhile, the government began printing & minting new [[currency]] in [[1868]], establishing the [[yen]] as the new Japanese currency in [[1871]], and establishing the [[Bank of Japan]] in [[1882]].<ref>Pamphlets, Currency Museum of the Bank of Japan.</ref>

==Society==

==Society==

In response to this, however, a number of scholars, writers, and artists perceived the loss of regional folk traditions as an existential threat to Japanese identity. They argued that Japanese identity was grounded fundamentally in folk traditions, including especially folk arts (''[[mingei]]'') such as pottery and textiles, and that this was being actively destroyed by the nationalization and modernization efforts; as Japan modernized, they found in [[Hokkaido|Hokkaidô]], [[Okinawa]], [[Colonial Korea|Korea]], and [[Taiwan]] what they claimed was an earlier, truer form of Japanese culture, which was being lost and which needed to be recovered. While their efforts certainly did serve to revive or preserve many folk traditions which might otherwise have been lost, it is important to note that the ''Mingei'' movement was not in fact rescuing these traditions as they truly had been in ages past, but rather was re-inventing, re-conceptualizing these arts; the ''Mingei'' vision of Japanese culture, history, and identity was an invented tradition<ref>Eric Hobsbawm and Terence Ranger. ''The Invention of Tradition''. Cambridge University Press, 2012.</ref> no less so than the more official and mainstream efforts to promote National arts.

In response to this, however, a number of scholars, writers, and artists perceived the loss of regional folk traditions as an existential threat to Japanese identity. They argued that Japanese identity was grounded fundamentally in folk traditions, including especially folk arts (''[[mingei]]'') such as pottery and textiles, and that this was being actively destroyed by the nationalization and modernization efforts; as Japan modernized, they found in [[Hokkaido|Hokkaidô]], [[Okinawa]], [[Colonial Korea|Korea]], and [[Taiwan]] what they claimed was an earlier, truer form of Japanese culture, which was being lost and which needed to be recovered. While their efforts certainly did serve to revive or preserve many folk traditions which might otherwise have been lost, it is important to note that the ''Mingei'' movement was not in fact rescuing these traditions as they truly had been in ages past, but rather was re-inventing, re-conceptualizing these arts; the ''Mingei'' vision of Japanese culture, history, and identity was an invented tradition<ref>Eric Hobsbawm and Terence Ranger. ''The Invention of Tradition''. Cambridge University Press, 2012.</ref> no less so than the more official and mainstream efforts to promote National arts.

Trough participation in [[World's Fairs]], the establishment of [[Tokyo National Museum|Imperial (National) Museums]], the establishment of a system of [[National Treasures]], and the promotion of particular art forms, among other means, the government worked to prove to the Japanese people, and to the world, that Japan was modern, civilized, and possessed just as worthy a tradition and history as any other great nation. Many new art forms, such as ''[[Nihonga]]'' (neo-traditional painting) and ''[[yoga|yôga]]'' (Western-style oil painting) were born out of this, while many older art forms, such as [[Noh]], [[kabuki]], and [[tea ceremony]], were formalized or re-invented as "national traditions." Others, such as ''[[ukiyo-e]]'', simply continued along, changing and developing but not being re-conceptualized entirely. Artists such as [[Kobyashi Kiyochika]] designed ''ukiyo-e'' propaganda prints which served to report on national events, such as the promulgation of the Constitution, and the Sino-Japanese and Russo-Japanese Wars. By the end of the period, however, ''ukiyo-e'' had fallen away, and had been replaced by modern print forms such as ''[[shin hanga]]'' ("new prints") and ''[[sosaku hanga|sôsaku hanga]]'' ("creative prints"). Photography, postcards, newspapers, and a variety of other modern arts & cultural forms also developed and became widespread in the Meiji period.

Through participation in [[World's Fairs]], the establishment of [[Tokyo National Museum|Imperial (National) Museums]] in the 1880s, the establishment of a system of [[National Treasures]], and the promotion of particular art forms, among other means, the government worked to prove to the Japanese people, and to the world, that Japan was modern, civilized, and possessed just as worthy a tradition and history as any other great nation. Many new art forms, such as ''[[Nihonga]]'' (neo-traditional painting) and ''[[yoga|yôga]]'' (Western-style oil painting) were born out of this, while many older art forms, such as [[Noh]], [[kabuki]], and [[tea ceremony]], were formalized or re-invented as "national traditions." Others, such as ''[[ukiyo-e]]'', simply continued along, changing and developing but not being re-conceptualized entirely. Artists such as [[Kobyashi Kiyochika]] designed ''ukiyo-e'' propaganda prints which served to report on national events, such as the promulgation of the Constitution, and the Sino-Japanese and Russo-Japanese Wars. By the end of the period, however, ''ukiyo-e'' had fallen away, and had been replaced by modern print forms such as ''[[shin hanga]]'' ("new prints") and ''[[sosaku hanga|sôsaku hanga]]'' ("creative prints"). Photography, postcards, newspapers, and a variety of other modern arts & cultural forms also developed and became widespread in the Meiji period.

The city of [[Kyoto]] was intentionally shaped into a symbol of Japan's great, noble, past, and numerous historical figures (such as [[Kusunoki Masashige]]) were revived and celebrated as national heroes. [[Nitobe Inazo|Nitobe Inazô]] invented and promoted the notion of ''[[bushido]]'' as a corollary to Europe's great tradition of chivalry. A European-style aristocratic peerage, complete with titles equivalent to Baron, Duke, and Marquis, was implemented, and many classical government positions were given equivalent European names; for example, the post of ''[[Naidaijin]]'' was named [[Lord of the Privy Seal]], and was, at least partially, patterned in its new, modern incarnation, after the position of Lord of the Privy Seal in European courts.<ref>Ben Ami Shillony, "Restoration, Emperor, Diet, Prefecture, or: How Japanese Concepts were Mistranslated into Western Languages," ''Collected Writings of Ben-Ami Shillony'', Edition Synapse (2000), 67.</ref>

The city of [[Kyoto]] was intentionally shaped into a symbol of Japan's great, noble, past, and numerous historical figures (such as [[Kusunoki Masashige]]) were revived and celebrated as national heroes. [[Nitobe Inazo|Nitobe Inazô]] invented and promoted the notion of ''[[bushido]]'' as a corollary to Europe's great tradition of chivalry. A European-style aristocratic peerage, complete with titles equivalent to Baron, Duke, and Marquis, was implemented, and many classical government positions were given equivalent European names; for example, the post of ''[[Naidaijin]]'' was named [[Lord of the Privy Seal]], and was, at least partially, patterned in its new, modern incarnation, after the position of Lord of the Privy Seal in European courts.<ref>Ben Ami Shillony, "Restoration, Emperor, Diet, Prefecture, or: How Japanese Concepts were Mistranslated into Western Languages," ''Collected Writings of Ben-Ami Shillony'', Edition Synapse (2000), 67.</ref>