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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.

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]], [[shamisen]] music, [[nihon buyo|Japanese dance]], 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]], [[shamisen]] music, [[nihon buyo|Japanese dance]], 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 [[Kobayashi 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>