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*Igarashi and Kôami families were shogunate goyô shônin for lacquerwares. - Christine Guth, Art of Edo Japan, ''Yale University Press'' (1996), 95.
*Igarashi and Kôami families were shogunate goyô shônin for lacquerwares. - Christine Guth, Art of Edo Japan, ''Yale University Press'' (1996), 95.
*[[Ryuchikai]] split into [[Japan Art Association]] (Nihon Bijutsu Kyokai; leaders of traditional painting schools seeking to continue the painting traditions as they had been) and [[Kanga-kai]] (founded by Fenollosa & Okakura seeking to create a new blending of traditional and Western styles). Kanga-kai was associated with [[Tokyo Fine Arts School]] (Tokyo Bijutsu Gakko), while the Japan Art Association opposed the Ministry of Education's schools, and was associated with the Imperial Household Ministry. - Matsushima Masato, "Japan's Dream of Modern Art," Remaking Tradition: Modern Art of Japan from the Tokyo National Museum. Cleveland Museum of Art (2014), 22.
*[[Meiji Art Society]] (Meiji Bijutsu kai, est 1889), was the "old school". Its members were mostly graduates of the Kôbu Bijutsu Gakko. In contrast, Kuroda Seiki established his own "new school," the Hakubakai, in 1896.
*[[Kuge]] - lit. "official families", or "families of government." Hereditary occupants of the offices of the state. In 1868, there were 137 kuge houses, of which 97 were branches of the Fujiwara, and another 31 were either Sugawara, Kiyowara, Taira, or Minamoto. - Herschel Webb, The Japanese Imperial Institution in the Tokugawa Period, 89.
*[[Kuge]] - lit. "official families", or "families of government." Hereditary occupants of the offices of the state. In 1868, there were 137 kuge houses, of which 97 were branches of the Fujiwara, and another 31 were either Sugawara, Kiyowara, Taira, or Minamoto. - Herschel Webb, The Japanese Imperial Institution in the Tokugawa Period, 89.
