User:LordAmeth/Notes
NOTES for later articles:
As a rule, foreign women were not allowed on Dejima. The only women allowed to go there were courtesans from the Maruyama brothel. Officially, the yûjo had to leave the following morning, but in practice they were permitted to stay for a week. However, by the end of the Edo period in the early nineteenth century, enforcement of the restriction had become so lax that Captains were able to take yûjo onto the streets outside Dejima, or even smuggle courtesans to Shanghai in their ships. It was not only foreigners, but also the Japanese who enjoyed the company of the yûjo when they took a trip to Nagasaki from Edo or Kyoto. Maruyama was an oasis in the desert for the Dutch and Chinese who were otherwise confined to their restricted locations.
Johnson, Hiroko. Western Influences on Japanese Art: The Akita Ranga Art School and Foreign Books. Amsterdam: Hotei Publishing, 2005. p22.
p23 for details on Dejima. --
Katsushika Oi did not exclusively paint paintings and not produce any prints. In 1835, Hokusai considered having her do the preparatory sketches for a series of Hyakunin Isshu prints, but ended up doing them himself. In 1829, she had had her own Hyakunin Isshu series published, entitled 千歳百人一首倭寿 (Senzai Hyakunin Isshu Yamato Kotobuki). - Ewa Machotka, "Visual Genesis of Japanese National Identity" p18
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Lane p311 for pigments
"As the early Yoshiwara was primarily a place of entertainment and socializing, sex was a discreet and secondary aspect of the business. Indeed, Edward Seidensticker has gone so far as to liken an evening at the Yoshiwara to an afternoon of tea." - Seigle. p152.
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Tim Clark's article on Kabuki, for bios of Nakamura Nakazo I, Yanagisawa Nobutoki, and other good stuff.
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Look into writing an article for Zhu Shunsui 朱舜水 (1600-82), who fled to Japan rather than be ruled by Manchus.
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- Ataka & Kanjincho take place in Komatsu, Ishikawa-ken
- The distinctive green, brown, black striped kabuki curtain is said to have originated when Iemitsu donated a ship's sail to the Nakamura-za as a reward for service, the pattern being adopted by other theatres in the Meiji period. - Omoto, Lisa Ann M. and Kathy Welch. "Kabuki Spectacle." in 101 Years of Kabuki in Hawai'i. pp50-54.
- Tsuruya Shôgen 鶴屋将監 - wakô raider
- Kaiin Jôko, a monk from Kyoto who became abbot of Shuri Enkakuji
- Mie and Yarazamui gusuku lasted until the pre-war, and can be seen in a photo from Meiji 24. - Uezato Takashi. Fireweapons of Ryukyu. p86. More on the castle too.
- Hachisuka clan were not samurai!? but were merchants, arms merchants.
- Gusuku article needs expansion, from articles, from Kerr, etc. - currently cites only Kitahara
- Publishing: Under the repressive regime of Matsudaira Sadanobu (c. 1787-97), much intellectual production came to be circulated in manuscript form. Anything discussing, let alone criticizing, the shogunate's policies would never pass the publishing guild censors, and could earn the author some serious punishments. So, instead of submitting things for publication, writers would submit them directly to prominent or well-connected samurai officials, in the hopes of influencing policy in that way.
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Regions of the Ryukyus were referred to by poetic placenames using the word for "mountain." Prior to the unification of the island, Okinawa itself was divided into Hokuzan, Chûzan, and Nanzan. The distant Miyako and Ishigaki Islands were referred to as Taiheizan 太平山, Iheya and Izena, just west of Okinawa, were referred to as Yôhekizan 葉壁山, and the Kerama Islands were called Bashizan 馬歯山. - Kitahara Shûichi. A Journey to the Ryukyu Gusuku 琉球城紀行。 Naha: Miura Creative, 2003. p84.
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"The magistrate offices of North and South Edo, which took turns overseeing city administration, from fire prevention and publishing activities [i.e. censorship], to the adjudication of civil suits, operated with a staff of about 500 samurai officers. Of this number, only 24 were assigned to 'patrol duties' resembling the function of a modern police officer." - Ikegami Eiko, Bonds of Civility, p307.