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Following the Meiji Restoration which overthrew the Tokugawa shogunate, a new Imperial government under the Meiji Emperor was established, patterned after the constitutional monarchies and democracies of the West. After much consideration and debate, a Constitution was written up, and promulgated in [[1889]].

Following the Meiji Restoration which overthrew the Tokugawa shogunate, a new Imperial government under the Meiji Emperor was established, patterned after the constitutional monarchies and democracies of the West. After much consideration and debate, a Constitution was written up, and promulgated in [[1889]].

That said, though the history of this period is often, necessarily, simplified, the Meiji government did not, in fact, have a set plan from the beginning, which they then smoothly laid out step-by-step, addressing all the key problems in good order and good time. Quite to the contrary, during that time from 1868 until the promulgation of the Constitution in 1889, things were quite unstable. There was much disagreement within the government, and without. The Restoration could have fallen apart, or gone in a dramatically different direction, at any of numerous points.  

That said, though the history of this period is often, necessarily, simplified, the Meiji government did not, in fact, have a set plan from the beginning, which they then smoothly laid out step-by-step, addressing all the key problems in good order and good time. Quite to the contrary, during that time from 1868 until the promulgation of the Constitution in 1889, things were quite unstable. There was much disagreement within the government, and without. The Restoration could have fallen apart, or gone in a dramatically different direction, at any of numerous points. One such threat came from [[shizoku rebellions|violent rebellions]] by former samurai (''[[shizoku]]'') who rose up against the government in [[Akizuki Rebellion|Fukuoka]], [[Shinpuren Rebellion|Kumamoto]], [[Hagi Rebellion|Hagi]], and [[Satsuma Rebellion|Kagoshima]] in the 1870s. These rebellions were mostly spurred by the dismantling of samurai privileges, and their successful suppression by the [[Imperial Japanese Army]] was an important step in the cementing of the new government's authority.

 

 

*Abolition of Han. As part of the dismantling of the feudal system, the central government took control of most of the country's [[castles]]. Many were demolished at this time. Some were turned over to governmental or military purposes. Many former ''daimyô'' clans relocated to secondary residences, turning these into primary family mansions; the [[Hotta mansion]] which survives in [[Sakura (city)|Sakura]], [[Chiba prefecture]], and the Shimazu clan's Iso mansion at [[Sengan'en]] in [[Kagoshima]] are examples of this. Many [[daimyo yashiki|domain mansions]] in [[Edo]], [[Kyoto]], and [[Osaka]], though not seized by the government, were abandoned or sold. The existence of so many large compounds, now able to be turned over to other purposes, proved a boon to the development of these modern cities, as many were converted into public schools, government buildings, public parks, and the like.

*Genro, etc.

*Genro, etc.

*Iwakura Embassy

*Iwakura Embassy

*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 shobun|Ryûkyû Islands]] in [[1879]], [[Taiwan]] in [[1895]], and [[Colonial Korea|Korea]] in [[1905]]-[[1910]].

By [[1899]], the [[treaty ports]] system was terminated, and treaty revision finally attained. With the [[Anglo-Japanese Alliance]] of [[1902]], Japan even more fully joined the ranks of the world powers. There remained, however, some continuing sense of inequality, however, which would later grow and contribute to the rise of militarism and ultranationalism in the 1930s-40s.

By [[1899]], the [[treaty ports]] system was terminated, and treaty revision finally attained. With the [[Anglo-Japanese Alliance]] of [[1902]], Japan even more fully joined the ranks of the world powers. There remained, however, some continuing sense of inequality, however, which would later grow and contribute to the rise of militarism and ultranationalism in the 1930s-40s.

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, 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 [[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>