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<h2 class="hd hd-2 unit-title">Day 5 - The Meiji Restoration, 1868</h2>
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<p style="text-rendering: optimizeLegibility; margin-top: 0px; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-stretch: inherit; vertical-align: baseline; color: #313131;"><strong style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-stretch: inherit; line-height: 1.4em; vertical-align: baseline;">Welcome to Module II – Kiyochika ”Gaslit Tokyo“ (1876–1881)!</strong></p>
<p style="text-rendering: optimizeLegibility; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-stretch: inherit; vertical-align: baseline; color: #313131;">This module brings you into the storage facility of the <strong>Freer Gallery of Art and Arthur M. Sackler Gallery</strong>, the Smithsonian Institution‘s museum of Asian art on the National Mall in Washington, D.C. Dr. Ulak will display original Kiyochika prints from the museum‘s collection, joined by Dower, Nagahara, and Sebring.</p>
<p style="text-rendering: optimizeLegibility; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-stretch: inherit; vertical-align: baseline; color: #313131;"><span color="#313131" face="Open Sans, Helvetica Neue, Helvetica, Arial, sans-serif" style="color: #313131; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><span style="caret-color: #313131;">Please note: the filmmakers worked around strict rules and restrictions on the team‘s movement amidst the original artworks, which were touched only by museum staff wearing protective gloves. </span></span></p>
<p style="text-rendering: optimizeLegibility; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-stretch: inherit; vertical-align: baseline; color: #313131;">Module II begins with the birth of Tokyo and the ”Meiji Restoration":</p>
<ul></ul>
<ul>
<ul>
<li><span style="font-size: 1em;">Welcome to the Smithsonian Institution</span></li>
<li>Meiji Restoration & Birth of Tokyo</li>
<li>Meiji "Westernization" Prints</li>
<li>Views of Yokohama </li>
<li>Portrait Of Ōkubo Toshimichi (ca. 1878) </li>
<li>Why do we start with the Meiji Restoration?</li>
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</ul>
<p><strong>Day 5 Quiz - Meiji Restoration </strong></p>
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<h2 class="hd hd-2 unit-title">Welcome to the Smithsonian Institution</h2>
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<p>Here, we see the exterior of the The Arthur M. Sackler Gallery at the Smithsonian Institution, where the video was made:</p>
<p></p>
<h5><img height="auto" width="100%" src="/assets/courseware/v1/d7614b9db3c7d0f1d3e455f1340eebd5/asset-v1:MITx+VTx+1T2019+type@asset+block/ulak-2018_4485.jpg" alt="The Arthur M. Sackler Gallery at the Smithsonian Institution on the Washington, D.C. Mall, one of the two national museums of Asian art, the other being the Freer Gallery of Art. Pictured: James T. Ulak during the video shoot for VTx, March 26, 2018. Photo: Ellen Sebring" /></h5>
<h5><img height="auto" width="48%" src="/assets/courseware/v1/d598df87fbfc942213589280b0d9abe5/asset-v1:MITx+VTx+1T2019+type@asset+block/ulak_fs_3802_2014-03-31.jpg" alt="The Arthur M. Sackler Gallery at the Smithsonian Institution on the Washington, D.C. Mall, one of the two national museums of Asian art, the other being the Freer Gallery of Art. Pictured: James T. Ulak, Ellen Sebring, and John W. Dower during the video shoot for VTx, March 26, 2018. Photo: Ellen Sebring" /> <img height="auto" width="48%" src="/assets/courseware/v1/dda134bb9d9aaa66d4d475d90fc07948/asset-v1:MITx+VTx+1T2019+type@asset+block/ulak-2018_4487_c.jpg" alt="The Arthur M. Sackler Gallery at the Smithsonian Institution on the Washington, D.C. Mall, one of the two national museums of Asian art, the other being the Freer Gallery of Art. Pictured: James T. Ulak, Ellen Sebring, and John W. Dower during the video shoot for VTx, March 26, 2018. Photo: Sylvia Morrison" /></h5>
<p></p>
<p></p>
<h5>Top: James Ulak in front of The Arthur M. Sackler Gallery, one of the two national museums of Asian art, the other being the Freer Gallery of Art.</h5>
<h5>Bottom: "The Castle," the emblematic 1855 Smithsonian Institution Building on the Washington, D.C. Mall which houses the visitor center is adjacent to the two museums of Asian art. Pictured: James T. Ulak, Ellen Sebring, and John W. Dower during the video shoot for VTx, March 26, 2018. (Photos - top & left: Ellen Sebring, right: Sylvia Morrison)</h5>
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<h2 class="hd hd-2 unit-title">Meiji Restoration & Birth of Tokyo</h2>
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<p><strong>Note: there are two video clips in this section!</strong></p>
<p>Commodore Perry‘s 1853–1854 expedition to Japan lead to a rupture in Edo‘s long history that culminated in moving the ancient Imperial seat from Kyoto to Edo, and renaming the city, Tokyo.</p>
<blockquote>
<h5>On September 3, 1868, the city called Edo ceased to exist. The word Edo literally meant “estuary,” referring to the irregular topography of its location—bayside and riverside lowlands rising slowly to westerly hills, land intersected by rivers, streams, and marshes that led to and formed the northwest liminal of a great salt-water bay.</h5>
<h5></h5>
<h5>Edo’s new name became Tokyo, the “Eastern Capital.” This grand title, a self-nomination for equal status with other great capitals of the world, was one of many aspirational gestures of the Meiji government that replaced the deposed Tokugawa shogunate. Japan’s new leaders were intent on achieving parity, or the perception of parity, with the powerful nations of the West.</h5>
<h5></h5>
<h5>As the seat of the shogunate and de facto capital of late-feudal Japan, Edo’s population is estimated to have reached one million by the early decades of the eighteenth century, making it one of the largest cities in the world. Hundreds of daimyō lords who presided over fiefs or domains throughout the land were required to take up part-time residence in Edo annually. Commerce boomed. Popular culture thrived. Samurai warriors without wars became bureaucrats—often, like Kiyochika’s family, relegated to lowly posts and a precarious existence. (Ulak, ”From Edo to Tokyo,“ <em>Kiyochika‘s Tokyo—1</em>, MIT Visualizing Cultures)</h5>
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<h3 class="hd hd-2">What was the Meiji Restoration?</h3>
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<p>Portraits of the Emperor and Empress Meiji</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/2fa5882af883f59030dc23bfc53c4491/asset-v1:MITx+VTx+1T2019+type@asset+block/S1999.87a-c_procession-of-dignitaries_2000w.jpg" alt="“Procession of Dignitaries to the Imperial Diet” by Toyohara Chikanobu, woodblock print, 1890, Arthur M. Sackler Gallery, Smithsonian Institution [S1999.87a-c]" /></div>
<h5><br />Caption (above): <a href="https://asia.si.edu/object/S1999.87a-c/" target="_blank">“Procession of Dignitaries to the Imperial Diet” by Toyohara Chikanobu, woodblock print, 1890 (Arthur M. Sackler Gallery, Smithsonian Institution)</a> [S1999.87a-c] This is external to edX and will open a new window<br /><br /><br /></h5>
<div><img height="auto"" width="75%" src="/assets/courseware/v1/6f96a50e5cd7025b7fdb705b14b2b399/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003.8.2761_emperor_2000w.jpg" alt="“Portraits of the Emperor and Empress Meiji” by Toyohara Kunichika, woodblock print, 1881, Robert O. Muller Collection, Freer-Sackler Gallery of Art, Smithsonian Institution [S2003.8.2761]" /></div>
<h5><br />Caption (above): <a href="https://asia.si.edu/object/S2003.8.2761/" target="_blank">The Emperor from a set of “Portraits of the Emperor and Empress Meiji” by Toyohara Kunichika, woodblock print, 1881, (Robert O. Muller Collection, Freer-Sackler Gallery of Art, Smithsonian Institution)</a> [S2003.8.2761] This is external to edX and will open a new window<!--(click link to see the Empress Meiji portrait)--><br /><br /><br /></h5>
<div><img height="auto" width="75%" src="/assets/courseware/v1/c002edd7a4950c43a5c788f81c1b7ba3/asset-v1:MITx+VTx+1T2019+type@asset+block/Empress-Meiji_FS-7699_17_2000w.jpg" alt="The Emperor from a set of “Portraits of the Emperor and Empress Meiji” by Toyohara Kunichika, woodblock print, 1881, Robert O. Muller Collection, Freer-Sackler Gallery of Art, Smithsonian Institution [S2003.8.2761]" /></div>
<h5><br />Caption (above): <a href="https://asia.si.edu/object/S2003.8.2698/" target="_blank">The Empress from a set of “Portraits of the Emperor and Empress Meiji” by Toyohara Kunichika, woodblock print, 1881 (Robert O. Muller Collection, Freer-Sackler Gallery of Art, Smithsonian Institution)</a> [S2003.8.2761] This is external to edX and will open a new window</h5>
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<h2 class="hd hd-2 unit-title">Meiji ”Westernization“ Prints</h2>
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<h3 class="hd hd-2">Meiji ”Westernization“ Prints</h3>
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<div>Let's take a closer look at the two examples of Meiji ”Westernization“ prints discussed: the <strong>Yokohama Waterfront</strong>, and <strong>Tokyo Ginza</strong>. These Meiji ”Westernization“ prints celebrated Westernization, in contrast to Kiyochika‘s ”somber and austere“ views of Tokyo. </div>
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<h5>Such themes and preoccupations … set [Kiyochika] apart from contemporary printmakers who cast the bright light of day on all manner of Western manifestations in the ”new“ Japan: gaslights and telegraph wires and Western-style buildings, to be sure, but also steamships and trains, upper-class men and women playing classical Western music, doyens of high-society (including the emperor and empress) dressed in the latest European fashions. These early Meiji-era ”Westernization“ prints commonly took the form of expansive and gaudy triptychs. They are what usually come first to mind when one hears the words ”Meiji prints.“ (Ulak, Chapter 1, <em>Kiyochika‘s Tokyo—1</em>, MIT Visualizing Cultures) </h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/f52bfba60d02374fd2104dbb0d5faf6f/asset-v1:MITx+VTx+1T2019+type@asset+block/Y0182_TrainShip.jpg" alt="Picture of a Steam Locomotive along the Yokohama Waterfront, woodblock print by Hiroshige III, ca. 1874 (Arthur M. Sackler Gallery, Smithsonian Institution)" /></div>
<h5><span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;"><br />Caption (above): “Picture of a Steam Locomotive along the Yokohama Waterfront,“ woodblock print by Hiroshige III, ca. 1874 (Arthur M. Sackler Gallery, Smithsonian Institution)<br /><br /><br /></span></h5>
<div style="caret-color: #000000; color: #000000; font-family: -webkit-standard;"><img height="auto" width="100%" src="/assets/courseware/v1/5c39f82e1eed525cdec9e3cd1e3a10e2/asset-v1:MITx+VTx+1T2019+type@asset+block/Y0188_Ginza_lg.jpg" alt="Famous Views of Tokyo: Brick and Stone Shops on Ginza Avenue, woodblock print by Hiroshige III, 1876" /></div>
<h5><br />Caption (above): ”Famous Views of Tokyo: Brick and Stone Shops on Ginza Avenue,“ woodblock print by Hiroshige III, 1876 (Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
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<h2 class="hd hd-2 unit-title">Views of Yokohama</h2>
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<p>We can better understand the ”Westernization“ prints by looking back a decade at <em>Yokohama-e</em> (Yokohama pictures), as seen in these panoramic scenes of ”nearby Yokohama, at the time a fishing village located south of Edo.“ Following Perry‘s expedition, Yokohama became the most dynamic of the treaty ports hosting Western settlements. Dr. Ulak writes:</p>
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<h5>When Commodore Perry’s gunboat diplomacy in 1853 and 1854 forced the Tokugawa rulers to open the country to foreign trade and relations, the greatest immediate visual impact of this Western intrusion did not take place in Edo. Rather, it was to be seen in nearby Yokohama, at the time a fishing village located south of Edo. Yokohama quickly became the most dynamic and cosmopolitan of several “treaty ports” that were opened to foreign residence and commerce, beginning in 1859. It was this little village transformed into a bustling foreign enclave that inspired the first sustained burst of Japanese artistic representations of Western material culture and sartorial fashions—the colorful (and often highly imaginative) genre of woodblock prints known as “Yokohama pictures” <em>(Yokohama-e).</em></h5>
<h5></h5>
<h5>It was only after Edo became Tokyo that the great boom in “Westernization” prints took place, centering on the renamed capital. This coincided with the new government’s ardent campaign to eradicate “evil customs of the past” and seek knowledge “throughout the world.” (The words appear in a famous “Oath in Five Articles” promulgated in April 1868.) “Civilization and enlightenment” (<em>bunmei kaika</em>) became a resonant slogan of the times, with both parts of the conjunction understood to refer to culture and progress as manifest in the West. This was the background to the glittery boosterism seen in the flood of Tokyo-centered woodblock prints that became so voguish in the 1870s and 1880s, celebrating not just Westernization of Tokyo’s physical features, but of its upper-class inhabitants as well. Thus the generic name “enlightenment pictures” (<em>kaika-e</em>). (Ulak, ”From Edo to Tokyo“ <em>Tokyo Modern—I</em>)<br /><br /></h5>
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<p>In 1861, more than a decade earlier than the full Westernization prints above, the busy port of Yokohama was portrayed in a woodblock print by Hiroshige II. <!--(You will need to click on this six panel print to view it larger.) --></p>
<div><img height="100%" width="100%" src="/assets/courseware/v1/a26c50bc51f088eb70ed63523a454f62/asset-v1:MITx+VTx+1T2019+type@asset+block/Y0056_AerialYokoComp_layers_2000w.jpg" alt=""Kanagawa, Noge, and Yokohama" by Hiroshige II, 1861 [Y0056] Arthur M. Sackler Gallery, Smithsonian Institution" /></div>
<h5><br />Caption (above & below): ”Kanagawa, Noge, and Yokohama“ by Hiroshige II, 1861 <!--[Y0056]--> (Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
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<p><strong>Scroll right to explore the image (below):</strong></p>
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<p><br />Smithsonian curator, Ann Yonemura, wrote the following description:</p>
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<h5>Published four months apart in 1861 as independent triptychs under different titles, these six prints together present an aerial view of Yokohama as seen from the bay. The full extent of the city as it appeared in 1861 occupies the center of the composition. Across from the plain, at the far right, Mount Fuji rises above the distant hills. Despite the somewhat sketchy and abbreviated rendering of the scene, Hiroshige II has clearly portrayed the overall scheme of the city of Yokohama and its suburbs. The commercial district of the city at Honchō Itchōme appears in the lower part of the sheet third from the right. Trade goods, possibly bales of raw silk, the principal export commodity of Yokohama, are heaped on the main pier to the left. A large ship flying a striped flag—the artist's impression of an American flag—approaches the harbor from the far left. (Adapted from Ann Yonemura, ”Yokohama: Prints from Nineteenth-Century Japan“ from <em>Yokohama Boomtown,</em> MIT Visualizing Cultures)</h5>
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<p>As with all historical images, seeing is not believing, as John Dower‘s essay points out:</p>
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<h5>The “spin” in all this, however—and it is an amusing twist—is that Japanese depictions of “Yokohama” were, in their own way, as selective, incomplete, and misleading as depictions by the foreigners. These panoramic woodblock prints do bring the scene alive in ways photographs and engravings cannot match. Their elegant “realism” would enable a newcomer to the area to find his or her way around without getting lost. Once the artists actually moved on to producing prints of the foreigners and their daily life in Yokohama, however, they did not actually rely so much on first-hand observation. On the contrary, the inspiration for a large portion of their “Yokohama prints” or “Yokohama pictures” was pictures in other sources. (Dower, ”Commerce“ <em>Yokohama Boomtown</em>, MIT Visualizing Cultures)</h5>
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<p>Compare the woodblock print with a photograph by Felice Beato, one of the earliest photographers to document scenes in China and Japan:</p>
<p><img height="100%" width="100%" src="/assets/courseware/v1/51aade1e6c58de32b605ddce5d3a57a4/asset-v1:MITx+VTx+1T2019+type@asset+block/YA013_Beato_yokohama_2000w.jpg" alt="Felice Beato’s famous photograph of “Yokohama from the Bluff” (detail). The fleet in the harbor is the combined foreign naval expedition that departed from Yokohama to attack Shimonoseki in 1864." /></p>
<h5>Caption (above & below): Felice Beato’s famous photograph of “Yokohama from the Bluff." The fleet in the harbor is the combined foreign naval expedition that departed from Yokohama to attack Shimonoseki in 1864. </h5>
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<p><strong>Scroll right to explore the image (below):</strong></p>
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<h2 class="hd hd-2 unit-title">Portrait Of Ōkubo Toshimichi (ca. 1878)</h2>
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<p>Portrait Of Ōkubo Toshimichi (ca. 1878)</p>
<p>In the video below, Prof. Dower discusses <span style="font-size: 1em;">samurai who embraced Westernization. </span>The portrait will reappear in the next section, about the commercial pressures on the woodblock-print artists from mass-media, such as photography and Western illustrated newspapers.</p>
<blockquote>
<h5>Kiyochika was capable of bringing a print to near photographic realism. His 1878 study of the statesman Ōkubo Toshimichi (1830-78), who was assassinated that same year, is modeled after a photograph dating from around 1870. The “engraving” qualities of the print reflect skills being acquired at the time by a number of Japanese artists under the tutelage of Western artists contracted by the Japanese government to produce currency images. (Ulak, ”Kobayashi Kiyochika“ <em>Tokyo Modern—I</em>).<br /><br /></h5>
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<div><img height="100%" width="100%" src="/assets/courseware/v1/678f582afe881dfe56f9da1b05a8212d/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003.8.1158_Okubo_2000w.jpg" alt="“Portrait Of Okubo Toshimichi” by Kiyochika, 1878" /></div>
<h5><br />“Portrait Of Okubo Toshimichi” by Kobayashi Kiyochika, woodblock print, ca. 1878 (Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
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<h2 class="hd hd-2 unit-title">Why Do We Start with the Meiji Restoration?</h2>
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<p>Why do we start with the Meiji Restoration?</p>
<p>As you know, text and images work in different ways. Texts drawn from a number of Visualizing Cultures units that offer additional insights into these seminal events. The following excerpt from Professor Dower's Visualizing Cultures unit, ”Yokohama Boomtown,“ on the first Western inhabitants of the new treaty port, will give you a fuller picture. </p>
<p></p>
<p><strong>Chaos</strong></p>
<p>The chaos and warfare during this transition, he writes, ”<em>set Japan on a course of pell-mell industrialization and Westernization“</em>:</p>
<blockquote>
<h5>In retrospect, one of the most remarkable aspects of Commodore Perry’s momentous visits to Japan in 1853 and 1854 was that, despite the consternation they caused, no chaos ensued and no one was killed on either side. “Amity” did prevail.</h5>
<h5>Nothing of the sort can be said about the Harris Treaty* and its aftermath. The unequal treaties inflamed patriotic samurai already smoldering with anger over abandonment of the once sacrosanct seclusion policy. And when these treaties actually came into effect beginning in mid 1859, they opened the door to unimagined kinds of chaos. . . . </h5>
<h5>Eventually, open warfare erupted between the Bakufu** and its internal enemies, with opportunistic Westerners supplying both sides with arms. Woodblock artists wallowed in reportage of mayhem—horsemen burdened with severed heads, gunfire blowing people sky high, defeated samurai commiting suicide, landscapes roiled by pitched battles.</h5>
<h5>Most of the shish terrorists*** died violently, but they did not die in vain. The Harris Treaty rang the death knell for the Bakufu: less than 10 years later, as 1867 turned into 1868, the shogun’s government was overthrown by dissident samurai acting in the name of the emperor—a shadowy presence who had not wielded real power for centuries. This was the famous “Meiji Restoration” that set Japan on a course of pell-mell industrialization and “Westernization.” The radical shishi who did survive this decade of fury quickly threw off, not merely terror, but anti-foreign agitation as well. They proved themselves pragmatists—Western-style nation builders—and became the revered founding fathers of modern Japan. History does enjoy its little jokes. (Dower, ”Chaos“ <em>Yokohama Boomtown</em>, MIT Visualizing Cultures)<br /><br /></h5>
</blockquote>
<h6>_______________________</h6>
<h6>*Harris Treaty: The Treaty of Amity and Commerce—often called the Harris Treaty as it was negotiated by the new US Consul to Japan, Townsend Harris—was an agreement signed on July 29, 1858 between the Japan and the United States aboard the USS Powhatan in Edo Bay. The treaty opened five treaty-ports in Japan to trade and granted extraterritoriality to foreigners.</h6>
<h6>** Shogunate government</h6>
<h6>***shishi terrorists refers to Japanese political activists, translated: "men of high purpose" </h6>
<p></p>
<h6><img height="auto" width="100%" src="/assets/courseware/v1/e77fbae88f2f22fdc6f5b5b0dcb2bba1/asset-v1:MITx+VTx+1T2019+type@asset+block/Y1127586_redbridge_l.jpg" alt="The final days of the Bakufu in 1868 as captured in a print by Yoshitoshi done six years later. Museum of Fine Arts, Boston" /></h6>
<h5>Caption (above): The final days of the Bakufu in 1868 as captured in a print by Yoshitoshi done six years later. (Museum of Fine Arts, Boston)<br /><br /><a href="https://visualizingcultures.mit.edu/yokohama/index.html" target="_blank">Learn more in ”Yokohama Boomtown“ on the Visualizing Cultures website.</a> This is external to edX and will open a new window<br /><br /></h5>
<p></p>
<p><strong>Reinventing the Emperor</strong></p>
<p>Dower describes the expanded political role ”restored“ to Japan‘s emperor:</p>
<p></p>
<blockquote>
<h5>Although the imperial court in Japan dated back to around the fifth century, the hereditary emperor actually exercised little if any political power after the rise of a warrior class in the 12th century. When the feudal government was overthrown in 1868, power was ostensibly ”restored“ to the emperor, who became a potent nationalist symbol in two contradictory ways. On the one hand, he was said to exemplify a ”sacred and inviolable“ tradition dating back to earliest times. On the other hand, the emperor and his family were presented as symbols of the nation‘s progressive ”Westernization“ and modernization. In the late 1880s, woodblock artists churned out many prints celebrating the imperial family, always imagining them in Western attire. (Dower, "Civilization & Enlightenment" <em>Throwing Off Asia I</em>, MIT Visualizing Cultures) </h5>
<p></p>
</blockquote>
<div><img height="auto" width="100%" src="/assets/courseware/v1/48afb92bf7f709fe7d345a818dc70c0c/asset-v1:MITx+VTx+1T2019+type@asset+block/meiji-emperor_2000_548_sc11168_mfa.jpg" alt="The Meiji emperor and empress with their young son. “A Mirror of Japanese Nobility” by Toyohara Chikanobu, August 1887 (Sharf Collection, Museum of Fine Arts, Boston)" /></div>
<h5><br />Caption (above): The Meiji emperor and empress with their young son. “A Mirror of Japanese Nobility” by Toyohara Chikanobu, August 1887 (Sharf Collection, Museum of Fine Arts, Boston)</h5>
<p></p>
<p></p>
<p>Emerging from this chaos and drastic change is the new Tokyo that we see through Kiyochika‘s eyes:</p>
<p></p>
<blockquote>
<h5>With the Meiji Restoration in 1868, Kobayashi Kiyochika (1847-1915), who had fought on the side of the defeated Tokugawa shogun, retreated to the provinces for a hiatus of six years. He finally returned to the capital in 1874. Between 1876 and 1881, he produced an unusual series of woodblock prints titled “Famous Places of Tokyo.” These elegant views convey a sense of both change and loss strikingly different from the brightly colored prints of his contemporaries that celebrated Westernization in all its forms. Kiyochika’s return to Tokyo coincided with the beginning of Tokyo’s gas-lit era. Street lighting dramatically changed the look of the city after dark, opening up a whole new field of visual investigation for artists. For Kiyochika, the impact was momentous. Twenty-five out of the ninety-three prints in his series (called Tokyo Meisho-zu in Japanese) are nightscapes. No other woodblock print series juxtaposes the vanishing and emerging Japan more evocatively. (Ulak, ”Introduction“ <em>Kiyochika's Tokyo—1</em>, MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">Day 5 Quiz - Meiji Restoration</h2>
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<input type="checkbox" name="input_45661dbe2e484ce6a9b2fa09a3529cb6_2_1[]" id="input_45661dbe2e484ce6a9b2fa09a3529cb6_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="45661dbe2e484ce6a9b2fa09a3529cb6_2_1-choice_3-label" for="input_45661dbe2e484ce6a9b2fa09a3529cb6_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_45661dbe2e484ce6a9b2fa09a3529cb6_2_1"> Japan has had five &#8221;modern&#8220; emperors beginning with Meiji
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Checkboxes
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 1" role="group"><div class="choicegroup capa_inputtype" id="inputtype_4a481a3b33954a839d580c7a2d79b459_2_1">
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<legend id="4a481a3b33954a839d580c7a2d79b459_2_1-legend" class="response-fieldset-legend field-group-hd">Which statements are true of samurai in events leading up to the Meiji Restration?</legend>
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<input type="checkbox" name="input_4a481a3b33954a839d580c7a2d79b459_2_1[]" id="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="4a481a3b33954a839d580c7a2d79b459_2_1-choice_0-label" for="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_4a481a3b33954a839d580c7a2d79b459_2_1"> some samurai believed in modernization to prevent being taken over by Western imperialist nations
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<input type="checkbox" name="input_4a481a3b33954a839d580c7a2d79b459_2_1[]" id="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="4a481a3b33954a839d580c7a2d79b459_2_1-choice_1-label" for="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_4a481a3b33954a839d580c7a2d79b459_2_1"> some samurai believed in change even though it meant losing their traditional positions of power
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<input type="checkbox" name="input_4a481a3b33954a839d580c7a2d79b459_2_1[]" id="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="4a481a3b33954a839d580c7a2d79b459_2_1-choice_2-label" for="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_4a481a3b33954a839d580c7a2d79b459_2_1"> all samurai stood together to defend their ruling role and lands
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<input type="checkbox" name="input_4a481a3b33954a839d580c7a2d79b459_2_1[]" id="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="4a481a3b33954a839d580c7a2d79b459_2_1-choice_3-label" for="input_4a481a3b33954a839d580c7a2d79b459_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_4a481a3b33954a839d580c7a2d79b459_2_1"> some samurai fought bitterly to defend the shoganate
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