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<h2 class="hd hd-2 unit-title">Day 19 – City Infrastructure (prints)</h2>
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<p><strong>Day 19 - City Infrastructure</strong> focuses on government, industry, and commerce of the new city.</p>
<p>Prints discussed:</p>
<ul>
<ul>
<li><span style="font-size: 1em;">”New Kachidoki Bridge (#20-revised)“ </span></li>
<li><span style="font-size: 1em;">”New Diet Building (#45)“</span></li>
<li><span style="font-size: 1em;">”View of Sunamachi [Jōtō Ward] (#54)“</span></li>
<li><span style="font-size: 1em;">”Mitsui Bank and Mitsukoshi Department Store (#3)“</span></li>
<li><span>The Imperial Presence (<span style="caret-color: #313131; color: #313131; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif;">prints and reading</span><span style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-stretch: inherit; line-height: 1.4em; font-size: 1em; vertical-align: baseline; caret-color: #313131; color: #313131;">)</span></span></li>
<li><span>”Snow at Sakurada Gate (#75)“</span></li>
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<p><strong><span style="font-size: 1em;">Day 19 Quiz – City Infrastructure</span></strong></p>
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<h2 class="hd hd-2 unit-title">”New Kachidoki Bridge (#20-revised)“</h2>
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<p>”New Kachidoki Bridge (#20-revised),“ no date</p>
<p>“In modern times this ferry crossing was replaced by a modern drawbridge.” (Koizumi’s annotation, 1940)</p>
<blockquote>
<h5>The drawbridge was completed in 1940. Kachidoki, “shout of triumph,” refers to Japan’s victory over Russia in 1905, the year that ferry service was established to link Tsukiji and Tsukishima, 3,500 acres of reclaimed land facing Tokyo Bay. In anticipation of the Twelfth Olympic Games, to be held in Tokyo in 1940, Tsukishima was designated as the site of an enormous sports complex, with indoor and outdoor facilities covering 600 acres. (”Tokyo Modern—I,“ MIT Visualizing Cultures)</h5>
<p></p>
</blockquote>
<p>Visualizing Cultures begins the ”18 Sites“ with the "New Kachidoki Bridge" (#20-revised, no date). [You‘ll note that for the ”18 Sites“ we cropped the borders out of the images, not the best archival practice, but for this purpose it gave a more immersive view of the scene.] Koizumi‘s annotation reminds us that the Olympic games were scheduled to be held in Tokyo in 1940. The fate of these games is discussed in the video.<br /><br /></p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/7debe95ffcc59b6772d0645dfd601646/asset-v1:MITx+VTx+1T2019+type@asset+block/kk020r_1931-32c_w085_brdg_2000w.jpg" alt=""New Kachidoki Bridge" (#20-revised), no date, Koizumi Kishio. “In modern times this ferry crossing was replaced by a modern drawbridge.” (Koizumi’s annotation, 1940)" /></div>
<h5><br />Caption (above): Koizumi Kishio, ”New Kachidoki Bridge (#20-revised),“ no date, woodblock print from the ”100 Views“ series (The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection) <a href="https://visualizingcultures.mit.edu/tokyo_modern_01/select_views.html" target="_blank">View ”18 Sites“ on the Visualizing Cultures website</a> This is external to edX and will open a new window</h5>
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<h2 class="hd hd-2 unit-title">”View of Sunamachi (Jōtō Ward) (#54)“</h2>
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<p>”View of Sunamachi [Jōtō Ward] (#54),“ July, 1934</p>
<p>”Jōtō Ward is an industrial area. This is in the vicinity of the gas company.” (Koizumi’s annotation, 1940)</p>
<blockquote>
<h5>Jōtō ward was a new ward created after the earthquake. The area previously supplied vegetables and seafood to Tokyo, but gradually became industrialized and Koizumi’s print in some way reflects Japan’s transition from an agricultural to industrial economy. (”Tokyo Modern—I,“ MIT Visualizing Cultures)</h5>
</blockquote>
<p></p>
<p>Many of Koizumi‘s prints have striking industrial subjects. Alongside imposing Western-style buildings and expansive parks were the raw machinery and transportation systems that powered the city.</p>
<p></p>
<blockquote>
<h5>Steel bridges, elevated highways, oil-storage tanks, a sprawling subway system, and proliferation of coal-powered trains and electric trams were all part of the new Tokyo. (Ulak, ”Celebrating Rebirth“ <em>Tokyo Modern—I</em>)</h5>
</blockquote>
<p></p>
<p>Iizawa makes the following comments:</p>
<p></p>
<blockquote>
<h5>This is a modern view expressed with admiration for modernity. I can see that people were interested in the beauty of machinery. It’s interesting that huge power of the machine is drawn with just a silhouette of black ink. Koizumi put a note in margin, which says ”Jōtō Ward.“ Jōtō ward was a new ward after the earthquake. It used to be a supply palace of vegetable and seafood for Tokyo. Gradually, as more lands were reclaimed, it became industrial area. This work shows Japan’s transition period from aquiculture country to industrial country. It also has sorrow atmosphere of world depression before the World War II. (Iizawa, Tadashi. Commentary on Koizumi‘s ”100 Views“)<br /><br /></h5>
</blockquote>
<div><img src="/assets/courseware/v1/00f5139f6f1c22595c4d065447c30e18/asset-v1:MITx+VTx+1T2019+type@asset+block/kk054_1934_w052_sunamachi_c.jpg" alt="100 Views of Great Tokyo in the Shōwa Era by Koizumi Kishio, View of Sunamachi [Joøtoø Ward] (#54), July 1934 [June 1934]" height="auto" width="100%" /></div>
<h5><br />Caption: Koizumi Kishio, ”View of Sunamachi [Jōtō Ward] (#54),“ July, 1934 [June, 1934], woodblock print from the ”100 Views“ series (The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection) </h5>
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<h3 class="hd hd-2">”View of Sunamachi [Jōtō Ward] (#54)“</h3>
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<h2 class="hd hd-2 unit-title">”Mitsui Bank & Mitsukoshi Department Store (#3)“</h2>
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<p>”Mitsui Bank and Mitsukoshi Department Store (#3),“ April 1930</p>
<p>“I had heard that a single column on the façade of the Mitsui Bank cost 20,000 yen to build. This was also a time when red customer service cars were offered by Mitsukoshi Department Store.” (Koizumi’s annotation, 1940)</p>
<blockquote>
<h5>The completion of the Mitsui Bank building (at left), designed by the New York architectural firm of Trowbridge and Livingston, may have been the impetus for Koizumi's print. Tokyo's reconstruction as an up-to-date, international city eager to be on par with Western capitals such as London, New York, and Paris, is expressed by the bank's colonnaded façade in the European Beaux Arts tradition. The electric lamp posts and automobiles reinforce the impression of Tokyo's modernity. The Mitsukoshi Department Store (to right of bank) highlights Japan's adoption of Western-style commerce during the Meiji period (1868–1912). The building remained standing after the earthquake; it was reconstructed by 1927, with modifications continuing through 1934. (”Tokyo Modern—I,“ MIT Visualizing Cultures)</h5>
<p></p>
</blockquote>
<p>It is no surprise that the bank and department store appeared together in Koizumi's print. The link between commerce and infrastructure undergirded the achievement of modernity in "new Tokyo." New transportation hubs were natural sites for ”mini-cities.“ Lavish departments stores were built, combining Japanese and Western commercial traditions. Cosmopolitan entertainments and café culture emerged.</p>
<p></p>
<blockquote>
<h5>At the same time, celebrating “new Tokyo” also involved celebration of lively cultural forms associated with being modern and up-to-date. The new above-ground and below-ground public transportation system, for example, stimulated the emergence of what amounted to virtual mini-cities at key terminals such as Shinjuku, Shibuya, Ueno, and the great “Tokyo station” itself. Huge department stores combined Western influences with attractive features from Japan’s own rich commercial tradition to become little cultural sites in and of themselves—complete with restaurants and exhibition halls. A “café culture” flourished, alongside drinking places, movie theaters, cabarets, and dance halls. (Ulak, "Celebrating Rebirth" <em>Tokyo Modern—I</em>)<br /><br /><br /></h5>
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<div><img src="/assets/courseware/v1/f10907ba26829f198d5f8c04a45b236e/asset-v1:MITx+VTx+1T2019+type@asset+block/kk003_1929_w105_bank_c2.jpg" alt="100 Views of Great Tokyo in the Shōwa Era by Koizumi Kishio, Mitsui Bank and Mitsukoshi Department Store (#3), April 1930 [May 1929]" height="auto" width="100%" /></div>
<h5><br />Caption: Koizumi Kishio, ”Mitsui Bank and Mitsukoshi Department Store“ (#3), April 1930 [May 1929], woodblock print from the ”100 Views“ series (The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection)</h5>
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<h3 class="hd hd-2">”Mitsui Bank and Mitsukoshi Department Store (#3)“</h3>
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<h2 class="hd hd-2 unit-title">”New Diet Building (#45)“</h2>
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<p>”The New Diet Building (#45),“ February, 1934</p>
<p></p>
<p>“Late on a winter‘s day the new Diet Building shimmers like a mirage in a golden haze.” (Koizumi’s annotation, 1940)</p>
<blockquote>
<h5></h5>
<h5>The 1890 Meiji Constitution established a modern constitutional monarchy with a two-chamber Diet, or parliament. By the mid–1920s, Japan had introduced universal male suffrage. In 1918, a government-sponsored competition for the design of a permanent Diet building received 118 submissions, and the resultant building reflected a combination of ideas submitted by several entrants. The Diet, with its popularly-elected lower house, continued to function through World War Two.<br /><br /></h5>
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<div><img src="/assets/courseware/v1/d684f3528d6e2f6814c20978b9bf1e49/asset-v1:MITx+VTx+1T2019+type@asset+block/kk045_1934_w059_diet_c.jpg" alt="The New Diet Building (#45), February 1934" height="auto" width="100%" /></div>
<h5><br />Caption: Koizumi Kishio, ”The New Diet Building (#45),“ February 1934, woodblock print from the ”100 Views“ series (The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection)</h5>
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<h2 class="hd hd-2 unit-title">The Imperial Presence (prints & reading)</h2>
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<p>The Imperial Presence (prints and reading<span style="font-size: 1em;">)</span></p>
<p>Tokyo, the ”Eastern Capital,“ was the reinvention of Edo as an imperial city, and the imperial presence within the post-earthquake Tokyo grew, and became more authoritarian. </p>
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<h5>In 1926, three years after the earthquake, Hirohito inherited the throne and Japan started its calendar over again. The new imperial reign was given the auspicious name Shōwa (Bright Peace), and 1926 became, in this modern Japanese way of calculating the years, Shōwa 1. Hirohito himself was identified most commonly as the Shōwa emperor. … Hirohito’s father, the Taishō emperor who reigned from 1911 to 1926, had been feeble and incompetent, and the new sovereign’s advisers took care to ensure he would be a more authoritative monarch. (Ulak: ”Modernity‘s Undercurrents,“ <em>Tokyo Modern—I</em>)</h5>
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<p></p>
<p>“Taishō democracy” had been a trend during the reign of Hirohito’s father, but the 1923 earthquake unleashed severe social disruptions that brought out reactionary nationalist forces:</p>
<blockquote>
<h5>Within Japan, the ideological response to this turmoil was to pump emperor-centered nationalism to unprecedented levels. Thus, at the very moment Koizumi and his compatriots were celebrating rebirth, modernity, and the emergence of a truly cosmopolitan metropolis, Tokyo—like the nation as a whole—also was being suffused with a carefully choreographed sense of national, racial, and spiritual uniqueness exemplified by the ubiquitous imperial presence. This is the second strong undercurrent that closer scrutiny of Koizumi’s “100 Views of Great Tokyo in the Shōwa Era” reveals. (Ulak: ”Modernity's Undercurrents,“ <em>Tokyo Modern—I</em>)</h5>
</blockquote>
<p></p>
<p><strong>Please read the excerpt from <em>Tokyo Modern—I</em></strong><b> (below) </b><strong style="font-size: 1em; line-height: 1.6em;">after you watch the following video:</strong></p>
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<p></p>
<p><strong>Reading: The Imperial Presence</strong></p>
<p>A number of important Koizumi prints are introduced in the following extract from ”Tokyo Modern I.“ It discusses the growing authoritarianism, which dovetails with the path to war. <strong>(Scroll down)</strong></p>
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<p></p>
<h5>From ”Tokyo Modern I: Koizumi Kishio’s 100 Views of the Imperial Capital (1928–1940),“ MIT Visualizing Cultures, by James T. Ulak (Images courtesy of The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection)</h5>
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<h2 class="hd hd-2 unit-title">”Snow at Sakurada Gate (#75)“</h2>
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<p>”Snow at Sakurada Gate (#75),“ February, 1936</p>
<p>”I wonder if it was snowing like this when Foreign Minister Ii was assassinated by loyal samurai from Mito?“ (Koizumi‘s annotation, 1940)</p>
<blockquote>
<h5>On March 24,1860 the high Shogunal official Ii Naosuke was assassinated at Sakuradamon (Sakura Gate) of the Edo Castle by masterless samurai formerly of the Mito clan, a group that strongly opposed Ii’s policies. </h5>
</blockquote>
<p></p>
<p>Despite the burgeoning modernity of Tokyo, the past continued to be quite visible in the shrines and other traditional sites. Koizumi's atmospheric scene evokes the history of the scene: </p>
<blockquote>
<h5>The “100 Views” also includes less indirect evocations of Tokyo’s feudal and often bloody past. Most obvious, perhaps, is Koizumi’s unusually conventional rendering of the Sakuradamon, or Cherry Blossom Gate of the shogun’s former castle, in a blizzard. </h5>
<h5>This was the site of the celebrated assassination of Ii Naosuke (1815-1860), a high adviser to the shogun who had engineered the opening of the country to the foreign powers after Commodore Perry’s visits in 1853 and 1854. Ii’s palanquin being attacked in the snow by samurai who opposed abandoning national seclusion was a favorite subject of woodblock artists at the time, and Koizumi’s caption zeros in on this association. (Ulak, ”Modernity‘s Undercurrents“ <em>Tokyo Modern—l)</em><br /><br /></h5>
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<div><img src="/assets/courseware/v1/65039aa74339140098414e37690a7148/asset-v1:MITx+VTx+1T2019+type@asset+block/kk075a_1936_w025_snow_c.jpg" alt="100 Views of Great Tokyo in the Shōwa Era by Koizumi Kishio, Snow at Sakurada Gate (#75a), February 1936" height="auto" width="100%" /></div>
<h5><br />Caption: Koizumi Kishio, ”Snow at Sakurada Gate (#75a),“ February, 1936, woodblock print from the ”100 Views“ series (The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection)</h5>
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<h3 class="hd hd-2">”Snow at Sakurada Gate (#75)“</h3>
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<h2 class="hd hd-2 unit-title">Day 19 Quiz - City Infrastructure</h2>
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<p>In the <strong>Day 19 Quiz – City Infrastructure</strong>, you will notice conflicting forces and trends that fuse into a precarious balance during the modernization process.</p>
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<input type="checkbox" name="input_136f763ec45343859ed9de8fd7ae343e_2_1[]" id="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="136f763ec45343859ed9de8fd7ae343e_2_1-choice_0-label" for="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_136f763ec45343859ed9de8fd7ae343e_2_1"> the steel and concrete bridge replaced a ferry
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<input type="checkbox" name="input_136f763ec45343859ed9de8fd7ae343e_2_1[]" id="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="136f763ec45343859ed9de8fd7ae343e_2_1-choice_1-label" for="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_136f763ec45343859ed9de8fd7ae343e_2_1"> the bridge was modern in that it connected two busy commercial districts
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<input type="checkbox" name="input_136f763ec45343859ed9de8fd7ae343e_2_1[]" id="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="136f763ec45343859ed9de8fd7ae343e_2_1-choice_2-label" for="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_136f763ec45343859ed9de8fd7ae343e_2_1"> the bridge was modern in that it was steel and concrete and that it reclaimed land from the ocean
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<input type="checkbox" name="input_136f763ec45343859ed9de8fd7ae343e_2_1[]" id="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="136f763ec45343859ed9de8fd7ae343e_2_1-choice_3-label" for="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_136f763ec45343859ed9de8fd7ae343e_2_1"> Kachidoki was a phrase used by Japanese to celebrate their victory in the Russo-Japanese War
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<input type="checkbox" name="input_136f763ec45343859ed9de8fd7ae343e_2_1[]" id="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="136f763ec45343859ed9de8fd7ae343e_2_1-choice_4-label" for="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_136f763ec45343859ed9de8fd7ae343e_2_1"> the bridge was part of Japan&#8216;s preparation for hosting the 1940 Olympic Games
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<input type="checkbox" name="input_136f763ec45343859ed9de8fd7ae343e_2_1[]" id="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_5" class="field-input input-checkbox" value="choice_5"/><label id="136f763ec45343859ed9de8fd7ae343e_2_1-choice_5-label" for="input_136f763ec45343859ed9de8fd7ae343e_2_1_choice_5" class="response-label field-label label-inline" aria-describedby="status_136f763ec45343859ed9de8fd7ae343e_2_1"> Japan impressed the world with its cosmopolitanism as host of a successful 1940 Olympic Games
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<legend id="66882c0535fe45c195950d6ca52fa822_2_1-legend" class="response-fieldset-legend field-group-hd">Looking at the prints and section on &#8221;The Imperial Presence,&#8220; which statements are true?</legend>
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<input type="checkbox" name="input_66882c0535fe45c195950d6ca52fa822_2_1[]" id="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="66882c0535fe45c195950d6ca52fa822_2_1-choice_0-label" for="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_66882c0535fe45c195950d6ca52fa822_2_1"> the emperor remained a remote presence in the rebuilt city
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<input type="checkbox" name="input_66882c0535fe45c195950d6ca52fa822_2_1[]" id="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="66882c0535fe45c195950d6ca52fa822_2_1-choice_1-label" for="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_66882c0535fe45c195950d6ca52fa822_2_1"> post-earthquake rebuilding referenced the emperor to an unprecedented degree
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<input type="checkbox" name="input_66882c0535fe45c195950d6ca52fa822_2_1[]" id="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="66882c0535fe45c195950d6ca52fa822_2_1-choice_2-label" for="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_66882c0535fe45c195950d6ca52fa822_2_1"> political authoritarianism grew out of the chaos following the earthquake
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<input type="checkbox" name="input_66882c0535fe45c195950d6ca52fa822_2_1[]" id="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="66882c0535fe45c195950d6ca52fa822_2_1-choice_3-label" for="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_66882c0535fe45c195950d6ca52fa822_2_1"> obedience and loyalty to the emperor were not promoted as values in the post-earthquake period
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<input type="checkbox" name="input_66882c0535fe45c195950d6ca52fa822_2_1[]" id="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="66882c0535fe45c195950d6ca52fa822_2_1-choice_4-label" for="input_66882c0535fe45c195950d6ca52fa822_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_66882c0535fe45c195950d6ca52fa822_2_1"> the shogun&#8216;s castle became the imperial center of new Tokyo
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<legend id="2f09ceb0af124de98f6301685b794714_2_1-legend" class="response-fieldset-legend field-group-hd">Koizumi&#8216;s annotation for the print &#8221;New Diet Building (#45)&#8220; February 1934, reads, &#8220;Late on a winter&#8217;s day the new Diet Building shimmers like a mirage in a golden haze.&#8221; Which statements are true?</legend>
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<input type="checkbox" name="input_2f09ceb0af124de98f6301685b794714_2_1[]" id="input_2f09ceb0af124de98f6301685b794714_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="2f09ceb0af124de98f6301685b794714_2_1-choice_0-label" for="input_2f09ceb0af124de98f6301685b794714_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_2f09ceb0af124de98f6301685b794714_2_1"> Koizumi&#8216;s print celebrates the establishment of the Diet
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<input type="checkbox" name="input_2f09ceb0af124de98f6301685b794714_2_1[]" id="input_2f09ceb0af124de98f6301685b794714_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="2f09ceb0af124de98f6301685b794714_2_1-choice_1-label" for="input_2f09ceb0af124de98f6301685b794714_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_2f09ceb0af124de98f6301685b794714_2_1"> parliamentary politics were criticized by both leftwing and rightwing factions for corruption and being rubberstamps for major industrial conglomerates
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<input type="checkbox" name="input_2f09ceb0af124de98f6301685b794714_2_1[]" id="input_2f09ceb0af124de98f6301685b794714_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="2f09ceb0af124de98f6301685b794714_2_1-choice_2-label" for="input_2f09ceb0af124de98f6301685b794714_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_2f09ceb0af124de98f6301685b794714_2_1"> in 1936 there was a coup attempt by young Imperial Japanese Army officers who stood on the same bridge overlooking the moat
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