This project showcases student project work from Japan and the World, a modern Japanese history course offered at Kanda University of International Studies. It focuses on important themes and individuals from the Meiji (1868-1912) and Taisho (1912-26) periods, when Japan was beginning to open to the world after centuries of government-enforced isolation.

All submissions are researched, whether in English or Japanese, and references provided. Comments responding to and exploring ideas, suggesting connections or further reading, are most welcome. As entries are written by non-native English speakers, please refrain from non-constructive comments about language use.

Blog editor/ course designer: Caroline Hutchinson

Sunday 3 August 2014

Ernest Fenollosa

Ernest Fenollosa
By Aoi Hirata

Introduction

Do you think what Japanese culture is? When you introduce Japan to foreigners, what do you show them? Perhaps, we think of the historical arts as one of important parts of culture. However, about 150 years ago, a movement to destroy so many of those arts was started by Meiji government because Japan thought their culture was inferior to western one and followed them to renew Japan. During this movement, called Haibutsu-kishaku, one American whose name was Ernest Fenollosa dedicated his life to rescuing Japanese arts.


Personal history

Fenollosa was born in USA, and he was a very smart person. He graduated from Harvard University and his major was political economy there. Since that time, he had interest in art, and then entered an art school in Boston. In 1878, after he graduated from there, he came to Japan to teach economy and philosophy at Tokyo University. Then he was attracted by Japanese arts a lot; however, Japan had been active in haibutsu-kishaku movement which was belief that increased respects for God instead of destroy Buddhism during his staying. He worked on activities to protect art from such a violent movement. As example, he rescued some pictures by famous Japanese artists and sent them to Boston museum. Still, some people today criticize this action, saying that he just contributed to his wallet because he could actually get a lot of money from it.


Discussion

Then, I asked my group members two questions “Do you think such Japanese art should be in Japan?” and “Do you agree with him or not?” To the first question, one student answered that it depends on the reputation of pictures because if they can attract foreigners, it will affect Japanese popularity too. Otherwise if they would not be valued in other countries, they should be in Japan today. On the other hand, there was an opinion that arts should be in Japanese museum. We have learned Japanese history with pictures since we were in elementary school, but it is difficult to see some of them because Japan does not have them. In her opinion, they should be in Japan for Japanese to see. Next, about the second question, most people agreed with his work for Japanese arts. One of my classmates felt that even though he got money, those pictures exist today. We should notice how precious that truth is.


Reflection

From this discussion, I think Fenollosa did well in total. I feel sorry that Japanese could not save our culture and be proud of it because I think culture is built by history of all people's lives. In that confusion of history, various eyes from abroad let people realize later what was Japan and what great things we had. Without Fenollosa, we could not have learned some important piece of Japanese history. Therefore, we needed him.


References

Wikipedia. Ernest Fenollosa. Retrieved from http://en.wikipedia.org/wiki/Ernest_Fenollosa

近影. Bungei-Jankie paradice Retrieved from http://kajipon.sakura.ne.jp/kt/haka-topic36.html

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