著者

LECA Radu

出版者

International Research Center for Japanese Studies

雑誌

Japan Review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.37, pp.77-100, 2022-12

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This article investigates the characteristics of scribal culture in early modern Japan and its relationship to print culture. I focus on the intersections between the activity of Ihara Saikaku and the representative scribal format of the handscroll. In his artistic production, Saikaku engaged with all aspects of handscrolls: their materiality, production, use, and social significance. I analyze Saikaku's works from two complementary perspectives that structure this study: as meta-textual and visual references to the uses and meanings of scribal formats, and as artifacts with distinct material profiles. The article shows that the meaning and use of early modern texts were intertwined with the materiality, affordance, and social context of text-bearing artifacts. This was a dynamic and palimpsestic process: scribal formats preserved echoes of authority and cultural capital while accommodating contemporary usage. While making full use of the material connotations and established uses of the format, Saikaku negotiated and innovated its meanings. Saikaku can thus be reassessed as an astute practitioner of a range of scribal practices and a versatile producer of scribal artifacts who developed a side practice of commercial publishing. Saikaku's aesthetic identity emerged from within the scribal culture and aesthetic networks of his time. For a better understanding of the dynamics of this process, the history of early modern literature needs to be recentered on the relationship between various media.

著者

Leca Radu

出版者

Kyushu University, School of Letters, Graduate School of Humanities, Faculty of Humanities

雑誌

Journal of Asian Humanities at Kyushu University

巻号頁・発行日

vol.2, pp.125-135, 2017-03

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From the seventeenth until the nineteenth century, the Great Buddha Hall (Daibutsuden) of Hōkōji temple was one of the top attractions of a visit to the capital. The site has now almost disappeared, but its varied visual footprint testifies to the agency of its audiences, both local and foreign. The analysis of these visual sources yields information about the embodied experience of visiting the site and the strategies of dealing with its loss. These issues are relevant for present-day landscape conservation policies in the context of the availability of digital technology. If developed with attention to the specificity of historical sources, immersive digital apps have the potential to insert a new layer of interaction at the intersection between memory and architecture, thereby enabling users to re-engage with historical sites.