Literary patronage in late medieval Japan
Author(s)
Bibliographic Information
Literary patronage in late medieval Japan
(Michigan papers in Japanese studies, no. 23)
Center for Japanese Studies, the University of Michigan, c1993
Available at 23 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes index
Description and Table of Contents
Description
The late fifteenth and early sixteenth centuries in Japan, which were dominated by social upheavals and political conflicts, were the scene of a fundamental expansion of arts patronage. This was a time of great change in all areas of Japanese life: old centralized political establishments were giving way to new provincial powers, the growth of urban centers was causing changes in trade patterns and financial institutions, and everywhere the economy was creating new centers of wealth and influence. In such an age of vitality all patterns of production and consumption were affected, including those involving the arts.
But how and under what specific conditions did these changes take place? The papers in this volume represent an attempt to answer that questions and others like it. The historical figures focused upon range from members of the imperial family and the houses of the regency to tea masters, painters, merchants, provincial daimyo, and especially renga ("linked-verse") poets, whose central place in many of the papers speaks for their prominent place in medieval artistic history. But all share a common concern with patron0-clinet relations in what many consider to be the most significant watershed in Japanese history. Because the problems dealt with are complex ones involving many levels and kinds of patronage, the essays perhaps pose more questions than they answer, but at the very least they serve the purpose of opening up a new arena of research that is essential to a full understanding of the arts in the late medieval age. In this respect they may best be understood as case studies, presented in the anticipation of further work in a long-overlooked area of cultural history.
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