UBC Library\u2019s Meiji at 150<\/a> <\/em>collection consists of woodblock prints, photographs, as well as hand-painted manuscripts. It compliments the Japanese Maps of the Tokugawa Era <\/em>collection, which is a fully digitized collection that is used extensively in\u00a0Japanese Literature, Art History, and History classes. The Meiji at 150<\/em> collection provides us with a unique opportunity to consider how we teach and learn about Meiji Japan, particularly in a North American context. This is because many of the items pertaining to the Meiji era reveal much about Japan\u2019s relationship to Canada. For example, we have photographs from Taish\u014d and Meiji, taken in Japan, by a Canadian missionary. We also have Japanese-Canadian photographs taken during the anti-Asian 1907 race riots in Vancouver, as well as travel posters advertising travel to Japan by the Canadian Pacific Railway. In addition, we have woodblock prints that were printed in Japan, that depict Japan\u2019s westernization and modernization.<\/p>\r\n Though all of these materials were produced in the Meiji era, they were created for a wide range of reasons, for difference audiences. The Meiji at 150 <\/em>collection makes it possible for students to examine these vastly diverse items together, and re-examine how Japanese and Canadian histories intersected during the Meiji era. For the purpose of this essay, I have divided the Meiji at 150 <\/em>collection into three categories; Japan\u2019s self depiction, Japan seen from Canada, and Japanese-Canadian, according to the three major perspectives from which the collection can be potentially examined.<\/p>\r\n\r\n\r\n[caption id=\"attachment_981\" align=\"aligncenter\" width=\"600\"] Kaika-e <\/em>(civilization and modernization pictures), feature symbols of modernization such as bridges, railroads, Western-style buildings (see Tristan Grunow\u2019s essay<\/a>). In addition, ukiyo-e artists often consciously included Japanese motifs such as Mt. Fuji in the background with cherry blossom trees in the foreground, to emphasize Japan as a modern nation.\u00a0Figure 1<\/strong> is a typical kaika-e, <\/em>which highlights the financial district of Kaiunbashi<\/em>, with the first Japanese national bank (daiichi kokuritsu gink\u014d). <\/em>This building was financed by entrepreneur Shibusawa Eiichi, and was also called Mitsui-gumi building because of Mitsui family\u2019s funding. These woodblock prints aim to demonstrate Japan\u2019s strength of possessing both cultural traditions of \u201cold\u201d Japan, combined with Western technologies and knowledge. Woodblock prints in the Meiji era increasing became modes of historical recording and a means to inform the public on contemporary events.[footnote]Smith, Lawrence, \u201cJapanese Prints 1868-2008\u201d in Thomas Rimer Since Meiji: Perspectives on the Japanese Visual Arts<\/em>, 1868-2000, (Honolulu, University of Hawai\u2019i Press, 2001), 6.[\/footnote]\u00a0Figure 2<\/strong>, from\u00a0Dai nihon bussan zue<\/em> (Products of Greater Japan), is one of a series of 120 woodblock prints depicting the economies and industries in Japan from each region, published by \u014ckura Magob\u0113. Japan held its inaugural National Industrial Exhibition in 1877, in Tokyo, and Hiroshige III published the series Products of Greater Japan<\/em> to coincide with the exhibition.[footnote]Masayuki Handa, \u201cForesight for Modernization: Roots of \u2018Monozukuri\u2019 Interpreted through Agricultural Materials, Technological Writings and Nishiki-e.\u201d The Research Institute for Innovation Management<\/em>, Hosei University, Working Paper Series. 45 (October 2007): 37.[\/footnote] The exhibition\u2019s aim was to survey domestic products through collection, display, research, examination, and ranking products, which was thought to lead to the promotion of local industries.[footnote]\u677e\u5c3e\u6b63\u4eba\u300e\u65e5\u672c\u306e\u6642\u4ee3\u53f2\uff12\uff11\u660e\u6cbb\u7dad\u65b0\u3068\u6587\u660e\u958b\u5316\u300f\uff08\u5409\u5ddd\u5f18\u6587\u9928\u30012004\u5e74\uff09255\u30da\u30fc\u30b8\u3002[\/footnote] This went hand in hand with the main objectives of the Meiji government\u2019s \u201cshokusan k\u014dgy\u014d seisaku\u201d (industrial development policy), which was to \u201ccollect items from all over Japan, to categorize them, and to exhibit them to make known to the populace.\u201d[footnote]\u6d45\u91ce\u667a\u5b50\u300c\u5927\u65e5\u672c\u7269\u7523\u56f3\u4f1a\u300d\u3068\u6b96\u7523\u8208\u696d\u653f\u7b56\u300d\uff08\u300e\u65e5\u672c\u7f8e\u8853\u7814\u7a76 (\u9326\u7d75\u7279\u96c6 \u8ad6\u6587\u7de8)\u300f\u30012002\u5e74\u300118 \u2013 32\u30da\u30fc\u30b8\uff09\u3002[\/footnote] Not only were these prints used to highlight each region\u2019s industries, but also acted as a medium to transfer knowledge on technological advancements.<\/p>\r\n\r\n UBC Library\u2019s collection includes the Wallace B. Chung and Madeline H. Chung Collection<\/a>, which contains visual materials such as travel posters published by the Canadian Pacific Railway Company. The primary target audiences for, as well as the designers of these posters were British and American.[footnote]Mark H. Choko, Canadian Pacific: Creating a Brand, Building a Nation<\/em> (Berlin: Callisto Publishers GmbH, 2015), 11.[\/footnote] Both of the posters below that advertise trips to Japan [Figure 3 and Figure 4]<\/strong>, feature a woman in traditional kimono, Mount Fuji, and a shrine. There are striking similarities between the Japanese women in these posters and images of the opera, Madame Butterfly, especially in the poster with the body of water in the background. Madame Butterfly, or Ch\u014d-ch\u014d-san, is the quintessential oriental woman who awaits for her lover, doomed for failure.<\/p>\r\n Another rich source is the collection of photographs taken in Meiji Japan by John Cooper Robinson<\/a>, who was a Canadian missionary. One of Robinson\u2019s objective was to document what he saw during his daily life, living in Japan among the rural Japanese communities. One of Robinson\u2019s favourite themes was taking photographs of people working, such as the photograph of women thrashing wheat while taking care of the children [Figure 5]<\/strong>. There is a remarkable resemblance between John Cooper Robinson\u2019s photographs of women carrying their children on their backs [Figure 6; for more, see Allen Hockley\u2019s essay<\/a>] <\/strong>and the Canadian Pacific Railway poster entitled, Orient<\/em> [Figure 7]<\/strong>.<\/p>\r\n \r\n\r\n[caption id=\"attachment_985\" align=\"alignleft\" width=\"190\"] Students can potentially draw connections between Japanese and Japanese-Canadian material by using multiple related sources from the Meiji at 150 <\/em>collection. For example, they can examine the Products of Greater Japan<\/em> woodblock prints from regions where Japanese-Canadians came from. An example of this is the woodblock print of the \u014cmi region, which is the current Shiga prefecture where the largest portion of Japanese-Canadians came from.[footnote]\u672b\u6c38\u570b\u7d00\u300e\u65e5\u7cfb\u30ab\u30ca\u30c0\u79fb\u6c11\u306e\u793e\u4f1a\u53f2\uff1a\u592a\u5e73\u6d0b\u3092\u6e21\u3063\u305f\u8fd1\u6c5f\u5546\u4eba\u306e\u672b\u88d4\u305f\u3061\u300f\uff08\u30df\u30cd\u30eb\u30f4\u30a1\u66f8\u623f\u30012010\u5e74\uff0934\u30da\u30fc\u30b8\u3002[\/footnote] Shiga prefecture is well-known as the producer of \u014cmi merchants, who paved the way for modern international trading companies such as It\u014dch\u016b corporation. Figure 8 <\/strong>features the \u014cmi merchants shipping the mosquito nets, which was one of their prime products that they exported. In 1887, 20 percent (10,000 residents) of Shiga prefecture\u2019s population worked for the production of mosquito nets and linen, and one in five households sold their merchandise outside of Shiga prefecture.[footnote]\u672b\u6c38\u570b\u7d00\u3001 47\u30da\u30fc\u30b8\u3002[\/footnote]<\/p>\r\n\r\n\r\n[caption id=\"attachment_988\" align=\"aligncenter\" width=\"700\"] Figure<\/b> 9<\/strong>, which depicts the fishing industry, is from southern Osaka (city of Sakai), which was not the region where the majority of fishermen who settled in British Columbia came from. However, the southern Osaka fishermen were rivals to the Mio Village (Wakayama prefecture) fishermen, who immigrated to Canada due to their loss of fishing grounds. From the seventeenth century, Mio Village fishermen began fishing in other areas such as the Kanto region (Tokyo and Chiba prefectures), beyond their local waters. In the Meiji period, they also expanded into the Osaka and Ise Bay areas. With improved fishing technologies such as modern trolling, came fierce competition between fishing boats, to which Mio Village fishermen lost to southern Osaka fishermen.[footnote]\u8c37\u5948\u3005\u300e\u548c\u6b4c\u5c71\u306e\u300c\u30a2\u30e1\u30ea\u30ab\u6751\u300d\u3068\u30ab\u30ca\u30c0\u79fb\u6c11\u300f\u548c\u6b4c\u5c71\u793e\u4f1a\u7d4c\u6e08\u7814\u7a76\u6240\u30012008\u3001 http:\/\/www.wsk.or.jp\/report\/tani\/13.html\uff08\u30a2\u30af\u30bb\u30b92018\u5e749\u67089\u65e5\uff09\u3002[\/footnote] Hence, on the one hand, the woodblock print can be used to explain Japanese-Canadian immigration to Canada, whilst it can also be seen as an example of Meiji Japan\u2019s successful modernization.<\/p>\r\n UBC Library\u00a0also has the Japanese-Canadian Photograph Collection<\/a>, which spans in time from 1907 Vancouver Race Riot photos to the 1949 WWII internment camp photographs. The 1907 anti-Asian riot photographs were taken to document the damages caused by the riot, in order to assess the reimbursement costs [Figure 10]<\/strong>. They can also be regarded as evidence of racial animosity during this era against Japanese communities in Vancouver (for more see Yukari Takai\u2019s essay<\/a>). Students can also contrast these Japanese-Canadian photographs against the first set of woodblock prints of the Meiji period, which emphasize Japan\u2019s modernity.<\/p>\r\n Another noteworthy visual source is the Japanese-Canadian newspaper, Continental Times\u2019 (Tairiku Nipp\u014d) <\/em>advertisements [Figure 11; see Ayaka Yoshimizu\u2019s essay<\/a>] <\/strong>which can be used in conjunction with Japanese-Canadian photographs. One of the photographs is that of \u014cmi-ya Inn, which from the name indicates that the owner would have connections to the \u014cmi (Shiga) region. It is possible to match the photo with the advertisement in the Continental Times <\/em>and conclude that the owner of this boarding house was Morino Eiji. He was the first president of the Shiga\u2019s prefectural association, which was established in 1905 with approximately 300 members.[footnote]\u677e\u5bae\u54f2\u300e\u677e\u5bae\u5546\u5e97\u3068\u30d0\u30f3\u30af\u30fc\u30d0\u30fc\u671d\u65e5\u8ecd\uff1a\u30ab\u30ca\u30c0\u79fb\u6c11\u306e\u8db3\u8de1\u300f\uff08\u30b5\u30f3\u30e9\u30a4\u30ba\u51fa\u7248\u30012017\u5e74\uff0943\u30da\u30fc\u30b8\u3002[\/footnote] The advertisement then provides more details such as the fact that the inn also sold tickets to go to Japan, and also acted as an employment agent.<\/p>\r\n\r\n\r\n[caption id=\"attachment_990\" align=\"alignleft\" width=\"300\"] What is also noticeable in some of the visual records left by the Japanese-Canadian communities are the Japanese language material, which are often lost due to language barriers (see Eiji Okawa\u2019s essay<\/a>\u00a0on language and identity for related issues). It is also striking to note that there are visible connections with Japan, as can be seen in the photograph from the Tashme internment camp during WWII [Figure 12]<\/strong>. The photograph shows relief items shipped by the Red Cross through Shinwa-kai, which was an elected committee that acted as a liaison between the camp residents and the BC Security Commission.[footnote]Nikkei National Museum. Tashme 1942-1946 Historical Project. http:\/\/tashme.ca\/camp-organization\/[\/footnote] The hand-written caption in this photograph notes, \u201cfrom the home country Japan, relief goods,\u201d with the list of items including tea, miso, and soy sauce. They are to be distributed in Tashme Camp in 1944, for 2,248 school-aged and above and 385 below school-aged. The vehicle is parked in front of the \u201cJapanese office,\u201d and the barrels of soy sauce and miso have a poster-sized label that reads, \u201crelief items from Japan.\u201d<\/p>\r\n\r\n\r\n[caption id=\"attachment_992\" align=\"aligncenter\" width=\"700\"] Naoko Kato<\/strong> | University of British Columbia<\/p>\n <\/p>\n UBC Library\u2019s Meiji at 150<\/a> <\/em>collection consists of woodblock prints, photographs, as well as hand-painted manuscripts. It compliments the Japanese Maps of the Tokugawa Era <\/em>collection, which is a fully digitized collection that is used extensively in\u00a0Japanese Literature, Art History, and History classes. The Meiji at 150<\/em> collection provides us with a unique opportunity to consider how we teach and learn about Meiji Japan, particularly in a North American context. This is because many of the items pertaining to the Meiji era reveal much about Japan\u2019s relationship to Canada. For example, we have photographs from Taish\u014d and Meiji, taken in Japan, by a Canadian missionary. We also have Japanese-Canadian photographs taken during the anti-Asian 1907 race riots in Vancouver, as well as travel posters advertising travel to Japan by the Canadian Pacific Railway. In addition, we have woodblock prints that were printed in Japan, that depict Japan\u2019s westernization and modernization.<\/p>\n Though all of these materials were produced in the Meiji era, they were created for a wide range of reasons, for difference audiences. The Meiji at 150 <\/em>collection makes it possible for students to examine these vastly diverse items together, and re-examine how Japanese and Canadian histories intersected during the Meiji era. For the purpose of this essay, I have divided the Meiji at 150 <\/em>collection into three categories; Japan\u2019s self depiction, Japan seen from Canada, and Japanese-Canadian, according to the three major perspectives from which the collection can be potentially examined.<\/p>\n Kaika-e <\/em>(civilization and modernization pictures), feature symbols of modernization such as bridges, railroads, Western-style buildings (see Tristan Grunow\u2019s essay<\/a>). In addition, ukiyo-e artists often consciously included Japanese motifs such as Mt. Fuji in the background with cherry blossom trees in the foreground, to emphasize Japan as a modern nation.\u00a0Figure 1<\/strong> is a typical kaika-e, <\/em>which highlights the financial district of Kaiunbashi<\/em>, with the first Japanese national bank (daiichi kokuritsu gink\u014d). <\/em>This building was financed by entrepreneur Shibusawa Eiichi, and was also called Mitsui-gumi building because of Mitsui family\u2019s funding. These woodblock prints aim to demonstrate Japan\u2019s strength of possessing both cultural traditions of \u201cold\u201d Japan, combined with Western technologies and knowledge. Woodblock prints in the Meiji era increasing became modes of historical recording and a means to inform the public on contemporary events.[1]<\/sup><\/a>\u00a0Figure 2<\/strong>, from\u00a0Dai nihon bussan zue<\/em> (Products of Greater Japan), is one of a series of 120 woodblock prints depicting the economies and industries in Japan from each region, published by \u014ckura Magob\u0113. Japan held its inaugural National Industrial Exhibition in 1877, in Tokyo, and Hiroshige III published the series Products of Greater Japan<\/em> to coincide with the exhibition.[2]<\/sup><\/a> The exhibition\u2019s aim was to survey domestic products through collection, display, research, examination, and ranking products, which was thought to lead to the promotion of local industries.[3]<\/sup><\/a> This went hand in hand with the main objectives of the Meiji government\u2019s \u201cshokusan k\u014dgy\u014d seisaku\u201d (industrial development policy), which was to \u201ccollect items from all over Japan, to categorize them, and to exhibit them to make known to the populace.\u201d[4]<\/sup><\/a> Not only were these prints used to highlight each region\u2019s industries, but also acted as a medium to transfer knowledge on technological advancements.<\/p>\n UBC Library\u2019s collection includes the Wallace B. Chung and Madeline H. Chung Collection<\/a>, which contains visual materials such as travel posters published by the Canadian Pacific Railway Company. The primary target audiences for, as well as the designers of these posters were British and American.[5]<\/sup><\/a> Both of the posters below that advertise trips to Japan [Figure 3 and Figure 4]<\/strong>, feature a woman in traditional kimono, Mount Fuji, and a shrine. There are striking similarities between the Japanese women in these posters and images of the opera, Madame Butterfly, especially in the poster with the body of water in the background. Madame Butterfly, or Ch\u014d-ch\u014d-san, is the quintessential oriental woman who awaits for her lover, doomed for failure.<\/p>\n Another rich source is the collection of photographs taken in Meiji Japan by John Cooper Robinson<\/a>, who was a Canadian missionary. One of Robinson\u2019s objective was to document what he saw during his daily life, living in Japan among the rural Japanese communities. One of Robinson\u2019s favourite themes was taking photographs of people working, such as the photograph of women thrashing wheat while taking care of the children [Figure 5]<\/strong>. There is a remarkable resemblance between John Cooper Robinson\u2019s photographs of women carrying their children on their backs [Figure 6; for more, see Allen Hockley\u2019s essay<\/a>] <\/strong>and the Canadian Pacific Railway poster entitled, Orient<\/em> [Figure 7]<\/strong>.<\/p>\n <\/p>\n Students can potentially draw connections between Japanese and Japanese-Canadian material by using multiple related sources from the Meiji at 150 <\/em>collection. For example, they can examine the Products of Greater Japan<\/em> woodblock prints from regions where Japanese-Canadians came from. An example of this is the woodblock print of the \u014cmi region, which is the current Shiga prefecture where the largest portion of Japanese-Canadians came from.[6]<\/sup><\/a> Shiga prefecture is well-known as the producer of \u014cmi merchants, who paved the way for modern international trading companies such as It\u014dch\u016b corporation. Figure 8 <\/strong>features the \u014cmi merchants shipping the mosquito nets, which was one of their prime products that they exported. In 1887, 20 percent (10,000 residents) of Shiga prefecture\u2019s population worked for the production of mosquito nets and linen, and one in five households sold their merchandise outside of Shiga prefecture.[7]<\/sup><\/a><\/p>\n Figure<\/b> 9<\/strong>, which depicts the fishing industry, is from southern Osaka (city of Sakai), which was not the region where the majority of fishermen who settled in British Columbia came from. However, the southern Osaka fishermen were rivals to the Mio Village (Wakayama prefecture) fishermen, who immigrated to Canada due to their loss of fishing grounds. From the seventeenth century, Mio Village fishermen began fishing in other areas such as the Kanto region (Tokyo and Chiba prefectures), beyond their local waters. In the Meiji period, they also expanded into the Osaka and Ise Bay areas. With improved fishing technologies such as modern trolling, came fierce competition between fishing boats, to which Mio Village fishermen lost to southern Osaka fishermen.[8]<\/sup><\/a> Hence, on the one hand, the woodblock print can be used to explain Japanese-Canadian immigration to Canada, whilst it can also be seen as an example of Meiji Japan\u2019s successful modernization.<\/p>\n UBC Library\u00a0also has the Japanese-Canadian Photograph Collection<\/a>, which spans in time from 1907 Vancouver Race Riot photos to the 1949 WWII internment camp photographs. The 1907 anti-Asian riot photographs were taken to document the damages caused by the riot, in order to assess the reimbursement costs [Figure 10]<\/strong>. They can also be regarded as evidence of racial animosity during this era against Japanese communities in Vancouver (for more see Yukari Takai\u2019s essay<\/a>). Students can also contrast these Japanese-Canadian photographs against the first set of woodblock prints of the Meiji period, which emphasize Japan\u2019s modernity.<\/p>\n Another noteworthy visual source is the Japanese-Canadian newspaper, Continental Times\u2019 (Tairiku Nipp\u014d) <\/em>advertisements [Figure 11; see Ayaka Yoshimizu\u2019s essay<\/a>] <\/strong>which can be used in conjunction with Japanese-Canadian photographs. One of the photographs is that of \u014cmi-ya Inn, which from the name indicates that the owner would have connections to the \u014cmi (Shiga) region. It is possible to match the photo with the advertisement in the Continental Times <\/em>and conclude that the owner of this boarding house was Morino Eiji. He was the first president of the Shiga\u2019s prefectural association, which was established in 1905 with approximately 300 members.[9]<\/sup><\/a> The advertisement then provides more details such as the fact that the inn also sold tickets to go to Japan, and also acted as an employment agent.<\/p>\n What is also noticeable in some of the visual records left by the Japanese-Canadian communities are the Japanese language material, which are often lost due to language barriers (see Eiji Okawa\u2019s essay<\/a>\u00a0on language and identity for related issues). It is also striking to note that there are visible connections with Japan, as can be seen in the photograph from the Tashme internment camp during WWII [Figure 12]<\/strong>. The photograph shows relief items shipped by the Red Cross through Shinwa-kai, which was an elected committee that acted as a liaison between the camp residents and the BC Security Commission.[10]<\/sup><\/a> The hand-written caption in this photograph notes, \u201cfrom the home country Japan, relief goods,\u201d with the list of items including tea, miso, and soy sauce. They are to be distributed in Tashme Camp in 1944, for 2,248 school-aged and above and 385 below school-aged. The vehicle is parked in front of the \u201cJapanese office,\u201d and the barrels of soy sauce and miso have a poster-sized label that reads, \u201crelief items from Japan.\u201d<\/p>\n In this essay, in order to reveal the intersections of Japanese and Canadian histories, I have chosen to examine the various archival collections together, under the umbrella of Meiji. The multiple perspectives presented through our collection of visual essays also cross traditional nation-centered boundaries and categories. For instance, the Japanese-Canadian Photograph Collection<\/a> would fall under Canadian or Japanese-Canadian; Chung Collection<\/a> under Chinese-Canadian or Asian-Canadian History; and the Meiji-era woodblock prints would be considered Japanese History. Our Meiji at 150 <\/em>collection lends us with opportunities to discover possible connections that may have been less visible under different umbrellas.<\/p>\n<\/div>\n![\"\"](\"https:\/\/pressbooks.bccampus.ca\/meijiat150\/wp-content\/uploads\/sites\/445\/2018\/09\/Kato-Banner.jpg\")
<\/a><\/p>\r\n<\/a> Figure 1.<\/strong> Ikkei, \u201cKaiunbashi Kawaseza no zu<\/em>.\u201d Source: University of British Columbia Library. Rare Books and Special Collections. Asian Rare-6 no.L3:5.[\/caption]\r\n\r\n
\r\n\r\n[caption id=\"attachment_982\" align=\"aligncenter\" width=\"600\"]<\/a> Figure 2.<\/strong> Hiroshige III. \u201cEchizen no kuni h\u014dsho shisei no zu.<\/em>\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. Asian Rare-6 no.L2:12.[\/caption]\r\nJapan\u2019s Self-Depiction<\/strong> \u2013 woodblock prints of modern Japan<\/h3>\r\n
Japan Seen from Canada<\/strong><\/h3>\r\n[caption id=\"attachment_983\" align=\"alignleft\" width=\"380\"]
<\/a> Figure 3.<\/strong> \u201cCanadian Pacific picturesque route by fast steamers and trains to Japan and China.\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. Wallace B. Chung and Madeline H. Chung Collection. CC-GR-00016.[\/caption]\r\n\r\n[caption id=\"attachment_984\" align=\"alignleft\" width=\"159\"]<\/a> Figure 4.<\/strong> \u201cCanadian Pacific cruises: information and reservations within.\u201d Source: UBC Library RBSC. Chung Collection. CC_OS_00203.[\/caption]\r\n\r\n<\/a> Figure 5.<\/strong> \u201cWoman thrashing wheat \u201902.\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. John Cooper Robinson Collection. RBSC-ARC-1757-PH-2681.[\/caption]\r\n\r\n[caption id=\"attachment_986\" align=\"alignleft\" width=\"190\"]<\/a> Figure 6.<\/strong> \u201c[Japanese girls and woman carrying babies on backs].\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. John Cooper Robinson Collection. RBSC-ARC-1757-PH-1620.[\/caption]\r\n\r\n[caption id=\"attachment_987\" align=\"alignleft\" width=\"150\"]<\/a> Figure 7.<\/strong> \u201cOrient.\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. Wallace B. Chung and Madeline H. Chung Collection. CC-TX-284-13.[\/caption]\r\n\r\n<\/div>\r\nJapanese-Canadian Material and Connections to Japan<\/strong><\/h3>\r\n<\/div>\r\n
<\/a> Figure 8.<\/strong> Hiroshige III. \u201c\u014cmi no kuni hamakaya yushutsu no zu.<\/em>\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. Asian Rare-6 no.L2:2.[\/caption]\r\n\r\n[caption id=\"attachment_989\" align=\"alignright\" width=\"300\"]<\/a> Figure 9.<\/strong> Hiroshige III. \u201cIzumi no kuni Sakai no ura sakuradai narabini uoichi no zu.<\/em>\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. Asian Rare-6 no.L2:11.[\/caption]\r\n<\/a> Figure 10.<\/strong> \u201cBuilding damaged during Vancouver riot of 1907 \u2013 461 Powell Street, $1.\u201d Source: University of British Columbia. Library. Rare Books and Special Collections. Japanese Canadian Photograph Collection.[\/caption]\r\n\r\n[caption id=\"attachment_1117\" align=\"alignleft\" width=\"217\"]<\/a> Figure 11.<\/strong> \u201cE. Morino.\u201d February 8, 1908, page 3. Source: UBC Library. Rare Books and Special Collections. Tairiku Nippo. PN4919.V23 T3 1989.[\/caption]\r\n\r\n<\/a> Figure 12.<\/strong> \u201cView men with horse and wagon at Tashme Camp.\u201d Source: University of British Columbia. Library. Rare Books and Special Collections, Japanese Canadian Photograph Collection, JCPC_29_003.[\/caption]\r\n\r\nIn this essay, in order to reveal the intersections of Japanese and Canadian histories, I have chosen to examine the various archival collections together, under the umbrella of Meiji. The multiple perspectives presented through our collection of visual essays also cross traditional nation-centered boundaries and categories. For instance, the Japanese-Canadian Photograph Collection<\/a> would fall under Canadian or Japanese-Canadian; Chung Collection<\/a> under Chinese-Canadian or Asian-Canadian History; and the Meiji-era woodblock prints would be considered Japanese History. Our Meiji at 150 <\/em>collection lends us with opportunities to discover possible connections that may have been less visible under different umbrellas.\r\n\r\n<\/div>","rendered":"Re-viewing Meiji via Japanese-Canadian Connections<\/h1>\n
<\/a><\/p>\n<\/a>
\n<\/a>Japan\u2019s Self-Depiction<\/strong> \u2013 woodblock prints of modern Japan<\/h3>\n
Japan Seen from Canada<\/strong><\/h3>\n
<\/a><\/a><\/a><\/a><\/a>Japanese-Canadian Material and Connections to Japan<\/strong><\/h3>\n<\/div>\n
<\/a><\/a><\/a><\/a><\/a>