IAJS Newsletter - Spring 2014

IAJS Newsletter, Spring 2014 1
Issue 3
Spring 2014
Editors Note 2
Upcoming Events 3
IAJS News: A summary of Japan-related academic events in
Israel
6
Special Feature: Voices in Japanese Art Research in Israel 10
Featured Article: The Brush and the Keyboard: On Being an
Artist and a Researcher
13
Collecting Japanese Erotic Art: Interview with Ofer Shagan 18
Japanese Art Collections in Israel 21
New Scholar in Focus: Interview with Reut Harari, PhD Candidate
at Princeton University
29
New Publications: A selection of publications by IAJS members 32
Inside this issue:
The Israeli Association for Japanese
Studies Newsletter is a biannual
publication that aims to provide
i nf ormat i on about t he l at est
developments in the field of Japanese
Studies in Israel.

We welcome submissions from IAJS
members regarding institutional news,
publications and new researches in the
field of Japanese Studies. Please send
your proposals to the editor at:
iajs.newsletter@gmail.com.

IAJS Council 2012-2013

Honorary President:
Prof. Emerit us Ben-Ami
Shillony
(HUJI)

Council Members:
Dr. Nissim Otmazgin (HUJI)
Dr. Michal Daliot-Bul (UH)
Dr. Irit Averbuh (TAU)
Dr. Sigal Ben-Rafael Galanti
(Beit Berl College & HUJI)
Dr. Helena Grinshpun (HUJI)
Dr. Alon Levkowitz (HUJI)
Dr. Rachel Shaoul (TAU)
The Israeli Association of
Japanese Studies (IAJS) is a non
-profit organization seeking to
encourage Japanese-related
research and dialogue as well as
to promote Japanese language
education in Israel.

For more information visit the
IAJS website at:
www.japan-studies.org

General Editor: Ms. Irit Weinberg
Language Editor: Ms. Nikki Littman
Image: Itsukushima, Aki. Utagawa
Hiroshige II (1829-1869). Section of
emaki-mono, ink and colour on paper,
1850-1858. Tikotin Museum of Art
EDITORS NOTE
Dear Friends of IAJS,
It is with great pleasure that we present the third issue of
the IAJS Newsletter. This issue is dedicated to the
research and exhibition of Japanese art in Israel.
Japanese art is a major focus of interest in Israel, for
laypeople and scholars alike. Israel is the home of the
Tikotin Museum of Japanese Art, the only museum of its
kind in the Middle East, dedicated specifically to Japanese
art and comprising more than 7,000 items. Israel also hosts
a number of other important Japanese art collections,
including the Jacob Pins Collection which features a
number of rare woodblock prints.
In this issue we highlight the commitment of Israeli scholars
and curators to Japanese art. Three Israeli curators
present the Japanese art collections held in their
museums: Dr. Ilana Singer talks of the Tikotin collection;
Ms. Shir Meller-Yamaguchi presents several exhibitions of
Japanese modern art held at the Wilfrid Israel Museum of
Asian Art and Studies; and Ms. Miriam Malachi from the
Israel Museum discusses the Marcel Lorber Department of
Asian Art which includes the Pins Collection of Japanese
Art. In addition, Dr. Shalmit Bejarano conducts an
interview with Mr. Ofer Shagan, an Israeli collector of
Japanese art based in Japan, whose passion for Japanese
art has made his shunga collection one of the biggest in
the world and motivated him to write five books on the
topic.
We also feature an article by Dr. Ayelet Zohar, an artist and
scholar of Japanese art, who talks about the intersection
between the research and the practice of art. In addition,
this issue introduces the recent research of three scholars
of Japanese art in Israel: Dr. Galit Aviman on the Zen
paintings of the monk artists
Hakuin Ekaku and Sengai
Gibon; Dr. Shalmit Bejarano
on the emergence and
development of Kshokuzu,
pictures of rice agriculture
and silk production; and Dr.
Etty Glass Gissis on the artistic and metaphoric role of
mirrors in Ukiyo-e.
The newsletter also includes announcements of upcoming
events related to Japanese studies, as well as reports on
major events of the last six months and announcements of
new publication by IAJS members. Finally, we conclude
with our regular feature: an interview with a promising
young scholar. This time we talk to Ms. Reut Harari, a PhD
candidate at Princeton University. Ms. Hararis research
deals with Japanese medical history from the Meiji era
through to the Pacific War, specifically focusing on: the
relationship between medicine, war, and gender; the place
of medical hierarchies on the battlefield; medical ethics;
and the interaction between military technology, and
medical practices and knowledge.
It was our goal to shed some light on the work being
undertaken in the field of Japanese art in Israel, and we
sincerely hope you will enjoy this issue.
Irit Weinberg
IAJS Newsletter Editor

UPCOMING EVENTS
International Workshop on
Japans Anime Industry:
Attainments and Prospects
Venue: The Hebrew University of Jerusalem, Truman
Institute, May 21, 2014
Keynote Speaker: George Wada, president of Wit Studios
Organizers: Dr. Nissim Otmazgin, Hebrew University and
Dr. Michal Daliot-Bul, University of Haifa
On May 21, 2014, the Department of Asian Studies at the
Hebrew University of Jerusalem and the Louis Frieberg
Center for East Asian Studies will hold an international
workshop entitled Japan's Anime Industry: Attainments
and Prospects, bringing together scholars and
professionals from the anime industry in Japan, Israel, and
beyond. The participants include the famous anime
producer, Mr. George Wada, president of Wit Studios.
Panelists will address topics related to media distribution
and convergence, and the changing structure and the
globalization of the anime industry.
For additional details and program please visit:
http://new.huji.ac.il/en/event/21071
12th Biennial Conference
of Asian Studies in Israel

Venue: University of Haifa, May 25-26, 2014
The 12th Biennial Conference of Asian Studies in Israel will
take place at the University of Haifa on May 25-26, 2014.
The theme of this year's conference is Asia as an Idea/
Asia as a Consolidating Unity and it will focus on the
interactions and intersections between various Asian
countries and cultures, as well as transcultural flows in
Asia. IAJS members will participate in various discussions
and presentations on subjects ranging from the pan-Asian
contextualization of the Thoku disaster, through changes
in Japanese industry and politics in the global age, to
mutual influences in art and popular culture between Japan
and its neighbors.

For additional information please visit:
http://asia.haifa.ac.il/ASI2014/

UPCOMING EVENTS
Prof. Carol Gluck Visits Israel
Lecture series and workshop for
doctoral students

Venu: The Zalman Shazar Center and the Historical
Society of Israel
Jerusalem, 27.5-1.6.2014

Prof. Carol Gluck of Columbia University, New York, will
give a course of lectures titled "Modern Japan and the
Work of History" in the framework of the lecture series "The
Jerusalem Lectures in History in Memory of Menahem
Stern" established by the Historical Society of Israel. The
lectures schedule is as follows:
Tuesday, May 27, 2014: "The Arrow of Time"
Thursday, May 29, 2014: "The Angel of History"
Sunday, June 6, 2014: "After the Shipwreck"
In addition, on May 28, 214, the Historical Society of Israel
in collaboration with IAJS will host a special workshop in
which Prof. Gluck will meet with doctoral students in the
field of Japanese Studies from all the universities in Israel.
The students will present their research and receive
valuable feedback from this renowned scholar.
Prof. Gluck is a well-known
historian of modern Japan. Among
the works she has authored and
edited are Japan's Modern Myths
(Princeton Universi ty Press,
1985), Showa, The Japan of
Hirohito (Norton, 1992), Asia in Western and World History
(M.E. Sharpe, 1997), and Words in Motion: Toward a
Global Lexicon (Duke University Press, 2009).
Performing Japanese Traditions:
Temporal and Spatial
Reconsideration of Dramatics,
Poetics, and Rituals Practices
Research Workshop of the Israel
Science Foundation

Venue: Tel Aviv University, June 15-17, 2014
Language of the Workshop: English and Japanese (with
translation)
Keynote Speaker: Prof. Mikio Takemoto, Waseda
University, Tokyo
Organizers: Prof. Zvika Serper and Dr. Irit Averbuch, Tel
Aviv University
Sponsors: Israel Science Foundation (ISF); The Japan
Foundation; Center for Japanese Studies,
University of Michigan (Ann Arbor), USA; Tel Aviv
University.
The research workshop will investigate the performative
aspects of Japanese traditions through several prisms, with
the cooperation of a diverse group of prominent scholars
from Japan, Europe, USA, Canada, and Israel. It will focus
mainly on two general fieldsthe performing arts and
religious ritual practicein both their temporal and spatial
dimensions, and will touch upon further performative
aspects of politics, gender, and the arts.
The workshop will open with an examination of the junction
of religious ritual and performing arts, focusing on the
Shugend tradition. It will then explore medieval and
modern esoteric traditions and imperial rites, in both their
political and spatial dimensions. A discussion on the
UPCOMING EVENTS
performative aspects of Zen practice will further the
examination of this focal theme of religious ritual
performance. In the field of the traditional performing arts,
consolidation of performance genres, as well as temporal
changes and transformations of performative elements, will
be explored in relation to N, Kymai, Kabuki, and
Bunraku. A consideration of performative aspects of the
arts in their spatial dimensions will be followed by
discussions on the performance of gender in both
traditional and modern theatres and on the various
possibilities of performing narrations in pre-modern and
modern Japan. The workshop will conclude with an
investigation of the transition of elements from traditional
theatres to cinema.
The workshop is intended to add an essential layer to the
field of performance studies in Japan, and to lay the
groundwork for a conceptual redefinition of the
performative aspect of Japanese culture. The participating
scholars who come from various disciplines will enable a
unique exchange of viewpoints and analytical approaches.

Speakers (in alphabetical order):
Irit Averbuch, Tel-Aviv University
Shalmit Bejarano, Tel-Aviv University
Mari Boyd, Sophia University,Tokyo
Linda Ehrlich, Case Western Reserve University,
Cleveland, Ohio
Aaron Gerow, Yale University, Connecticut
Steven Heine, Florida International University
Erez Joskovich, Tel-Aviv University
Yoriko Kanda , Keiwa Gakuen University, Shibata, Niigata
Susan Klein, University of California, Irvine
Laurence Komniz, Portland State University
Arie Kutz, Tel-Aviv University
Yaara Morris, SOAS, University of London
Mariko Okada, Oberlin University, Tokyo & University of
Michigan
Kimie shima, Kanagawa University, Yokohama
Fumi uchi, Miyagi Gakuin Womens' University, Sendai
Cody Poulton, University of Victoria, Canada
Jacob Raz, Tel Aviv University
Jennifer Robertson, University of Michigan
Stanca Scholz-Cionca, University of Trier, Germany
Gaynor Sekimori, SOAS, University of London
Zvika Serper, Tel Aviv University
Ben-Ami Shillony, The Hebrew University of Jerusalem
Carol Fisher Sorgenfrei, University of California, Los
Angeles
Mikio Takemoto, Waseda University, Tokyo
Ayelet Zohar, Tel Aviv University
Over the last year, the National Library of Israel (NLI) has
been working on the catalogization and digitization of a
rare collection of Buddhist paintings and prints from the
Bakumatsu era (1853-1867) to the Meiji period (1868-
1912). The hitherto unknown collection of more than
hundred pictures was donated to the library in 1925.
The donor was Elizabeth Anna Gordon (1851-1925) who
visited Japan for the first time in 1891 as part of a world
tour with her husband, the Scottish member of Parliament
John Edward Gordon (1850-1915). The visit impressed the
couple favorably, and upon their return to England, they
joined the Japan Society in London. In 1907 Mrs. Gordon
returned to Japan and, except for one extended visit to her
home country around 1916, she remained in Japan until
her death in Kyoto in 1925.
Mrs. Gordon held a strong interest in religions, especially in
early Christianity and Buddhism which, perhaps influenced
by the conference of world religions in Chicago, she
believed to be related. While in Japan, she enthusiastically
studied Buddhism and collected numerous Buddhist books
and artworks. After her death, a portion on this collection
was donated to the Jewish National Library. A few of the
items were exhibited in 1940, but then, during the 1948
War of Independence, the collection had to be rescued
from the besieged Mount Scopus and placed in the new
library on the Givat Ram campus of the Hebrew University,
where it was first catalogued by librarian Kikue Eppstein.
Thanks to the efforts of Dr. Shalmit Bejarano, a connection
was made with the digitization project Japanese Buddhist
Art in European collections, (JBAE), sponsored by Hsei
University in Tokyo and the University of Zurich. The
generous support of the Japan Foundation and the NLI has
enabled the launching of the digitization of the Elizabeth
Gordon Collection. This project is under the supervision of
Dr. Milka Levy-Rubin, curator of NLI Humanities Collection,
and Shoshana Adelstein, head of the NLI Asian and Africa
Department, with cataloging provided by Naama
Eisenstein. The project is still in progress, but we wanted to
take this opportunity to offer you an initial peek into this
unique collection.
For more details visit the NLI website:
http://web.nli.org.il/sites/NLI/English/digitallibrary/gallery/
Humanities/Elisabeth-Gordon/Pages/default.aspx
Text by Dr. Shalmit Bejarano and Naama Eisenstein
IAJS NEWS
A summary of Japan-related academic events in Israel
The Elizabeth Anna Gordon
Collection
Conference Proceedings:
Urbanism, Urban Space, Urban
Culture: Perspectives on Japanese
Economy, Politics and Culture in the
Past and in the Present
Based on the papers given at the First Annual
Conference of the Israeli Association for Japanese
Studies (May 5-6, 2013, University of Haifa) we have
compiled conference proceedings on urbanity in Japan
edited by Dr. Michal (Miki) Daliot-Bul (University of
Haifa). The papers explore the complexity
and the changing functionality of urbanism, urban
space, and urban culture in Japan from economic,
political, social, and cultural perspectives.
The papers have been uploaded to our
website and are available at:
http://www.japan-studies.org/Conference-Proceedings-
2013-vol-II.html
Japanese Language Proficiency
Test
The Japanese Language Proficiency Test (JLPT),
organized jointly by IAJS and the culture section of the
Embassy of Japan in Israel took place on December 1,
2013 at Haifa University. The exam was taken by around
seventy students with varying levels of proficiency.
The success of the event was due to the efforts of Mr.
Shimada Seiya and Ms. Morimoto Nanako of the Embassy
of Japan, Ms. Sigal Schneider, Dr. Michal (Miki) Daliot-Bul
and Ms. Rika Einy of the Haifa University, Ms. Noa
Oppenheim of the Hebrew University, and Dr. Mika Levy-
Yamamori of Tel Aviv University.
First Manga Library Opened at the
Hebrew University
On December 18, 2013, the Department of Asian Studies
at the Hebrew University of Jerusalem inaugurated a library
dedicated to manga. The library offers approximately 200
manga books, focusing mainly on Japanese history.
Among these are series of famous Japanese manga artists
such as Tezuka Osamu, Mizuki Shigery and Nakazawa
Kenji. The aim of this collection is to provide both education
and entertainment, using this highly popular medium. The
library is managed by the student club Nippon and is
located in room 1121 in the Faculty of Humanities.
Fifth Annual Japanese Speech
Contest
The 5th annual Japanese Speech Contest was held on
Monday, May 12, 2014 at the Hebrew University of
Jerusalem. The contest was organized by the Department
of Asian Studies at the Hebrew University and the Louis
Frieberg Center for East Asian Studies, in collaboration
with the Embassy of Japan in Israel. The contest
showcased a wide range of wonderful speeches by
students from universities across Israel.
IAJS NEWS
A special workshop dedicated to reading classical
Japanese texts was held at Tel Aviv University, March 4-7,
2014. The workshop was conducted by Dr. Kazuko
Kameda-Madar (Hawaii Pacific University) and comprised
of three meetings.
The workshop focused on the text Genj Sanze (the
illustrated scrolls of the monk Zuanzang). Dr. Kameda-
Madar gave an introductory lecture about the scroll which
was painted by Takashina Takakane (active ca.1309-
1330), the head of the Imperial Painting Bureau (kytei
edokoro), and inscribed by important calligraphers such as
Sezonji Tsunetada (dates unknown) and his son Sezonji
Yukitada (1286-1350). The ensuing meetings were
dedicated to the reading of the original text under the
guidance of Dr. Kameda-Madar.
The workshop was sponsored by IAJS and the Japan
Foundation.

On March 10, 2014 a conference commemorating the third
anniversary of the earthquake and tsunami disaster that
struck Japan on March 11, 2011 was held at the University
of Haifa.
His Excellency Ambassador Sato opened the conference
and was followed by speakers from various fields and
disciplines. Prof. Rotem Kowner (University of Haifa) and
Dr. Shlomit Paz (University of Haifa) offered some
introductory remarks, profiling various aspects of the
earthquake, tsunami and nuclear crisis. Mr. Nissim Ben
Shetrit, director general of the Ministry of Foreign Affairs
and Israels previous ambassador to Japan, gave an
overview of the Israeli aid provided at the time of the
disaster.
Dr. Shay Pintov (Ben Gurion University), Dr. Shulamit
Bresler (Kibbutzim College and the University of Haifa) and
Shira Taube-Dayan (University of Haifa) contributed to a
discussion of the various medical and psychological
aspects of the relief work. Dr. Rachel Shaoul (Tel-Aviv
IAJS NEWS
Classical Japanese Reading
Workshop
Dr. Kazuko Kameda-Madar (third from left)
and participants of the workshop.
Fukushima and Beyond:
Three Years Since the Great East
Japan Earthquake
His Excellency Ambassador Hideo Sat.
University), Dr. Ayelet Zohar (Tel Aviv University, Technion
and Bezalel Academy) and Prof. Christopher Pokarier
(Waseda University) examined various aspects of the
Fukushima aftermath, including debates on Japans energy
policy, social aspects of the disaster, and its impact on the
visual arts.

The 3rd workshop by IAJS Grads, Planning and
Conducting Field Research in Japan, took place at the
Hebrew University on January 19, 2014. A panel of
speakers including Prof. Ben-Ami Shillony, Dr. Irit
Averbuch, Dr. Nissim Otmazgin and Dr. Etty Glass Gissis,
shared their experience in conducting field research in
Japan. They discussed the ways to prepare for field
research in Japan, expected difficulties and methods to
deal with them.
The next IAJS Grads Workshop will take place at Tel
Aviv University on June 22, 2014 and will focus on the
subject of defining and developing a research topic. The
workshop will be conducted in the format of thematic
mentoring. Leading scholars of Japanese studies in Israel
will share their experience and knowledge with students in
small theme-focused workgroups. The featured topics are:
* Cultural and Media Studies - Dr. Michal (Miki) Daliot-Bul.
* History - Prof. Rotem Kowner.
* Religious Studies - Dr. Irit Averbuch.
* Anthropology and Gender - Prof. Ofra Goldstein-Gidoni.
* International Relations - Dr. Rachel Shaoul
* Political Science - Dr. Nissim Otmazgin.
* Art - Dr. Shalmit Bejarano.

IAJS NEWS
IAJS Grads Workshop
IAJS Grads is a network of graduate and research
students supported by IAJS. The network activities are
initiated by students for students, with the supervision
and support of leading scholars in the field of
Japanese Studies in Israel.
The mission of IAJS Grads is to promote research
domains that are not addressed by existing academic
frameworks. IAJS Grads offers a forum for debating
research topics, locating bibliographical sources,
assistance with academic connections, information on
studying abroad, and more.
Prof. Rotem Kowner
From left to right: Prof. Ben-Ami Shillony, Dr. Nissim Otmazgin,
Dr. Etty Glass Gissis.
SPECIAL FEATURE
Voices in Japanese Art Research in Israel
Zen Paintings in Edo Japan
Dr. Galit Aviman
My love for Japanese art in general and Zen paintings in particu-
lar has intensified over the years. One of my strongest memo-
ries is from my days as a graduate student, on a special collabo-
rative program between Kyoto University and the Kyoto National
Museum; all the classes and seminars took place at the mu-
seum where the students had the opportunity to observe the art
(including national treasures) and to learn first-hand about the
work of the museum. I cannot forget the feeling of joy the first
time I saw a painting by the Zen monk-painter - Hakuin Ekaku (16851768) at close range and with
no glass protection. Japanese Buddhist art, Zen paintings and Zenga are some of my research
interest in recent years. Hakuin Ekaku, however, together with Sengai Gibon (17501837), another
prominent monk-painter from the Edo period, continue to be the main focus of my study. Their
paintings are at the center of the discussion of my forthcoming book Zen Paintings in Edo Japan
(1600-1868): Playfulness and Freedom in the Artwork of Hakuin Ekaku and Sengai Gibon to be
published at the end of this year.
The book explores the free attitude and playfulness reflected in the artwork of these two monks. This attitude is one of the
qualities which distinguish Zen Paintings of the Edo period from those of earlier periods. Although the concept of freedom is
an issue of considerable importance in Zen Buddhism, no in-depth research has yet been undertaken on the reflection of this
free attitude in the lives and artwork of Edo period Zen monk-painters, such as Hakuin and Sengai. The work strives to under-
stand the nature of this particular expression and to identify its sources. I propose a multifaceted approach, combining a ho-
listic analysis of the paintings, as units of both text and image and their interrelationship, together with contextualization of the
artwork within the specific historical, art historical, cultural, social and political environments in which they were created.
Galit Aviman lived in Japan for ten years in total. She received her BA in East Asian Studies at the Hebrew University of Je-
rusalem, Israel. With the aid of the Monbusho Fellowship she completed her MA at Kyoto University. She received her PhD at
the Ben-Gurion University of the Negev, Israel with the support of the Doctoral Fellowship of the Kreitman Foundation. In
2010 she conducted her post-doctoral studies at the Edwin O. Reischauer Institute of Japanese Studies, Harvard University,
Cambridge MA, USA, funded by the Rothschild Postdoctoral Fellowship of the Yad-Hanadiv Foundation. In 2012 she con-
ducted research at the International Research Institute for Zen Buddhism Hanazono University in Kyoto with the support of
the Japan Foundation Fellowship Program. Her forthcoming book to be published with Ashgate Publishing focuses on free-
dom and playfulness in Zen paintings of early modern period Japan.
Hakuin Eikaku. Daruma.
Indianapolis Museum of
Art.
Kshokuzu: Pictures of Rice Agriculture and Silk Production
Dr. Shalmit Bejarano
Depictions of plowing farmers and weaving women are often described in historical texts as
illustrations of the livelihood of commoners in nostalgic prewar Japan. Thousands of such
pictorial images survive, extending from the early sixteenth century wall-and-door paintings of
the Daisenin subtemple in Kyoto to Meiji period photographs and prints. Many of these
agrarian vignettes, even those created within completely different contexts of time and place,
format or audience, repeat specific themes and features. For example, a scene of irrigation
with a woman and child bringing food to the workers can be traced in most images (see
illustration). The overall atmosphere of such pictures is idyllic, and pastoral society is thus imagined as harmonious. These images,
however, are quite far from the written primary and secondary sources describing the life of peasants and commoners of pre-
modern times in pejorative or gloomy terms, and they thus provoke many questions regarding the reproduction of agrarian pictures
and their retrospective usage as historical texts. My research contextualized the reproduction of kshokuzu within the little we can
find about their artists, patrons, and audience.
The artists most commonly associated with kshokuzu are the Kano painters and
their disciples. Students at the Kano workshops were able to practice the drawing
of technical vignettes of working farmers by copying earlier models which
included Chinese paintings and illustrated books, as well as models drawn by
master painters of the school. These models were newly adapted and
reproduced throughout Japan as symbols of Confucian ideals which came to
reflect local ideals of prosperity and harmonious rule during the Edo period. This
same symbol of rice farmers as an icon of harmonious society was subsequently
adopted by the Meiji regime. It is thus necessary to contextualize the pictures of
farmers before accepting them as documentation of commoners' lives. Moreover, such contextualizing indicates changing trends
towards regime and authority in the subtle changes that this supposedly set theme carried through history.

Dr. Shalmit Bejarano is a Japanese art historian. Her dissertation (University of Pittsburgh) analyzed the emergence and development
of kshokuzu (pictures of rice agriculture and silk production) from the fifteenth to the nineteenth centuries and argued for their charged
political messages. Her MA thesis (Dshisha University, Kyoto) interpreted the ubiquitous display of seasonal motifs along walls and
sliding doors and debated the magical and political messages conveyed by such displays.
Dr. Bejarano teaches Japanese art history and Japanese history at the Hebrew University of Jerusalem and Tel Aviv University. She is
currently involved in several projects including the study of "copying" (utsushi) in Japanese pre-modern art through the prism of agrarian
pictorial motifs, as well as research into illustrated books by Tachibana Morikuni (1679-1748), and the Elizabeth Gordon collection of
religious paintings at the Israeli National Library. She is also working on an annotated Hebrew translation of Kamo Chmei's Hjki in
memory of her daughter Noya.
SPECIAL FEATURE
Picture of Rice Agriculture, detail. Originally
Daisen'in Temple, c. 16th.
SPECIAL FEATURE
The Artistic and Metaphoric Role of Mirrors in Ukiyo-e
Dr. Etty Glass Gissis
Mirrors play a significant role in ukiyo-e prints, conveying a broad spectrum of meanings at
different philosophical and artistic junctions in Japanese history. Mirror depictions create an
exchange between the reflector and the reflected; understanding what is visible (reflected)
or invisible (not reflected) is important for comprehending the mirror's artistic and metaphori-
cal roles.
Mirrors traditionally served as a metaphor for Buddhist and Shinto deities, symbolizing wis-
dom and enlightenment. Most manifestly, the mirror-moon analogy represents an important
philosophical concept: the shape of mirrors, like the full moon, is a perfect natural form. For
practitioners, it also embodies enlightenment. In Buddhist terms, the word daienkychi
represents the wisdom of Buddha in the form of a circle.
An examination of the mirror-moon trope as represented in rituals and religious paintings
can offer new insights into the analogy between the mirror and the moon. There is a rich
tradition, which inspired the work of many poets and artists, of using both the moon and the
mirror as metaphors for religious thoughts. One example is the pictorial and metaphorical development of the mirror-moon trope in
Suzuki Harubobu's Autumn Moon of the Mirror Stand (Kyodai no Shugetsu), evident in the composition of the open window, the
figures sight line, and the use of color.
Regarding the role of mirrors in yakusha-e (actor prints), the Shunkan theme was very popular in Kabuki theater, for example in
Shunkan monogatari. This theme refers to an historical event which took place in the Heian period when Shunkan, the high priest
of the Hsh temple in Kyoto, plotted against the rule of the Taira clan and was exiled to the remote island of Kikaigashima. In the
context of the story, the mirror has a three-fold function: it serves as the crux of the play revealing the truth; it is used by the artist
as a tool for expressing his imaginative and free interpretation of the text; and lastly, it acts as an attribute in the portrayals of
Shunkan, identifying him, presenting him authentically, and emphasizing his energy.
In prints by artists pre-dating Utamaroi.e., the early stages of mirror depictions in ukiyo-e printssimple depictions of a beauty or
a couple in front of a mirror developed into a more sophisticated mode of mirrors with reflections. In some pictures, the figure ap-
pears together with its reflection, the virtual image, while in others only the virtual image is depicted.
During the late Edo period, mirror depictions in ukiyo-e suggest a surrealistic type of expression, endemic to the Utagawa School.
Early representations of mirror images appear in numerous yakusha-e and are thought to be sections of diptychs or triptychs in
which the reflection has become detached from the source, similar to many prints of the Katsukawa School. In the next stage, sin-
gle prints include mirrors that are detached from the holder or from their stand.
My study, like the important mirror metaphors, approaches the past as a mirror to be looked into by those living in the present.

Dr. Etty Glass Gissis received her PhD (2012) from Gakushuin University, Tokyo. She is currently a lecturer of Japanese art
and culture, working also as an independent curator.
Suzuki Harunobu. Autumn Moon of the
Mirror Stand. From the series, Eight
Views of the Parlor. 1766. Chban.
The Brush and the Keyboard: On Being
an Artist and a Researcher
Dr. Ayelet Zohar
My professional identity
is clear: I am a scholar
and an artist. Are these
opposing faculties of the
mind, or are they, rather,
complementary
capabilities that enrich
one other? Asian
traditions refer to
bunjinga, mostly translated as literati painting, representing
the perpetual tension between scholarship and the arts. In
the following, I would like to share some thoughts,
reflections and visual references with which I hope to
expand this discussion.
As a professional artist the education I received was
mostly the training of the eye. This consisted of viewing,
looking, watching, and then being able to articulate what
the eye sees. Since the beginning of the twentieth century,
Western art has moved away from the skillful crafts (of
description and decoration) to new levels of complexity
and sophistication, developing from the ready-made to the
conceptual, from photography to new media. Being an
artist today demands an intricate blend of abilities requiring
both theoretical understanding and visual skills. This trend
echoes the (idealized) past, the literati tradition of East
Asia, when praise for technical professionalism was limited
and disparaged, highlighting connoisseurship (shumi) and
the pure mind of the scholar-practitioner. Being a
contemporary artist today means creating images/objects/
actions that express and criticize aspects of both personal
and social frameworks. Contemporary art has become an
arena of expression that utilizes images, regardless of
their source, while the artist intervenes to create their
context and meaning.
My own education as an artist began at the Midrasha Art
School, one of the strongholds of Israeli contemporary art,
where I majored in painting, video, and installation art
(1986). The main skill acquiredthrough lessons,
critiques, debates, and discussion of exhibitionswas the
capacity to (effectively) look and watch.
In the early 1980s, before entering art school, I had had
the opportunity to live in Japan. Upon graduation, I
realized that my interest in Japanese culture and arts had
piqued, and I thus decided to study in the Department of
East Asian Studies at the Hebrew University. Already
trained in the arts and dedicated to my studio practice, I
had my first one-person show during my first year at the
university, with one piece playing with images of "Ancient
Pool and a Frog" (after Bash's famous haiku). From that
point on, I was determined to combine my understanding
of Asian arts with my contemporary training, within the
context of Israeli life and art history.
The Israeli context deserves a short reference here. Israeli
art of the 1960s-70s engaged in what was later to be
known as Want of Matter (Dalut Hahomer): a style that
stemmed from the critique of the Bezalel Art Academy and
the arts associated with spiritualism in Jerusalem and went
on to create what would later be coined as the art of Tel
Avivsecular, mundane, enigmatic, and relating to pop-art
and other international movements of the time, using
simple materials, words, photos etc. Many of the artists
FEATURED ARTICLE
associated with this style used bare plywood boards as the
substance of their work; a signifier of the ordinary, non-
elitist approach to commonplace art materials. For me,
however, the exposed, simple plywood board was also the
constituent of traditional Japanese woodblock prints.
Hence, one of the first series I created was made on
simple plywood boards, using Japanese woodcut knives to
create cut surfaces similar to woodblocks. In contrast to
the Asian tradition where the board is then covered with
paint and printed on paper, I kept the stamp of the cut
surface and displayed it in the gallery as is. Mostly, I did
not simply start from a plain wooden board but actually
"erased" existing paintings by cutting into the wooden
texture through the painting's surface [Fig.1].
My next goal was to study ink painting, as this medium
beautifully echoed
Israeli arts attention
to simplicity and was
also a major style of
Asian classical art
a method combining
the writing process
and visuality, text and
image, and past and
present, in a
thoughtful and
seamless manner. I
found that the values
of this non-material, thin-looking, modest art form provided
a profound echo of my own artistic desires. Nonetheless,
as my awareness of the history of Japanese art in the
nineteenth and twentieth centuries grew, I realized the
improbability of engaging with ink painting in Japan; the
technique was absorbed by
the Nihonga institutionalized
system and is, in practice,
non-existent. In the Chinese
art academies, on the other
hand, ink painting was
thriving, with numerous
excellent departments and
teachers. Feeling like
Sessh, Eisai, Dgen and
many other Japanese artists
and scholars who had
travelled to China in search
of the roots of traditions that
had changed too drastically
in Japan, I enrolled in the
Studio of Landscape Ink Painting at the Central Academy
of Fine Art in Beijing. It was an intriguing encounter; a
contemporary artist, educated in Japanese culture, coming
into a traditional, Northern Style professional studio. My
training had led me to admire but also to question each
and every element: what is a (good) line? How to
(meaningfully) copy? What is a challenging, contemporary
ink-painting? [Fig. 2].
In my own research and teaching, I make a special effort
to share my understanding with readers and students. I
have focused on works of contemporary Japanese art for
my research and analysis over the years, concentrating
particularly on the practice of Japanese photography, not
necessarily art photography, but photography as a tool in
contemporary art. My masters research (Tel Aviv
University, summa cum laude, 2000) focused on questions
of gender, post-colonialism, and trans-culturalism in the
FEATURED ARTICLE
Fig. 1. Ayelet Zohar. Letter to a
Japanese Friend.1996. Ink, acrylic,
enamel, and woodcut on plywood.
178X122 cm.
Fig. 2. Ayelet Zohar. Hong
Ren's 'Landscape In Snow'
On My painting Desk. 1995.
Ink and acrylic on xuan paper.
180X60 cm.
corpus of Morimura Yasumasa, the artist who has almost
single-handedly changed the face of contemporary art in
Japan.
I simultaneously developed a series of paintings that
"translate" Japanese shunga (erotic art) into a system of
repetitive lines created by the paper's texture and
represent the structure of bamboo-screens, mosquito nets,
wooden folding screens, etc. [Fig. 3]. This painting series
and academic research has grown into a major curatorial
project and exhibition which advanced my understanding
of Morimura's vision, his tremendous influence on the
younger generation of artists in Japan, and the expanding
field of gender and sexuality in Japanese art and life
(Tikotin Museum of Japanese Art, 2005). This exhibition,
together with the work of other excellent scholars who
contributed to the project, became the edited volume
PostGender: Gender, Sexuality and Performativity in
Japanese Culture (Cambridge Scholars Publishing, 2009).
My PhD research centred on the way war trauma and
memory were silenced issues in Japanese society. This
has become a central subject for numerous Japanese
artists over the past two decades, as they question the
older practices of disregard and evasion. I looked at issues
concerning war memory, taking a further step by
challenging notions of national, ethnic and geographical
limitations. I chose to analyse an art practice (rather than
specific works) that reconsiders processes of multifocality,
using the themes of camouflage and invisibility (University
of London, 2007). Finally, during my postdoctoral research
(Stanford University, 2007-9), I developed three further
topics that derived from this rather theoretical study,
applying my conclusions to photographs by Suzuki Norio
of Onoda Hir (one of the last holdout stragglers) and to
staged performances by Tsukada Mamoru of Japanese
imperial army soldiers. I also wrote about Yamashiro
Chikako's Chorus of Melodies series and the torments of
Okinawan identity; Morimura Yasumasas performance of
Rising the Flag in Iwo Jima (2010) and Koizumi Meiros re-
enactments of Kamikaze pilots within the context of
contemporary Japanese urban life. I have compiled these
varying analyses into my first manuscript entitled Beyond
Hiroshima: The Return of the Supressed, currently under
review.
My own art work has developed into an examination of war
and political aspects of life in Israel: a series of ink painting
scrolls entitled Border Scrolls (2001) represent the
exertions of the Israeli landscape [Fig. 4]; the Binoculars
series (2010) represents images of the border viewed
through the circles of binoculars, painted on two identical
round-in-square paper formats, as used in Japanese bird-
and-flower paintings [Fig. 5]; the Marun al-Ras series
FEATURED ARTICLE
Fig. 3. Ayelet Zohar. Shunga (Behind the Screen series), After
Harunobu. 2001. Ink on Korean paper. 100 x100 cm.
(2011) combines ink with oil painting and depicts the
mountains of Lebanon as viewed from Israel [Fig. 6]; most
recently, the Sniper series (2012) is a set of collages of
patterned wallpaper depicting the ultimate image of
camouflage and invisibility, namely the sniper [Fig. 7].
Over the past decade I have been invited to curate several
exhibitions, many relating to Japanese themes. The
curatorial project Smashing!: Fragments, Fragility and
Deconstruction in Contemporary [Ceramic] Arts was an
international group show of contemporary artists who look
at broken porcelain as a potential starting point for new
creativity (Benyamini Ceramics Centre, Tel Aviv, 2013).
Currently on show is Two Moons on the Shore,
Mechanical Bird in Norwegian Wood: Haruki Murakami
and Contemporary Art (Contemporary by Golconda
Gallery, Tel Aviv, till May 31, 2014), a curatorial project
that brings together Japanese and international artists
whose work reflects some aspects of Murakami Harukis
literature. The show presents an array of media and
imagery, and I chose to match each of the presented
images with sections taken directly from Murakami's
literature [Fig. 8].
In the past three years my research has moved in two
new directions. First, my research entitled Ink and Index
considers the relations between ink painting and
FEATURED ARTICLE
Fig. 5. Ayelet Zohar. Smoke in Landscape (Binocular Series). 2011.
Ink on Japanese paper. 35X70 cm.
Jennifer Robertson and Celeste Brusati Collection. Ann Arbor, MI.
Fig. 4 Ayelet Zohar. Border Scrolls #1 (Squares). 2001.Ink on scroll
paper with stamps. 40X400 cm. (detail).
Fig. 6. Ayelet Zohar. Lala Land (Marun al-Ras Series). 2010. Ink and
oil paint on plywood. 122X248 cm.
Ha'aretz Daily Newspaper (Amos Schocken) Collection. Tel Aviv.
Fig. 7. Ayelet Zohar. Sniper in Black. 2011.
Wallpaper on plywood. 150X122 cm.
photography in the early years following the introduction of
photography to Japan. An inquiry into the work of early
photographers, including Esaki Reiji, Shiina Sukemasa,
and Yokoyama Matsusaburo, has revealed some
surprising images concerning experimentations with light
and dark, reflection and opacity, monochrome and
transparency, traces and representations, the idea of
bokuseki (ink traces), and the question of indexicality in
photography theory. My findings thus far reveal how
photographers in Japan have used the medium in an
unusual manner which could be termed "anti-
photography."
In addition, my most recent research project concerns the
encounter between Japan and the Middle East, examining
images of Palestinians, Arabs and Muslims in Japanese
art (from late Edo to the present), and exploring their role
in Japanese political and cultural imagination. This has
turned into a manifold work with offshoots developing into
six different themes: the Arabian prince and the slave
(including dromedary representations); the belly dancer
and the veiled wife (from the earliest to the most recent
Japanese translations of Arabian Nights); the terrorist and
the refugee (including a group of films that discuss the
Palestinian-Israeli conflict from a Japanese point of view).
The research has greatly expanded, and several articles
concerning aspects of the discussion are to be published
in the near future.
To conclude, my experience as an artist has nurtured my
approach to the research of Japanese arts and visual
culture, equipping me with a good eye that allows me to
investigate unusual images and discourses that may not
otherwise have been considered. I believe that the classic
Asian approach to art and intellectual creativity as mutually
combined best describes my own engagement in both
fields.

FEATURED ARTICLE
Fig 8. Exhibition Invitation. 2014.
Dr. Ayelet Zohar is an artist, independent curator and
visual culture researcher, specializing in Japanese
photography. She is a lecturer at the Art History and the
East Asian Studies Departments, Tel Aviv University, as
well as the Bezalel Academy of Arts and Design.
Interviewed by Dr. Shalmit Bejarano
Ofer Shagan (48) is an Israeli-born shunga collector who
currently lives in Tokyo. His most recent book Japanese
Erotic Art: The Hidden World of Shunga was published in
2014 by Thames & Hudson. His previous book (in
Japanese) was titled Encyclopedia of Japanese Erotic Art:
Shunga (2011) and was published by Heibonsha.
Shagan's collection of Japanese erotic art is considered
the largest in the world. It comprises 5000 illustrated books
and 2000 single prints from the Edo period (1600-1868),
and 300 painted scrolls, some dating as early as the
Muromachi period (1333-1573). A former art dealer,
Shagan has devoted his energies and skills in the last
decade to collecting and learning about shunga. His
definition of shunga is broad and refers to all images
depicting genitals, yet he emphasizes that shunga is not
pornography. Using many hitherto unknown prints, he
argues that unlike pornography, the main function of
shunga was not sexual arousal, as the images do not
focus on moments of climax. Many shunga books, in fact,
tell stories of devotion between couples which extend
beyond the futon; others use sexual acts to channel
criticism against the current political and social affairs.
Q: When did you first encounter shunga, and how did
you form your collection?
A: Shunga were first shown to me in the back room of an
art dealer in 1991, and I was drawn to the free depictions
of sexual pleasure, especially that of women. I started
purchasing first out of curiosity and ignorance; I was trying
to compete with well-known collections by buying better
copies of the renowned painters. Later on I realized that
shunga tell the story of Japanese society and that the
interesting and more creative parts are often to be found in
the unsigned and lesser known books.
Q: How do you find these books and artworks?
A: At auctions and through art dealers. Sometimes I am
approached by people who have been bequeathed an art
collection by their father and who are unhappy to discover
that he secretly collected shunga.
Q: And how do you study them?
A: The study of shunga leaves much to be desired. I find
that most shunga studies tell the history of style and pay
little attention to social interpretations. There are
exceptions, starting with Timon Screech's book (with
whose interpretation I sometimes disagree), Hayakawa
Monta, Andrew Gerstle, and the recent exhibition at the
British Museum curated by Tim Clark. Still, this exhibition
stressed the aspect of sexual arousal, and for me such an
interpretation overlooks many of the existing images. I am
sorry to say that many academics do not deal with the
subject because they would not get financial support from
Japanese official sources, or because they cannot work
with respectable museums which, at best, hold only small
collections of shunga. Many scholars come to consult my
collection and share their advice.
Q: And how about non-academics?
A: My collection is often mentioned in popular weekly
magazines (for men, but also for women). I find that
people who read about my approach to shunga are less
likely to blush and raise misconceptions when this subject
INTERVIEW
Collecting Japanese Erotic Art
Interview with Ofer Shagan
comes up in conversation.
Generally I divide shunga prints into five main subjects:
sex education, gossip, protest, social consensus, and
humor and fantasy. Despite their supposed link to the
pleasure quarters, only ten percent of the shunga depict
geisha and courtesans. Among these, many show the dark
aspects of the sex trade and the demanding of money
from clients. It is only in hiding that geisha are shown
enjoying sex. I actually wanted to publish in the book a
photograph I took in Shinjuku showing a mass grave of
geisha in order to expose their suffering, but the publishers
objected. It is true that there are images of courtesans
praying to an icon in the shape of a phallus, but such icons
represented a charm against venereal diseases.
Back to the issue of sex education. The earliest artworks
on the subject were Heian period illustrated hand scrolls
with twelve scenes, which were tremendously expensive.
These were used to educate couples and included detailed
explanations instructing men and women where to touch
and what to do for sexual pleasure as part of family life.
These later developed into popular printed books that
maintained a consensus of loyalty and pleasure within
marriage. Looking at sex in and of itself was not an issue
in a society where there was no concept of privacy. You
have to understand that having sex on the street was only
outlawed here in 1956. Viewing love-making was not an
issue.
Gossiping is the second category to consider. People
enjoyed reading and imagining the life of high class people
and particularly of Kabuki actors. There are even prints
comparing the size of Kabuki actors' genitalia. But it is
important to understand that these were not meant to
stimulate sexual arousal. In a print of a woman
masturbating to an image of a Kabuki actor, he is depicted
fully dressed. I dont think that it is arousing for a woman to
imagine the man she admires with another woman nor it is
fun for a man to think of the huge size of another mans
genitalia.
Q: So you do not think there was a gender distinction
between the viewers of shunga?
A: No. Shirakura Yoshihiko, who published widely on
shunga and contributed to my books, even noted that it
was women who purchased shunga books.
As for the third issueprotest. It is clear from the
pejorative way in which samurai and peasants are
depicted in shunga that its patrons were from the artisan
and merchant classes. I have prints in which a samurai is
depicted raping a farmer or an old woman. Sex in such
images is an allegory for the coercive force of the regime.
When I see such images I purchase them immediately,
without checking how famous the painter was. I find the
social message of the period more important than the
name of the artists.
INTERVIEW
Married couple, home scene.
Shunga convey clear norms for what was acceptable and
within the consensus, and in that, the painters were in
accordance with legal conventions. For example, rape was
considered a crime, and rapists are depicted as ugly,
hairy, sometimes tattooed or crippled. When adultery is
depicted, there are scenes of tears and revenge,
emphasizing the pain involved. Another interesting
example of the connection between shunga and marital life
are the images of pregnancy in the erotic books. Some
images depict the male organ with the fetus and later show
a scene of birth.
I thus cannot agree with those who maintain that shunga
was pornography.
As for fantastical images that focus on the male organ, I
think that these convey or arouse fears rather than desire.
One funny book tells the story of a man who goes through
an enlargement operation and later tells his friend of his
difficulties in having sex. The message of this story is
clearly educational, conveying the message that one
should be satisfied with ones lot.

Q: I recently encountered several blogs that brought
up the "passing wind competitions."
A: I have several versions of these scrolls as well, and I
categorize them as shunga. Apparently "passing wind"
was an annual court ritual that was aimed at exorcizing evil
spirits. The earliest surviving scrolls are from the
Muromachi period, although the origin must have been
Heian. These scrolls were later considered as charms to
dispel pests and were collected by samurai and peasants
for this purpose.
Q: I remember that the late collector Jacob Pins said
that there are two types of collectors: those who like
to secretly keep artworks for their sole pleasure, and
those whose enjoyment lies in the sharing.
A: Indeed, my enjoyment of the collection is derived from
sharing it and letting others study the items. In 2005, works
from my collection were exhibited at the Israel Museum,
and in 2009, at the Tikotin Museum. I would gladly exhibit
in any places that can offer the right conditions. I also
enjoy sharing artworks, and my next plan is an exhibition
of sumo prints at the Tikotin Museum.

INTERVIEW
Forced sex between peasant and samurai.
Passing wind scroll.
Dr. Ilana Singer Blaine
The Tikotin Museum of Japanese Art on the crest of Mount
Carmel is dedicated exclusively to the preservation and
exhibition of Japanese art works, and is the only one of its
kind in the Middle East. The Museum, a municipal
foundation, was set up in 1959 on the initiative of Felix
Tikotin (1893-1986) from Holland, and Abba Khoushy
(1898-1969), then mayor of Haifa. The Museums aims
are: to acquaint Israelis with Japanese culture; to promote
mutual understanding between Israel and Japan and
between East and West; and to encourage study and
research of the arts and culture of Japan.
The Museum's collection
comprises more than 7,000
items: paintings, prints,
drawings, painted screens,
textiles, antique illustrated
texts, ceramics, miniature
carvings (netsuke), lacquer
and metal work, antique
swords and functional
crafts mainly from the 17th
to 19th centuries, as well
as modern Japanese art.
The collection has
increased over time, and
other private collections
have been donated to the
Museum. Exhibitions
present a variety of aspects
of Japanese culture, displaying a broad cross-section of
art, both traditional and modern, and emphasizing the
aesthetic values unique to Japanese art.
Many artworks in the collection are extremely rare,
especially among the woodblock prints from the Edo
period (1600-1868). For example, the print by Utagawa
Toyokuni (1769-1825) depicting the Kabuki actor Band
Hikosabur III as Kud Suketsune in the play Gohiiki aikyo
soga [ Fig. 1] by Nakamura Jusuke II. The play was
presented at the Kawarasaki Theatre in the first month of
1794. In the same year Tshsai Sharaku (active ca. 1794
-1795) also submitted a design for a print of the play, but
did not receive the commission. This may have been one
reason for his disappearance after only eight months of
creativity. Toyokunis print in the Museums collection is
the only known copy in the world.
The fan print (uchiwa-e) by Kitagawa Utamaro (1753-
1806), depicting the Kabuki actor Nakayama Tomisabur
JAPANESE ART COLLECTIONS IN ISRAEL
Tikotin Museum of Japanese Art
Fig. 1. Kabuki actor Band
Hikosabur III as Kud
Suketsune. Utagawa Toyokuni
(1769-1825). Signature: Toyokuni
ga. Publisher: Izumiya Ichibei,
Kansend. Woodblock colour
print (nishiki-e), hosban, 1795;
30.4 x 14 cm
Fig. 2. Nakayama Tomisabur as a shirabyshi in the Kabuki play
"Musume Djji"; Kitagawa Utamaro (1753-1806); Signature:
Utamaro hitsu; Uchiwa-e, fan-shaped woodblock colour print
(nishiki-e), 1795; 19.9 x 26.8 cm
in the role of a shirabyshi (female dancer) in the play
Musume djji [Fig. 2] is also very rare. Utamaro did not
usually create uchiwa-e or prints depicting Kabuki actors,
and there are very few remaining fan-print sample
catalogues from the 18th century. All fan prints from that
period were intended for daily use and were consequently
not well preserved. Utamaro designed the print in 1795,
shortly after Sharaku disappeared. There is a similar print
in a private collection in Japan, but the actors name and
family crest are different. Publishers often re-used the
same block in order to make a quick profit.
Another rare print, also
by Utamaro, depicts
Three Beauties of Today
[Fig. 3]. This is one of
only three extant from
the first edition. The
other two are in Boston
and Tokyo. The girl on
the left worked in a tea
house, but was so
arrogant that a customer
threw faeces at her. In
order to prevent such
shameful incidents in
the future, the
government forbade
publishers to include names of respectable people in
prints, and artists were only allowed to add the names of
prostitutes and actors to their works. When Utamaros first
edition was published the order had been proclaimed for
the second time, so that in the second edition of the print
the names of the women do not appear.
A very rare surimono
print [Fig. 4] is by the
young Katsushika
Hokusai (1760-1849)
who was, at the time,
very influenced by the
style of Katsukawa
Shunsh (1726-1793)
and even signed his
works Shunr.
Nevertheless, one
can see how talented
and original this
young man was.
Another fan print by Utagawa Hiroshige (1797-1858) in the
Museums collection portrays the ferry between Kuwana
and Atsuta [Fig. 5] and is one of a series of eight views.
The copy in the Tikotin Museum is one of the five prints
from the series that have been discovered.
Fig. 3. Three beauties of today
Takashima-Hisa, Naniwaya-Kita
and Tomimoto-Toyohina. Kitagawa
Utamaro (1753-1806). Signature:
Utamaro hitsu. Censor's seal:
kiwame. Publisher: Tsutaya
Juzabur, Koshod. Woodblock
colour print (nishiki-e) on mica
ground. ban, ca. 1794. 35.8 x 24.5
Fig. 4. Girls picking tea.
Katsushika Hokusai (1760-1849).
Signature: Shunr ga. Woodblock
colour print (nishiki-e),
koban. 21.8 x 16.2 cm
Fig. 5. Returning sailboats at Chichiri ga hama. Series: Eight views
of Ekiji internal and external. Utagawa Hiroshige (1797-1858).
Signature: Hiroshige ga. Uchiwa-e, fan-shaped woodblock colour print
(nishiki-e). 22.2 x 29.6 cm
Hiroshige created
this series
immediately after
his Fifty-Three
Stations of the
Tkaid (, Tkaid
gojsan-tsugi) in
the Heid Edition
(18331834),
when his art was at
its peak. Other
prints from the
series are in Japan
and in the Victoria
and Albert
Museum. The Tikotin Museum is home to the third largest
uchiwa-e collection in the world after the Victoria and
Albert Museum and the Jasinsky Collection.
The Museum also houses several rare drawings, among
them the drawing by Utagawa Kunisada (1786 -1865) of
Sukeroku [(Fig. 6]. It is unlikely that other drawings by
Kunisada still exist.
Another rare drawing is of Itsukushima in Aki Province
[Fig. 7]. It is one of a series by Utagawa Hiroshige II (1826-
1869), probably of Eight Views of Famous Places, and
was originally included in a hand-scroll (emaki-mono).
Such drawings were designs for folding screens (bybu)
that were never made, but they are, nonetheless, far more
valuable than the screens themselves would have been.
Felix Tikotins dream was that this Japanese museum
would be a centre for the study of Japanese arts and
culture, and for extending Israeli knowledge about Japan.
In the educational branch of the Museum, workshops
based on the exhibitions are conducted for pre-school and
schoolchildren, for teachers, and for other groups. Courses
are conducted on the Japanese language, calligraphy and
ink drawing, ikebana (Japanese flower arrangement) and
cooking, as well as activities for children. Special events
on Japanese arts and culture are also held. These include
lectures, films, tea ceremony, festivals and celebrations,
many of which are held in the Raphael Angel Auditorium.
In 2000, the Tikotin Museum received the prestigious
Japan Foundation Special Award, which is conferred
annually on institutions that make significant contributions
to cultural exchanges with Japan. In 2003, the committee
of the Israeli Ministry of Education and Culture for
evaluating the quality of exhibitions and collections ranked
the Tikotin Museum of Japanese Art second only to the
Israel Museum in order of merit. In 2009, the Japanese
Foreign Minister commended the Tikotin Museum for its
exhibitions and for reinforcing the ties between Israel and
Japan.

Fig 6. Sukeroku. Utagawa Kunisada (1786
-1865). Signature: Kunisada ga. Seal:
toshidama. Ink and colour on paper
27 x 17.8 cm
Fig. 7. Itsukushima, Aki. Utagawa Hiroshige II (1829-1869). Section of
emaki-mono, ink and colour on paper, 1850-1858. 26.3 x 58 cm
Miriam Malachi, Curator
The Israel Museum, Jerusalem, was inaugurated on May
11, 1965. The Museums curatorial program is led by its
Wings for Fine Arts, Archaeology, and Jewish Art and Life.
More than thirty exhibitions and special displays are
mounted each year, while the Youth Wing for Art
Education offers an extensive program of courses and
activities. The Israel Museums encyclopedic collections
contain nearly 500,000 objects, and its annual attendance
approaches 1,000,000 visitors.
Among the ten departments of the Fine Arts Wing is the
Marcel Lorber Department of Asian Art, led for more than
three decades by its founding curator Rebecca Bitterman.
Thanks to her wealth of knowledge and passionate
approach to Asian art, awareness of the department grew
quickly, both in Israel and abroad. As support for the
department grew, so did the collection. 1985 saw the
inauguration of the gallery for Asian art, endowed by
Selma and Hillel Picciotto, which was renewed and
reconfigured in 2010.

The collection was formed in 1968 when Wolf Ladejinsky
of Washington, D.C. donated a group of Southeast Asian
sculptures and early Chinese ceramics. Ladejinsky, who
for decades worked in Asia as an expert on agricultural
reform, felt that his collection would greatly contribute to
Israeli appreciation of Asian culture. Following his death in
1975, his collection of more than 700 artworks came to the
museum, and this rich and varied bequest formed the core
of the Department of Asian Art.
Another outstanding collection was gifted by the Austrian-
born musician Marcel Lorber, London, who also provided
an endowment that is honored in the name of the
department. The Lorber gift of more than 200 objects
included 18th century netsuke and inro, a superb group of
Chinese Qing dynasty rhinoceros horn cups, Chinese snuff
bottles and jade carvings, and a few Tibetan sculptures.
The eminent mathematician Dr. Samuel Eilenberg, New
Marcel Lorber Department of
Asian Art at the Israel Museum,
Jerusalem
Kitagawa Utamaro (1753-1806)
The Courtesan Hanaogi of the Ogi-ya Reading a Letter, 1794
Oban woodblock color print
York, a great collector of
Southeast Asian art,
enriched the museum with
more than ninety bronze
sculptures and artifacts
from Indonesia. A generous
anonymous donor enabled
the purchase of, among
other items, some fine 17th
century Chinese furniture
and a rare, historically
important set of thirteen
Spring and Autumn period
Chinese bronze bells dating
from the 7th6th century
BCE.
Following the passing of
Jacob Pins in 2005, the
museums Japanese
holding was greatly
enriched by the bequest of
his collection of some 500
Japanese prints, paintings,
and sculptures, as well as
his library of almost 1,000
Japanese art books, some
extremely rare, now
available to the public in the
Israel Museum Art Library.
Professor Pins, a Jerusalem artist, scholar and teacher,
spent half a century building his renowned collection which
is particularly strong in early primitive prints and pillar
prints a subject on which Pins published a
groundbreaking book, The Japanese Pillar Print, in 1982.
Many others have donated beautiful and important Asian
artworks, and still others have provided, and continue to
provide, generous funds enabling the steady expansion of
this department which houses the only major
comprehensive collection of Asian art in Israel.
Some of the recent exhibitions relating to Japanese art
include Japanese Pleasures: Actors and Courtesans in
Woodcuts from the Pins Collection (curators Etty Glass
Gissis and Rebecca Bitterman) held in 2004. The
woodblock prints and paintings displayed in this exhibition
represent a form of popular urban culture that developed in
Japan during the Edo period and are from the Jacob Pins
Collection in the Israel Museum.
Another exhibition held in 2004 was titled Splendors of
Imperial Japan: Meiji Masterpieces from the Khalili
Collection (curator Rebecca Bitterman). It included eighty
pieces on loan from the important Khalili Collection in
London, exhibiting creations of Japanese master
craftsmen of the Meiji period such as life-size bronzes
inlaid with gold and silver, delicate enamels, and lacquer
works of the finest quality and detail.
A major exhibition, Rising Sun, Melting Moon:
Contemporary Japanese Art (curator Talia Amar), was
held in 2005. This exhibition featured prominent Japanese
artists of different generations among them Yoshitomo
Nara, Nobuyoshi Araki, Yasumasa Morimura, Yoshihiro
Suda, Tabaimo, and Chiho Oshima. These artists address
both universal and specifically Japanese issues in ways
that are at times intimate, and at times replete with social
criticism, employing cultural icons, childhood heroes,
manga, and anime. With their references to traditional
Okumura Masanobu (1685-
1764)
The Actor Sanokawa
Ichimatsu as a Puppeteer,
Holding a Puppet
Representing the Courtesan
Matsuyama, ca. 1740
Trimmed kakemono-e
woodblock color print
Japanese masterpieces and popular Western and
Japanese culture, and representing a wide variety of
media, many of the works break down the barriers
between genres.
In 2006 the museum hosted Far and Away: The Fantasy of
Japan in Contemporary Israeli Art (curator Mira Lapidot).
The exhibition explored the phenomenon of Japanism in
contemporary Israeli art via a selection of recent works
notable for their striking Japanese influence. Their visibly
Japanese sources run the gamut from traditional fine arts
to pop culture (mainly manga and anime). The featured
artists included Aya Ben Ron, Zoya Cherkassky, Roi
Kuper, Hila Lulu Lin, Yehudit Matzkel, Doron Rabina, Roee
Rosen, Yehudit Sasportas, Tal Shochat, and Eliezer
Sonnenschein.
Another important exhibition titled Crossplay: Male Actors,
Female Roles in Kabuki Theatre (curator Miriam Malachi)
was held in 2012. This exhibition offered a glimpse into the
world of Kabuki, presented through a display of thirty prints
and paintings from the museums collection and original
kabuki costumes on loan from the historical collection of
the department store Isetan Mitsukoshi, Tokyo. It was
organized jointly with the Japan Foundation, along with the
film and theatre company Shochiku and the department
store Isetan Mitsukoshi.
An upcoming exhibition, Unfolding Worlds: Japanese
Screens from the Gitter-Yelen Collection (curator Miriam
Malachi), will be held from June 7-November 27, 2014 and
will feature a group of exquisite Japanese folding screens
from the Gitter-Yelen Collection, world-renowned for its
quality, which illustrates the richness of Japanese art. The
fifteen screens on display date from the 18th to the 20th
century and reflect the range of topics covered by
Japanese artists, as well as the cultural attitudes and
ideals of the different time periods.

All illustrations of artwork in this section are copyright the Israel
Museum, Jerusalem
The Poetess Ono no Komachi as an Old Woman
Late 18th century
Intercultural Bridge Japanese
and Israeli art at the Wilfrid
Israel Museum
Shir Meller-Yamaguchi, Curator
The Wilfrid Israel Museum of Asian Art and Studies has a
collection of Near and Far Eastern art bequeathed to
Kibbutz Hazorea by Wilfrid Israel (1899-1943), friend and
patron of its young founders. The museum was founded in
1951 and was the first museum in Israel to exhibit East
Asian art. It includes some 2000 pieces from India, Japan,
Nepal, China, Thailand, Cambodia, Persia, Egypt and
Greece.
The museum offers a permanent exhibition of East Asian
art from the museum's collection, alongside exhibitions of
contemporary Asian and Israeli artists who relate either
aesthetically or conceptually to Asian art. It employs a
humanistic and multi-cultural approach which draws from
the character of Wilfrid Israel himself.
The collection includes only a few items of Japanese art,
including bronze mirrors from the 18
th
-19th century, a
Haniwa grave statuette from the 5th century, and a Noh
mask from the 16th century. In the past few years, the
curatorial approach has emphasized contemporary
exhibitions, introducing Japanese art and its influence on
Israeli art.
The following examples of temporary exhibitions
demonstrate the various presentations of Japanese art.
The exhibition Yunomi (2010, curated by Anat Turbowicz),
based on the D.A.G collection, presented the simplicity
and modesty of Japanese pottery. At the heart of the
collection were thirty-five teacups made by Japanese
"Living National Treasures" and by American, European
and Israeli potters who explored and reinterpreted the
tradition of Japanese pottery.
ButohDance of the Soul (2011) introduced the roots of
Butoh, its unique aesthetics, and its influence on Israeli
dancers. The exhibition featured the works of
photographers from Israel and Japan: Drora Spitz, Nourit
Masson-Sekine, Akiko Miyake, Hiroko Komiya, and Gen
Fukuda. It also presented videos from the Butoh
performances of Kazuo Ono, Tatsumi Hijikata, Sankai
Juku, Dairakudakan, Atsushi Takenouchi, and Maya
Dunsky.
This exhibition continued on to Haifa University (2012)
under the title Asian Window Gallery and was
accompanied by a major conference on Butoh, co-
Butoh-Dance of the Soul (2011), work of Akiko Miyake.
organized with Prof. Rotem Kowner. In 2013, it was
exhibited in the Japanese embassy in Tel Aviv,
accompanied by lectures and dance performances
introducing Butoh to the Israeli public.
In 2012the 60th anniversary of Israel-Japan diplomatic
relationsthe museum held a unique exhibition supported
by the Japan Foundation entitled Inner Space, with the
emerging contemporary Japanese artist Onishi Yasuaki.
While in residence in the kibbutz, Yasuaki created an
installation of a floating mountain from a plastic sheet
hanging from the ceiling by threads of black glue. The
work emphasized the negative space and changing
volume above and beneath the plastic sheet. Yasuaki
attempted to look beyond form and matter as reflected in
the Buddhist Heart Sutra: "form is void, void is form." Form
is simultaneously both present and absent; it is revealed
momentarily within the space and subsequently
disappears into the void.
The most recent exhibition, Three Years After, relates to
the Fukushima disaster, with the renown Israeli
photographer Alex Levac and the Japanese artist Kota
Takeuchi.
The next exhibition will introduce the influence of Raku
ceramic art on Israeli artists.
In the future, the museum plans to further explore the
creative relations between Asian and Israeli art.
Butoh-Dance of the Soul (2011), work of Drora Spitz.
Onishi Yasuaki, Reverse of Volume.
As part of IAJSs commitment to the promotion of new
scholarship, each issue will introduce an emerging
scholar. In this issue we interview Reut Harari who
deals with Japanese medical history from the Meiji Era
through the Pacific War

What inspired your interest in Japan?
My relationship with Japan started when I was born, you
might say. My father, Ehud, is a political scientist
specializing in Japanese politics. My mother Ruti, his
partner in crime, has an endless love for Japan, leading her
to constantly investigate Japanese literature, art, and
politics. Both also cultivated many friendships over the
years, creating an environment whereby Japan was a
natural part of the landscape. The funniest part, perhaps, is
that when my parents wanted to talk about things they
didnt want me and my sister and brother to understand,
they would talk in Japanese. Thanks to my father, I visited
Japan briefly while at school. After graduating from high
school I spent about a year in Tokyo until my enlistment to
the IDF. Thats when I studied Japanese intensively for the
first time. After my military service, I returned to Tokyo by
myself for a year to continue my language studies. I also
worked part-time in the Japanese Parliament Upper House
which was a fascinating experience.

Can you tell us about your academic studies?
I studied for my BA at Tel Aviv University. I originally
started studying
medicine. I was very
idealistic and wanted
to do something that
would help other
people. Medicine
seemed like the
obvious choice. But,
after starting my
studies, I was more
drawn to classes about the history of medicine, medicine
and art, medical anthropology, and psychology and
medicine. I realized that I wanted to study humanities and I
missed working with the Japanese language. Eventually, I
decided to look for ways to contribute other than holding a
scalpel. I changed my major to History and East Asian
Studies. After that, I found myself still digging into topics
related to medical humanities, especially the history of
medicine. Under Prof. Asaf Goldschmidts guidance and
kind support, I decided to make it my main focus.

Can you tell us about your current research?
I am currently studying for my PhD at Princeton University
in the History of Science Program. I am fortunate to have
Professor Benjamin Elman and Professor Sheldon Garon
as my advisors. I am researching the history of Japanese
military medicine from the Meiji era to the end of the Pacific
War, focusing specifically on the development of the role of
the military medic. I find this role to be a fascinating prism
for understanding the complicated relationship between
war, military and medicine in comparative and historical
contexts. In war, the militarys goal is to defeat its
NEW SCHOLAR IN FOCUS
Reut Harari
PhD Candidate at Princeton
University
adversary, usually by killing and inflicting harm. However,
from a very early stage in history, militaries understood that
they had to harness medical tools in order to achieve their
strategic purposes. Within this framework, medics were
soldiers whose role was supposed to be dedicated to
saving lives, not to fighting and harming others (though at
times, necessity led to that as well). I argue then that in
war, medicine and medics themselves become a very
complicated form of weapon.
Unlike physicians and nurses, in the Japanese case,
military medics were simple soldiers. That is, soldiers who
usually had nothing to do or even, very little interest in
medicine. Yet, after enlistment, they were ordered to
suddenly become the symbol of medical care in battle,
since in many cases physicians and nurses were to stay at
a safe distance from the front. As such, I believe medics
became the ultimate bridge between war and medicine, life
and death.
Medics did not just serve on the front, but also in different
kinds of military hospitals, including hospital ships, where
their role, the expectations from it, and the personnel they
were in contact with, were very different. I discovered that
each historical period entailed different challenges for the
role medically and militarily. Each also provided medics
with a different set of tools to face these challenges. The
very terminology used to denote medics changed
numerous times throughout the examined period, reflecting
its constant evolution.
As you can see, Im interested in big questions that are not
limited to the Japanese context, but on which I believe the
Japanese context could be especially enlightening. When
one traces Japanese political, social, strategic and
scientific history from the Meiji era until the end of the
Pacific War, one finds very significant and extreme
changes. These changes both affected and could be seen
through the development of the medic role. The military
created the role of medics in the Meiji era not just because
it deemed it strategically necessary, but also because the
role was a symbol of enlightenment and progress. By
the time one reaches the Pacific War, one learns that in
most cases medics were left without equipment, medicine,
and food. They had no means to fulfill their role anymore.
As defeat became increasingly imminent, one could add to
that problem suicidal missions that questioned the very
meaning of the role in general. It should be noted that the
latter were only characteristic of 1944-5, a very small part
in the entire period, but very important nonetheless.
What kind of difficulties have you encountered in the
course of your research?
This project is quite challenging for a few reasons. Though
not as it used to be, Wartime History is still a very sensitive
topic in Japan today, making access to certain materials
quite difficult. When you reach the Showa era, the Pacific
War in particular, you realize many of the military
documents were actually burnt before the defeat. There are
details, therefore, that I will never be able to find out.
Reut Harari interviewing Mr. Tatsuo Suzuki, former medic in the
Japanese navy
Personal writings, such as letters and diaries, are
particularly hard to locate and access. Many are in private
hands and those, which are in archives, due to privacy
issues, are not always accessible or even traceable in
public catalogues. On the other hand, as is characteristic of
the history of the so-called modern era in general, the
volume of available materials is huge. But, they dont
always contain the answers to my questions. This makes
the search quite difficult, especially since apart from the
early Meiji era, no research has been done on this subject
so far. This means I have to do all the legwork myself and
be creative in where and how I search for information.
Another difficulty I face concerns terminology. I deal with a
military role. As such, I had to learn a whole host of
different terms and expressions and obtain a different
understanding of this extremely complicated organization
that was the Japanese military. Many of my sources are
military legal documents, which are especially difficult to
understand, since they are a distinct type of genre.
Finally, since my narrative is centered on medics
experiences, I am conducting oral history interviews with
former medics. That is one of the most fascinating and
moving aspects of my research. It is also the most
challenging, since locating them is like finding a needle in a
haystack, as large as Japan. All of the former medics are in
their 90s, very few in their 80s. Time, then, is of the
essence. Moreover, as mentioned, Wartime History is a
sensitive topic; military medicine is even more so. For
years, the topic was tabooed in public discussion, or limited
largely to the Meiji era, because of connotations to war
crimes (mostly the infamous Unit 731). This signifies that I
need to be very sensitive in how I approach people. In
most cases, I have to be introduced. This is true actually
for many fields in Japan not just in this case, but in my
case even more so. Going on this journey to peoples
painful past is a very unique and powerful experience. Yet,
it is also quite difficult emotionally. Therefore, I need to
equip myself each time with a lot of energy and again,
sensitivity to know how to follow my interviewees to where
they feel comfortable in going. To know when to encourage
them to talk and when to respect their silence.
What are your plans for the future?
In the future I would like to continue exploring different
aspects of Japanese history of medicine, public health and
science. I would especially like to further research different
aspects of military medicine and technology and its
complicated interaction with civilian medicine and
technology. Many aspects of medical care and science
originate in the extreme context that war creates and within
military frameworks, persisting later on in civilian contexts.
Searching for their origin and the causes for their
development comparatively and transnationally - can
shed a different light on the meaning and significance of
different forms of medical care. Though not limited to the
modern era, I believe this is especially relevant to the
period of the so-called rise of modern warfare and science.
Reut Harari interviewing Mr. Takashi Yoshida, a former combat
medic in the Japanese army
Kazuko Kameda-Madar (in collaboration with Princess Akiko of Mikasa and Arata Shimao)
Utsushi no chikara: sz to keish no matorikusu (The Power of Utsushi: A Matrix of Creation and Continuity)
(Kyoto: Shinbunkaku, 2014); ISBN: 9784784217113
This publication concentrates on the emperors of Japan and brings together in four volumes,
each with a special introduction, the scholarship of a variety of authors addressing ancient and
classical Japan, feudal Japan, imperial Japan, and postwar Japan. This work is a one-stop
reference resource, presenting high quality scholarship in English on the subject of the
Japanese emperors by various experts. By selecting the best material to-date from a huge pool
of sources and contextualizing them thematically, the editor has created a unique tool for rapid
access not only to seminal works but also to less familiar texts. The publication contains an
extensive bibliography, a glossary, and constitutional documents.
NEW PUBLICATIONS
A selection of publications by IAJS members
Mika Levi-Yamamori
Heburaigo no Katachi (The Shape of Hebrew), 2nd edition (Tokyo: Hakusuisha, 2013)
ISBN: 4560086435
This book is part of a series introducing foreign languages to the Japanese public. It
concentrates on the Hebrew writing system and introduces the Hebrew script, using effective
visual examples.

Nissim Otmazgin
Regionalizing Culture: the Political Economy of Japanese Popular Culture in Asia
(Honolulu: University of Hawaii Press, 2013). ISBN: 9780824836948
This ambitious work provides a comprehensive, empirically grounded study of the
production, circulation, and reception of Japanese popular culture in Asia. While many
studies typically employ an interactive approach that focuses on the meaning of popular
culture from an anthropological or cultural studies point of view, Regionalizing Culture
emphasizes that neither the consumption perspective nor the contextual meaning of
popular culture are the only salient factors in accounting for its proliferation; aspects of
production and organization are also important. In addition to presenting individual case studies, the book offers a broad
view of the dramatic changes that have taken place in the production and circulation of popular culture in Asia over the
past two decades.
NEW PUBLICATIONS
A selection of publications by IAJS members
Yona Siderer
Mikan Umiaratzot Aherot/ Sokoku To Takoku Kara (From Here and From Other Countries), (Bloomington, IN:
Trafford, 2013) ; ISBN (TP): 9781466991699; ISBN (eBook): 9781466991705
From Here and From Other Countries is a bilingual books of original poems written by Yona
Siderer in Hebrew and Japanese.
From Here are poems written in Israel and they deal with the loss of both the authors
mother and a close friend. From Other Countries are poems written by the author as she
spent time in different countries: poems from Italy reflect experiences near Lago Maggiore
and other places; poems in Japanese were written during time spent working in Japan. The
poems appear in both Japanese and in Hebrew on facing pages. The author was inspired
also by other countries such as New Zealand and Ethiopia among others.
Irit Weinberg (translator)
Mifgashim: Hamisha Sipurim Mi Yapan (Encounters: Five Stories from Japan), (Herzliya: Booxilla, 2014)
This collection brings together five short stories by five important Japanese writers, all
specifically selected by the translator. They reflect the theme of encounters, such as the
encounter between Japan and the West and the encounter between men and women. The
collection aims to introduce Israeli readers to important Japanese authors who are barely, if at
all, known in Israel. The featured stories are Fushinch (Under Reconstruction) by Mori Ogai,
Fukin (The Handkerchief) by Akutagawa Ryunosuke, Hana wa tsuyoshi (Strong are the
Flowers) by Okamoto Kanoko, Meri Kurisumasu (Merry Christmas) by Dazai Osamu and
Shitamachi (Downtown) by Hayashi Fumiko.
Makiko Yamanashi (contributor)
Japanese Animation: East Asian Perspectives, ed. Masao Yokotaand G. Hu Tze-yue
(Jackson: University Press of Mississippi, 2013) ISBN: 9781617038099

Japanese Animation: East Asian Perspectives makes available in English for the first time a
selection of viewpoints on Japanese animation from media practitioners, designers,
educators, and scholars working in the East Asian Pacific. This collection not only employs a
multidisciplinary approach to understanding Japanese animation but also shows ways to
research, teach, and more fully explore this multidimensional world.

IAJS Newsletter - Spring 2014

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