I-90: The Art of the Book In Edo and Meiji Japan, 1615 - 1912
20-24 October 2008
1) How useful were the pre-course readings?
1: I think the readings were very good in a general way. One improvement to the reading list would be a book on the technique of woodblock carving and printing – perhaps specific pages that would address the process in a general way. 2: The two exhibition catalogs were great, beautiful, and a great investment. The British library book [Yu-ying Brown. Japanese Book Illustration] was okay; Guth [Christine Guth. Art of Edo Japan] I thought very good. 3: Very useful. 4: Very useful. 5: They were very useful and informative. 6: Essential. 7: Very useful and a great addition to my reference library. 8: The pre-course readings were very helpful for context, and to provide some familiarity with the kinds of original materials we would see. In some ways – looking at the illustrations “prepared” your eyes. 9: Very. 10: The readings were very useful. I intend to purchase my own copies to refer to in future studies. 11: Very useful. Absolutely essential background reading for the rest of the course content. 12: In any country, book publishing and distribution are closely related to social aspects of the time, so ET’s choice of required reading materials were relevant and quite useful, especially, I believe, for people who have no Japanese background and knowledge.
2) Were the course syllabus and other materials distributed in class appropriate and useful (or will they be so in the future, after you return home)?
1: Yes. 2: The course syllabus was legible. I think that putting in bold face the names of the artists helped greatly to facilitate locating the artists being discussed during the lecture. I would suggest adding dates to the works on the handout. 3: Yes, both. 4: They were useful, and will be used as reference tools when I return to work. 5: All were useful for the course, and later reference. 6: Yes, and yes. More would always be welcome and useful, but what we were given is probably more than most of us will use. 7: Yes – see no. one above. 8: Yes. The course material is an excellent summary on the key contextual material for the class: the artists, styles, and movements covered. Having them meant that one could really listen in class, and not be focused on “writing things down.” 9: Very. 10: The materials were useful and will serve as a reference for my colleagues who wish to study the material. 11: The workbook was neatly arranged and contained useful information. 12: The textbook was extremely well organized and full of information; definitely very useful for future use.
3) What aspects of the course content were of the greatest interest or relevance for your purposes? Was the intellectual level of the course appropriate?
1: See no. 4 below. 2: The art of the Japanese illustrated book. The intellectual level of the course was very high. I felt as if I were in a real University seminar; I liked the exchanges between ET and visiting [illegible – kg. Julie Nelson Davis, from the University of Pennsylvania] 3: Everything was relevant and the level was excellent. 4: The intellectual level was appropriate. The class on gafu was very interesting and useful. 5: The chance to see superb examples of the books; how they were produced, and their importance and use in the various periods of the Edo culture. The intellectual level was appropriate. 6: The combination of a broad historical overview with well-defined specific units, allowing contrasts and similarities to become apparent and be studied; also the biographical and bibliographical information. 7: Seeing the books with the guidance of an educated eye (ET) was most helpful for my purposes. The intellectual level was fine. 8: The combination of media presentation combined with direct access to original materials provided an introduction to Japanese illustrated books that was enjoyable, intellectually stimulating, and fun. 9: Cultural information, and details about process were best for me. The level was just right, this time. 10: Every aspect of the course was interesting because of the knowledge and passion for the material expressed by the instructor. I feel the intellectual level of the course was appropriate. 11: I found the transition to color printing fascinating, as well as the historical antecedents fro many of the illustrations. The intellectual level was appropriate. 12: In the past I have taken similar courses in Japanese, which were useful. It is an additional benefit, however, as a librarian who works in the English speaking environment, to learn the subject from Western scholars and their point of view relative to Western publishing practices. The course level was scholarly.
4) What did you like best about the course?
1: Seeing the actual books without a sheet of glass between me and them; and seeing multiple openings as well as multiple printings. The depth of knowledge, love and enthusiasm of the teacher that came out in every class. This is like no other course I’ve taken. I feel fortunate to have had this opportunity to see so much rare, and beautiful material presented with such knowledge and eloquence. I hope RBS and the Freer Gallery of Art will continue this fruitful relationship. 2: The infectious enthusiasm of ET, who always give 110 percent and makes time for everyone. He has a great style of lecturing, and I thought the PowerPoint presentations were excellent and well presented. All-in-all an A+ course and top-notch instructor. I would take any he offers. I also liked the people in the class: a diverse and intelligent group who brought much to the class. 3: ET and the books. 4: The instructor’s expertise and passion were impressive. The opportunity to look closely at many rare books held at the Freer. 5: The chance to view very important and beautiful rare objects, and learning about the history and other relevant information on their production. 6: The quality of the material, including the slides and digital images, and the enthusiasm and knowledge of the instructor. 7: Getting to see some of the rarities in the Freer collections up close – it would take many years for me to see this variety without this course. 8: The enthusiastic, knowledgeable teacher; his amazing synthesis of decades of scholarship, and the extraordinary access to the incredible resources of the Freer and Sackler galleries. 9: Looking at the books and prints in the Freer. The presence of other experts invited by ET, e.g., Julie Nelson Davis. 10: The best part of the course was the sessions in the Freer and Sackler storage areas with the examples of the books. The pages were turned for us and we were shown the covers. Our exposure to these materials was enhanced by the instructor’s knowledge of the artists, publishers, and collectors. The session on prints and a chance to view the original blocks was a wonderful opportunity. 11: ET and the books. The instructor was very knowledgeable, friendly, and engaging. He gave wonderful insight into everything we studied. I also enjoyed the books themselves – they were chosen with care and illustrated what we discussed in class. The Freer has superb resources. 12: ET’s lectures were supported by literally hundreds of examples he hand-picked himself – not reproduced from other textbooks – which shows that he knows the materials thoroughly. Combined with the actual books provided by the host institutions, these slides of examples make this course very attractive and unique.
5) How could the course have been improved?
1: Include a book on woodblock printing on the reading list. Although I realize this is probably not possible, but showing the wonderful film on Japanese papermaking made in the 1970s would add depth to the experience of viewing these books. 2: I liked the morning spent on Meiji period books, but I wonder if this should be a separate class, leaving more time for pre-1868 books. Also, allow the slide with the name of the work about to be shown to stay on the screen a little bit longer. 3: Make it two weeks – there was so much more I would have liked to have seen and learnt. 5: N/A. 6: More bibliographical information about specific artists, especially where facsimiles could be found. 7: Find a way to have more hands-on access to books. 8: More time for looking, as always, but truly impossible in one week. Perhaps a list with full bibliographic information about the actual books we looked at. 9: It couldn’t have been, really. 10: It was perfect. 11: It was often confusing which books were actually being talked about/passed around during class. Perhaps, too, one or two slides about each artist discussed. For someone with almost no background in the subject, the artists started to run together. 12: It would be easier to read if the textbook font size is bigger; for participants who are not familiar with Japanese books, if might be useful to have some pre-course reading materials in Japanese books to become familiar with unique terminology, &c.
6) We are always concerned about the physical well-being both of the RBS teaching collections and of materials owned by UVa’s Special Collections. If relevant, what suggestions do you have for the improved classroom handling of such materials used in your course this week?
1: On one or two occasions, there may have been a little too much material – rare books, cradles, pencils, notebooks, &c., – out on the table at one time. A larger staging area would probably help with this. 2: None. 3: Books were handled very carefully. 4: Perhaps cloth gloves should be provided when students are allowed to touch some of the rare books. 5: None. 6: None. 7: Better lighting in the seminar room. The various work rooms and storage areas were much better suited to viewing the books. 8: The book trays for sharing material were wonderful. 9: None. 10: I was impressed by the care and minimal handling of the examples shown. The librarian was in attendance as were the collection managers while we were in the storage areas. The instructor makes careful handing and display issues as important as discussing the artist of the book. 11: Everyone was very careful in handling materials.
7) If you attended the Sunday reception and/or dinner, were they worth attending?
1: Yes. 2: N/A. 3: Both were. 4: It was good to get to know some of the students; had enough good food. 5: Did not attend. 6: Yes; unlike Charlottesville “dinners,” this was a real meal, and the restaurant was well-suited to the occasion – everyone lingered and had a chance to become acquainted. 7: Yes! 8: Yes. Dinner with the group was a nice way to get acquainted, and having all the “registration” business taken care of meant that we could start right in. 9: The dinner was good and worthwhile to meet people. 10: Yes, the reception was worth attending because it gave me an opportunity to meet the participants of the class in a casual setting. I enjoyed the evening. 11: The Sunday dinner at the Thai restaurant was quite tasty. Thank you RBS for the hot meal. 12: The reception was a very good idea as people get to know each other before the class started. I hope you will continue this custom.
8) Did you get your money’s worth? Any final or summary thoughts, or advice for other persons considering taking this course in a future year?
1: Yes. Take it. You won’t regret it. 2: Yes! I would, and will, strongly recommend any class ET teaches. My advice to future students is to do all the reading and get set for a delightful and stimulating week at the Freer. 3: This is a marvelous course, my second time – The content was (illegible – kg), but just as good as last time. ET is one exceptionally good teacher, enthusiastic and extraordinarily knowledgeable. A quite exceptional week. 4: Yes, I would like to take another class on Japanese rare books from the Edo period. 5: Yes. Anyone interested in the Edo and Meiji periods of Japanese woodblock illustrated books should take this course. 6: Yes. The more knowledge of Japanese language and culture, the better, but even those with little seemed to learn and enjoy. 7: Yes, I got my money’s worth; I’d recommend starting the reading lists as early as possible. I wouldn’t have minded having the time to review the texts a second time. 8: Thank you – it was a grand experience; a wonderful teacher, welcoming host institution, and good class colleagues with whom to share this experience. 9: Yes, I did. I do feel there is a constant pressure of time, and some of us felt quite exhausted at certain points, but it probably can’t be avoided. 10: Yes, the information gained and experience viewing the premier collections of the Freer and Sackler was priceless. 11: This was an excellent RBS course. I highly recommend it. For future students, if you are unfamiliar with the Edo and Meiji periods – as I was upon starting this course – consider doing some additional basic reading into Japanese history and literature of the period. 12: It is not really an advice for future participants: I am extremely lucky to be able to sit in the class for four years consecutively and witnessed ET’s great efforts in updating the course contents every year as he finds new materials and information. It has been great learning for me. However, this course subject is very specific to begin with. Therefore, it is not unusual for the number of participants to come down, also considering the cost involved. This year, we had a new set of materials; the Pulverer Collection. But this does not happen every year. Therefore, if we wish to continue this program, RBS might need to come up with ways to attract new participants, even an audience who has little interest and knowledge of Japanese books. I, myself, strongly hope the program will continue. To my knowledge, there are no other programs which offer courses on Japanese books on a regular basis.
Number of respondents: 12
Percentages
Leave Tuition Housing Travel
Institution Institution Institution Institution
gave me leave paid tuition paid housing paid travel
33% 33% 25% 25%
I took vaca- I paid tui- I paid for my I paid my own
tion time tion myself own housing travel
0% 33% 33% 33%
N/A: self- N/A: Self- N/A: stayed N/A: lived
employed, re- employed, with friends nearby
tired, or had retired, or or lived at
summers off scholarship home
67% 33% 42% 42%
There were 2 general librarians with some rare book duties (17%); 2 conservators (17%); 2 book collectors (17%); 2 retired (17%); 1 antiquarian bookseller (8%); 1 art museum librarian (8%); and 1 writer (8%)