Gastbeitrag von Dr. Freya Terryn
Fig. 1: Front cover of Hyakunin isshu jokunshō with a printed title slip (daisen 題簽) that reads “Hyakunin isshu jokunshō zen 百人一首女訓抄全” (Annotated Lessons for Women of One Hundred Poets, One Poem Each – Complete). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA
Nicknamed the ‘artist of mist, snow, and rain’, Utagawa Hiroshige 歌川広重 (1797–1858) is one of the leading creators of the landscape imagery in Japanese woodblock prints, or ukiyo-e 浮世絵. In the 1830s he made a name for himself in the genre of topographical views, starting with his meisho-e 名所絵: prints recording famous places of Edo (now Tokyo). His decisive breakthrough followed with his prints depicting the various stations along the Tōkaidō road, a travel route connecting Kyoto with Edo, and with his prints showing landscapes of the various provinces. Nor should we forget that he was also prolific in prints of birds and flowers, actors, beautiful women, historical figures, prints of humorous content, and he made an abundant number of designs for fan prints.
Like many ukiyo-e artists, Hiroshige also created illustrations for books. It is said that he worked on more than 120 illustrated books and illustrated at least 50 kyōka anthologies. Kyōka 狂歌 (literally ‘mad/crazy verse’) are parodic or humorous renditions of traditional waka 和歌, Japanese poetry in a 5‑7‑5‑7‑7 meter. Hiroshige displays a close affinity to this genre of poetry as his first printed work consisted of book illustrations for a collection of kyōka, entitled Kyōka Murasaki no maki 狂歌紫の巻 (The Murasaki Book of Witty Poems), published in 1818. Hiroshige’s connection to Japanese poetry continued throughout his career and also manifested itself in the pictorialization of the classical Japanese anthology One Hundred Poets, One Poem Each (Hyakunin isshu 百人一首; henceforth Hyakunin Isshu). Such an example is the illustrated woodblock-printed book Hyakunin isshu jokunshō 百人一首女訓抄 (Annotated Lessons for Women of One Hundred Poets, One Poem Each; Fig. 1).
This book is the subject of a research project that explores the connection between the Hyakunin Isshu and the Hiroshige studio. More specifically, this project looks at how the Japanese woodblock print artists Utagawa Hiroshige and his successor Utagawa Hiroshige III 三代歌川広重 (1842–1894) interpreted the Hyakunin Isshu in books illustrated with woodblock prints (ehon 絵本). With a grant awarded by the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation), I consulted Hiroshige’s book Hyakunin isshu jokunshō in the collection of the Staatsbibliothek zu Berlin (Berlin State Library; henceforth SBB), in July 2022. The SBB is to my knowledge the only collection in Europe that houses a copy of this book. During my time at the SBB, I conducted a close analysis of the book’s bibliographic data, its physical properties and component parts, while placing the book in the history of the visual and textual representation of the anthology.
Hyakunin isshu jokunshō was originally published in 1848 and proved popular enough to be reprinted three times: in 1849, 1851, and 1858. The book was a product of the highly commercial world of Japanese printmaking, and as a book illustrated with woodblock prints it was conceived, designed, published, and distributed by representatives of many different trades and professions working in collaboration. Today we can identify three parties who were involved in the book’s production, namely the publisher, the visual artist, and the writer. Other parties, such as the papermakers, binders, block cutters, and printers, remain anonymous.
The publisher of Hyakunin isshu jokunshō is Honya Matasuke 本屋又助 (dates unknown). While next to nothing is known about this publisher, an analysis of the back matter of the book’s copies from 1848, 1849, 1851, and 1858 does shed more light on his activities as a publisher and with what intention he published this book. As the back matter of Japanese books often reveals imprint information and contains the publisher’s catalog that records forthcoming titles and books currently on sale, it is possible to reconstruct the timeframe and content of the publisher’s activities. So far, I have been able to analyze back matter of digitized copies dating from 1849 and 1851 and the SBB copy (shelf mark: 5 A 230984 ROA), which is a reprint from 1858. Unfortunately, 1848 copies are rare and can only be found in collections in Japan — which remain, for now, undigitized.
From this analysis it is clear that Honya Matasuke was primarily active in the 1840s and 1850s as a publisher who issued books ranging from educational topics – for young children in general as well as aimed specifically at girls –, literary works, and illustrated books of sumo wrestlers and warriors to painting and drawing manuals. In addition, advertisements for the book included in copies from 1849 and 1851 confirm that this particular Hyakunin Isshu project was devised as an illustrated book for children and women to learn and easily understand waka poems by means of the annotated descriptions accompanying them.
Honya Matasuke was able to achieve this educational objective with the layout of the poems. As demonstrated by Fig. 2, which introduces on the right the poem composed by Emperor Jitō (Jitō tennō 持統天皇; 645–703; reign 686–697) and on the left the poem by Kakinomoto no Hitomaro 柿本人麿 (c. 653–655-c. 707–710), each page consists of a long vertical strip that contains the poem – which, with its shape, represents the tradition of composing poems on long narrow strips of colored paper –, followed by an annotated description explaining the meaning of the poem and an imaginary portrait of the poet below it. Especially the annotated descriptions were crucial for many readers to comprehend the meaning of the poem as the Hyakunin Isshu represents the history of Japanese poetry from the seventh century down to the time of Fujiwara no Teika 藤原定家 (1162–1241), who is accredited with selecting the poems. Thus, these poems contain poetic language that was at least four centuries old and that was often difficult to interpret. To provide readers with the correct interpretation of each poem, Honya Matasuke employed Yamada Tsunenori 山田常典 (1808–1863), a writer and waka poet who had received a rigorous training in waka poetry and other Japanese literary classics, making him the ideal candidate to write annotations for this Hyakunin Isshu project.
Fig. 2: Poems by Emperor Jitō and Kakinomoto no Hitomaro. – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 10v–11r
Next to Yamada Tsunenori, Honya Matasuke also employed not one but two visual artists. One artist was tasked with illustrating the imaginary portraits of the poets, for which the artist employed the formula of representing the poets as invariably seated figures on a raised platform with a decorated edge (Fig. 2). Similar to other illustrated books that used this formula since the 1660s, these portraits omit the signature of their maker. Therefore, it is impossible to know the identity of this artist.
The other artist Honya Matasuke employed was Utagawa Hiroshige. The presence of his signature confirms that he was tasked with illustrating eight folded sheets that were placed before the main bulk of the book that educates its readers on the one hundred poems and their interpretation (Fig. 3). From the content of these illustrations it becomes clear that Honya Matasuke intended to expand the content of the book by dedicating illustrations to The Tale of Genji (Genji monogatari 源氏物語, early 11th entury), The Tales of Ise (Ise monogatari 伊勢物語, c. 980), and silkworm cultivation. Hiroshige’s illustrations also introduce other waka poets and poems, such as the 12 poets from the Collection of Japanese Poems of Ancient and Modern Times (Kokin wakashū 古今和歌集, 905), poems relating to The Eight Views of Ōmi (Ōmi hakkei 近江八景, 15th–16th century), and specifically introduce Murasaki Shikibu 紫式部 (c. 973/978–c. 1014/1031), the author of The Tale of Genji, and Fujiwara no Teika.
This deviation from the core of the Hyakunin Isshu was not irregular because with the inclusion of these additional pages, Honya Matasuke succeeded in presenting this book as an ōraimono 往来物. As a result, Hyakunin isshu jokunshō can be labeled as a book belonging to the genre of instruction manuals issued for teaching children how to read and write and to the genre of conduct books aimed at female readers in particular. Thus, perfectly matching with Honya Matasuke’s objective for the book.
Fig. 3: These two pages contain illustrations by Hiroshige. At the top right he illustrated the poems and scents of the four final chapters of The Tale of Genji, namely Ukifune 浮舟, Kagerō 蜻蛉, Tenarai 手習, and Yume no ukihashi 夢の浮橋. At the top left, he illustrated three waka poems on the sun, the moon, and the stars. Below these illustrations we find a depiction of The Tales of Ise that shows courtier-poet Ariwara no Narihira 在原業平 (825–880) upon his sighting of Mt. Fuji (chapter nine of The Tales of Ise). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 12v–13r
The consultation of Hiroshige’s book at the SBB has greatly enriched my research on the connection between the Hiroshige studio and the Hyakunin Isshu. My research stay allowed me to work on my transcribing skills and to learn more about Hiroshige and his illustrated books. I have presented preliminary findings of this research project on three occasions: an online presentation for the Berlin State Library on November 3, 2022; at the academic conference Book Historical Forum VI at the University of Leuven on November 25, 2022 (in Dutch); and at the seminar series ‘Culture in Perspective: South and East Asia’ at Ghent University on March 14, 2023. Currently I am still conducting research on this project and plan to consult an 1848 copy in a Japanese collection in the near future. Updates on this research will be revealed on my personal website and on Twitter.
Bio:
Dr. Freya Terryn is a postdoctoral researcher in Japanese Studies at the University of Leuven (KU Leuven, Belgium) and specializes in Japanese visual and print culture of the nineteenth century. With the support of a PhD Fellowship from the Research Foundation Flanders, she recently completed her PhD in Japanese Studies at the University of Leuven. She currently teaches courses on Japanese culture, art history, classical Japanese grammar, translation from Japanese to Dutch, and academic writing. When it comes to research, she is enthusiastic about the arts and material culture of eighteenth- and nineteenth-century Japan, with a particular focus on prints, illustrated books, and paintings. She also explores issues relating to artistic and commercial collaboration, the interaction between governing bodies and artists, pictorial quotation, exhibition culture, Japonisme, and the formation of Japanese art collections in Europe.
Der Beitrag erschien zuerst im SBB Blog.
Frau Dr. Freya Terryn, KU Leuven, war im Rahmen des Stipendienprogramms der Stiftung Preußischer Kulturbesitz im Jahr 2022 als Stipendiatin an der Staatsbibliothek zu Berlin. Forschungsprojekt: „The One Hundred Poets, One Poem Each across generations: A case study of picture-and-poetry books illustrated by Hiroshige and Hiroshige III“
Online-Werkstattgespräch zu dieser illustrierten Ausgabe am 3. 11. 2022
„Hyakunin isshu“ and the Hiroshige studio: Utagawa Hiroshige and „Hyakunin isshu jokunshō“
/in Sammlungen, SBB, SPK/by Ursula FlacheGastbeitrag von Dr. Freya Terryn
Fig. 1: Front cover of Hyakunin isshu jokunshō with a printed title slip (daisen 題簽) that reads “Hyakunin isshu jokunshō zen 百人一首女訓抄全” (Annotated Lessons for Women of One Hundred Poets, One Poem Each – Complete). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA
Nicknamed the ‘artist of mist, snow, and rain’, Utagawa Hiroshige 歌川広重 (1797–1858) is one of the leading creators of the landscape imagery in Japanese woodblock prints, or ukiyo-e 浮世絵. In the 1830s he made a name for himself in the genre of topographical views, starting with his meisho-e 名所絵: prints recording famous places of Edo (now Tokyo). His decisive breakthrough followed with his prints depicting the various stations along the Tōkaidō road, a travel route connecting Kyoto with Edo, and with his prints showing landscapes of the various provinces. Nor should we forget that he was also prolific in prints of birds and flowers, actors, beautiful women, historical figures, prints of humorous content, and he made an abundant number of designs for fan prints.
Like many ukiyo-e artists, Hiroshige also created illustrations for books. It is said that he worked on more than 120 illustrated books and illustrated at least 50 kyōka anthologies. Kyōka 狂歌 (literally ‘mad/crazy verse’) are parodic or humorous renditions of traditional waka 和歌, Japanese poetry in a 5‑7‑5‑7‑7 meter. Hiroshige displays a close affinity to this genre of poetry as his first printed work consisted of book illustrations for a collection of kyōka, entitled Kyōka Murasaki no maki 狂歌紫の巻 (The Murasaki Book of Witty Poems), published in 1818. Hiroshige’s connection to Japanese poetry continued throughout his career and also manifested itself in the pictorialization of the classical Japanese anthology One Hundred Poets, One Poem Each (Hyakunin isshu 百人一首; henceforth Hyakunin Isshu). Such an example is the illustrated woodblock-printed book Hyakunin isshu jokunshō 百人一首女訓抄 (Annotated Lessons for Women of One Hundred Poets, One Poem Each; Fig. 1).
This book is the subject of a research project that explores the connection between the Hyakunin Isshu and the Hiroshige studio. More specifically, this project looks at how the Japanese woodblock print artists Utagawa Hiroshige and his successor Utagawa Hiroshige III 三代歌川広重 (1842–1894) interpreted the Hyakunin Isshu in books illustrated with woodblock prints (ehon 絵本). With a grant awarded by the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation), I consulted Hiroshige’s book Hyakunin isshu jokunshō in the collection of the Staatsbibliothek zu Berlin (Berlin State Library; henceforth SBB), in July 2022. The SBB is to my knowledge the only collection in Europe that houses a copy of this book. During my time at the SBB, I conducted a close analysis of the book’s bibliographic data, its physical properties and component parts, while placing the book in the history of the visual and textual representation of the anthology.
Hyakunin isshu jokunshō was originally published in 1848 and proved popular enough to be reprinted three times: in 1849, 1851, and 1858. The book was a product of the highly commercial world of Japanese printmaking, and as a book illustrated with woodblock prints it was conceived, designed, published, and distributed by representatives of many different trades and professions working in collaboration. Today we can identify three parties who were involved in the book’s production, namely the publisher, the visual artist, and the writer. Other parties, such as the papermakers, binders, block cutters, and printers, remain anonymous.
The publisher of Hyakunin isshu jokunshō is Honya Matasuke 本屋又助 (dates unknown). While next to nothing is known about this publisher, an analysis of the back matter of the book’s copies from 1848, 1849, 1851, and 1858 does shed more light on his activities as a publisher and with what intention he published this book. As the back matter of Japanese books often reveals imprint information and contains the publisher’s catalog that records forthcoming titles and books currently on sale, it is possible to reconstruct the timeframe and content of the publisher’s activities. So far, I have been able to analyze back matter of digitized copies dating from 1849 and 1851 and the SBB copy (shelf mark: 5 A 230984 ROA), which is a reprint from 1858. Unfortunately, 1848 copies are rare and can only be found in collections in Japan — which remain, for now, undigitized.
From this analysis it is clear that Honya Matasuke was primarily active in the 1840s and 1850s as a publisher who issued books ranging from educational topics – for young children in general as well as aimed specifically at girls –, literary works, and illustrated books of sumo wrestlers and warriors to painting and drawing manuals. In addition, advertisements for the book included in copies from 1849 and 1851 confirm that this particular Hyakunin Isshu project was devised as an illustrated book for children and women to learn and easily understand waka poems by means of the annotated descriptions accompanying them.
Honya Matasuke was able to achieve this educational objective with the layout of the poems. As demonstrated by Fig. 2, which introduces on the right the poem composed by Emperor Jitō (Jitō tennō 持統天皇; 645–703; reign 686–697) and on the left the poem by Kakinomoto no Hitomaro 柿本人麿 (c. 653–655-c. 707–710), each page consists of a long vertical strip that contains the poem – which, with its shape, represents the tradition of composing poems on long narrow strips of colored paper –, followed by an annotated description explaining the meaning of the poem and an imaginary portrait of the poet below it. Especially the annotated descriptions were crucial for many readers to comprehend the meaning of the poem as the Hyakunin Isshu represents the history of Japanese poetry from the seventh century down to the time of Fujiwara no Teika 藤原定家 (1162–1241), who is accredited with selecting the poems. Thus, these poems contain poetic language that was at least four centuries old and that was often difficult to interpret. To provide readers with the correct interpretation of each poem, Honya Matasuke employed Yamada Tsunenori 山田常典 (1808–1863), a writer and waka poet who had received a rigorous training in waka poetry and other Japanese literary classics, making him the ideal candidate to write annotations for this Hyakunin Isshu project.
Fig. 2: Poems by Emperor Jitō and Kakinomoto no Hitomaro. – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 10v–11r
Next to Yamada Tsunenori, Honya Matasuke also employed not one but two visual artists. One artist was tasked with illustrating the imaginary portraits of the poets, for which the artist employed the formula of representing the poets as invariably seated figures on a raised platform with a decorated edge (Fig. 2). Similar to other illustrated books that used this formula since the 1660s, these portraits omit the signature of their maker. Therefore, it is impossible to know the identity of this artist.
The other artist Honya Matasuke employed was Utagawa Hiroshige. The presence of his signature confirms that he was tasked with illustrating eight folded sheets that were placed before the main bulk of the book that educates its readers on the one hundred poems and their interpretation (Fig. 3). From the content of these illustrations it becomes clear that Honya Matasuke intended to expand the content of the book by dedicating illustrations to The Tale of Genji (Genji monogatari 源氏物語, early 11th entury), The Tales of Ise (Ise monogatari 伊勢物語, c. 980), and silkworm cultivation. Hiroshige’s illustrations also introduce other waka poets and poems, such as the 12 poets from the Collection of Japanese Poems of Ancient and Modern Times (Kokin wakashū 古今和歌集, 905), poems relating to The Eight Views of Ōmi (Ōmi hakkei 近江八景, 15th–16th century), and specifically introduce Murasaki Shikibu 紫式部 (c. 973/978–c. 1014/1031), the author of The Tale of Genji, and Fujiwara no Teika.
This deviation from the core of the Hyakunin Isshu was not irregular because with the inclusion of these additional pages, Honya Matasuke succeeded in presenting this book as an ōraimono 往来物. As a result, Hyakunin isshu jokunshō can be labeled as a book belonging to the genre of instruction manuals issued for teaching children how to read and write and to the genre of conduct books aimed at female readers in particular. Thus, perfectly matching with Honya Matasuke’s objective for the book.
Fig. 3: These two pages contain illustrations by Hiroshige. At the top right he illustrated the poems and scents of the four final chapters of The Tale of Genji, namely Ukifune 浮舟, Kagerō 蜻蛉, Tenarai 手習, and Yume no ukihashi 夢の浮橋. At the top left, he illustrated three waka poems on the sun, the moon, and the stars. Below these illustrations we find a depiction of The Tales of Ise that shows courtier-poet Ariwara no Narihira 在原業平 (825–880) upon his sighting of Mt. Fuji (chapter nine of The Tales of Ise). – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, shelf mark: 5 A 230984 ROA, 12v–13r
The consultation of Hiroshige’s book at the SBB has greatly enriched my research on the connection between the Hiroshige studio and the Hyakunin Isshu. My research stay allowed me to work on my transcribing skills and to learn more about Hiroshige and his illustrated books. I have presented preliminary findings of this research project on three occasions: an online presentation for the Berlin State Library on November 3, 2022; at the academic conference Book Historical Forum VI at the University of Leuven on November 25, 2022 (in Dutch); and at the seminar series ‘Culture in Perspective: South and East Asia’ at Ghent University on March 14, 2023. Currently I am still conducting research on this project and plan to consult an 1848 copy in a Japanese collection in the near future. Updates on this research will be revealed on my personal website and on Twitter.
Bio:
Dr. Freya Terryn is a postdoctoral researcher in Japanese Studies at the University of Leuven (KU Leuven, Belgium) and specializes in Japanese visual and print culture of the nineteenth century. With the support of a PhD Fellowship from the Research Foundation Flanders, she recently completed her PhD in Japanese Studies at the University of Leuven. She currently teaches courses on Japanese culture, art history, classical Japanese grammar, translation from Japanese to Dutch, and academic writing. When it comes to research, she is enthusiastic about the arts and material culture of eighteenth- and nineteenth-century Japan, with a particular focus on prints, illustrated books, and paintings. She also explores issues relating to artistic and commercial collaboration, the interaction between governing bodies and artists, pictorial quotation, exhibition culture, Japonisme, and the formation of Japanese art collections in Europe.
Der Beitrag erschien zuerst im SBB Blog.
Frau Dr. Freya Terryn, KU Leuven, war im Rahmen des Stipendienprogramms der Stiftung Preußischer Kulturbesitz im Jahr 2022 als Stipendiatin an der Staatsbibliothek zu Berlin. Forschungsprojekt: „The One Hundred Poets, One Poem Each across generations: A case study of picture-and-poetry books illustrated by Hiroshige and Hiroshige III“
Online-Werkstattgespräch zu dieser illustrierten Ausgabe am 3. 11. 2022
Turfanakten des Museums für Asiatische Kunst jetzt online
/in Aktuelles, Digitalisierung, Themenportale/by Martina SiebertVor einer Weile sind bereits die Fotos und Zeichnungen aus dem Zusammenhang der “Deutschen Turfanexpeditionen” als Präsentation online gegangen. Nun können auch die 21 Turfanakten, die im Museums für Asiatische Kunst (AKu) verwahrten werden, durchstöbert werden: https://iiif.crossasia.org/s/turfan.
Im Projekt wurden für das jeweilige Aktenstück/Seite die erwähnten Personen und Orte, Sender und Empfänger, sowie Sach- und Format-Schlagwörter erfasst.
Tipp: Nach Aufruf der Unterkollektion Akten, kann im Suchschlitz “Refine Search” exklusive in dieser Unterkollektion gesucht werden.
Viel Spaß beim Stöbern!
Feedback gern an x-asia
Neuerwerbung: China Social Science Library
/in Aktuelles, Erwerbungen/by Duncan PatersonAb sofort haben CrossAsia Nutzer Zugang zu über 4000 Ebooks der China Social Science Library 中国社会科学文库 . Die Titel decken ein breites Spektrum an Fachdisziplinen ab.
Zur Webseite des Anbieters gelangen Sie via proxy oder direkt.
Webmagazin RONZA 論座 wird eingestellt
/in Aktuelles, Datenbanken/by Christian DunkelLiebe CrossAsia-Nutzende,
wir wurden vom Anbieter informiert, dass das Webmagazin Ronza eingestellt wird. Seit dem 25.04.2023 werden keine Inhalte mehr erneuert, bis Ende Juli 2023 ist aber alles noch über den gewohnten Zugriff für Sie verfügbar. Danach wird die Seite vom Anbieter aus dem Netz genommen.
Weitere Informationen dazu und auch zu dem Nachfolgeprodukt 「Re:Ron」finden Sie unter diesem Link. Ob wir das neue Angebot zukünftig über CrossAsia anbieten können, müssen wir prüfen, wir bemühen uns aber auf jeden Fall um einen Testzugang.
Drei neue Testzugänge TBMC bis Ende Mai
/in Aktuelle Testzugänge, Aktuelles, Datenbanken/by Duncan PatersonLiebe X-Asia Community,
bis zum 31.05.2023 haben wir Testzugänge für drei Datenbanken des Anbieters TBMC aus Taiwan.
Umfasst mehr als 144.600 amtliche Aufzeichnungen die zwischen August 1896 und April 1942 während der japanischen Herrschaft über Taiwan entstanden sind. Die umfangreichen Volltextsuche erstreckt sich auch auf Tabellen und Graphiken.
58 Zeitschriften gewähren Einblicke in unterschiedliche Themenbereiche der Geschichte Taiwans während der japanischen Besatzungszeit. Über eine Metadaten Suche gelangt man zu hochwertigen Scans der Periodika.
Über 200.000 Seiten Archivmaterial, das während der Meditation zwischen der nationalistischen Regierung und der Kommunistischen Partei Chinas im Jahr 1945 in der Zentrale des “Militär Trios” in Beiping zurückgelassen wurde, sind in dieser Datenbank enthalten.
Wir freuen uns über Feedback im Forum oder unter x-asia@sbb.spk-berlin.de. Viel Spaß beim Testen.
Ihr / Euer
CrossAsia Team
CrossAsia Talks: Dr. Martin Gehlmann 20.4.2023
/in Aktuelles, Veranstaltungen, Vortragsreihe "CrossAsia Talks"/by CrossAsia(See English below)
Wir freuen uns sehr Ihnen den Vortrag von Herrn Dr. Martin Gehlmann (Ruhr-Universität Bochum) mit dem Titel “Consolidating the Ritual Landscape of Late Chosŏn Society: The Sarye p’yŏllam 四禮便覽 (The Manual of the Four Rites)” am Donnerstag, den 20.4.2023 ab 18 Uhr im Simon-Bolivar-Saal (Potsdamer Straße 33, 10785 Berlin) anzukündigen.
Sarye p’yŏllam (四禮便覽) is a four-volume Korean ritual manual compiled by scholar-official Yi Chae 李縡 (1680–1746) in 1746. The manual is one of the most elaborate attempts to create a practical handbook of the family rituals that defined both life and death in the Confucian society of the late Chosŏn dynasty. It offers both theoretical background and practical advice on the ceremonies that accompanied the four most important events in individual and family life: coming-of-age, marriage, funeral rites and ancestor worship. Given the utmost importance of these events, the manual not only provides detailed information on every step of the respective ceremonies, but also on the proper forms of ritual clothes, ritual utensils, sacrificial food, and the hierarchical arrangement of participants. The manuscript of the manual was prepared by Yi Chae until his death in 1746, after which it was collated, corrected, and already put to use by his disciple Pak Sŏngwŏn 朴聖源 (1697–1767). Later, Yi Chae’s grandson Yi Ch’ae 李采 (1745–1820) continued to prepare the manuscript and the first woodblock prints were produced in 1844. The Sarye p’yŏllam became the most widely used compact handbook for the four rituals in the diverse and ever-changing ritual landscape of the late Chosŏn society.
Die Vortragssprache ist Englisch. Wir bitten Sie um Voranmeldung für den Vortrag unter: ostasienabt@sbb.spk-berlin.de und eine kurze Mitteilung falls Sie einen barrierefreien Zugang benötigen. Die Veranstaltung wird gefilmt.*
Der Vortrag wird darüber hinaus via Webex gestreamt und aufgezeichnet. Sie können am Vortrag über Ihren Browser ohne Installation einer Software teilnehmen. Klicken Sie dazu unten auf „Zum Vortrag“, folgen dem Link „Über Browser teilnehmen“ und geben Ihren Namen ein.
Alle bislang angekündigten Vorträge finden Sie hier. Die weiteren Termine kündigen wir in unserem Blog und auf unserem Twitteraccount an.
—
We are very pleased to announce the lecture by Dr. Martin Gehlmann (Ruhr-Universität Bochum) entitled “Consolidating the Ritual Landscape of Late Chosŏn Society: The Sarye p’yŏllam 四禮便覽 (The Manual of the Four Rites)” on Thursday April 20, 2023 from 6pm in the Simon Bolivar-Saal (Potsdamer Straße 33, 10785 Berlin).
Sarye p’yŏllam (四禮便覽) is a four-volume Korean ritual manual compiled by scholar-official Yi Chae 李縡 (1680–1746) in 1746. The manual is one of the most elaborate attempts to create a practical handbook of the family rituals that defined both life and death in the Confucian society of the late Chosŏn dynasty. It offers both theoretical background and practical advice on the ceremonies that accompanied the four most important events in individual and family life: coming-of-age, marriage, funeral rites and ancestor worship. Given the utmost importance of these events, the manual not only provides detailed information on every step of the respective ceremonies, but also on the proper forms of ritual clothes, ritual utensils, sacrificial food, and the hierarchical arrangement of participants. The manuscript of the manual was prepared by Yi Chae until his death in 1746, after which it was collated, corrected, and already put to use by his disciple Pak Sŏngwŏn 朴聖源 (1697–1767). Later, Yi Chae’s grandson Yi Ch’ae 李采 (1745–1820) continued to prepare the manuscript and the first woodblock prints were produced in 1844. The Sarye p’yŏllam became the most widely used compact handbook for the four rituals in the diverse and ever-changing ritual landscape of the late Chosŏn society.
The lecture will be held in English. We kindly ask you to register in advance at: ostasienabt@sbb.spk-berlin.de, and to let us know if you need barrier-free access. The event will be filmed.*
The lecture will also be streamed and recorded via Webex. You can take part in the lecture using your browser without having to install a special software. Please click on the respective button “To the lecture” below, follow the link “join via browser” (“über Browser teilnehmen”), and enter your name.
You can find all previously announced lectures here. We will announce further dates in our blog and on Twitter.
*Mit Ihrer Teilnahme an der Veranstaltung räumen Sie der Stiftung Preußischer Kulturbesitz und ihren nachgeordneten Einrichtungen kostenlos alle Nutzungsrechte an den Bildern/Videos ein, die während der Veranstaltung von Ihnen angefertigt wurden. Dies schließt auch die kommerzielle Nutzung ein. Diese Einverständniserklärung gilt räumlich und zeitlich unbeschränkt und für die Nutzung in allen Medien, sowohl für analoge als auch für digitale Verwendungen. Sie umfasst auch die Bildbearbeitung sowie die Verwendung der Bilder für Montagen. / By participating, you grant the Stiftung Preußischer Kulturbesitz and its subordinate institutions free of charge all rights of usage of pictures and videos taken of you during this lecture presentation. This declaration of consent is valid in terms of time and space without restrictions and for usage in all media, including analogue and digital usage. It includes image processing and the usage of photos in composite illustrations. German law will apply.
Wartung des Repository und des Ostasien-OPAC abgeschlossen
/in Aktuelles, E-Publishing/by CrossAsiaDie Wartungsarbeiten am CrossAsia Open Access Repository und dem Ostasien-OPAC sind abgeschlossen, und die Funktionsfähigkeit wurde durch die Verbundzentrale des Gemeinsamen Bibliotheksverbundes überprüft. Die Datenerfassung/Bearbeitung ist hiermit wieder freigegeben.
15./16.04.23: Repository (und Ostasien-OPAC) nicht erreichbar wegen Wartung
/in Aktuelles, E-Publishing/by Ursula FlacheBitte beachten Sie, dass am 15. und 16. April 2023 das CrossAsia Open Access Repository wegen Wartungsarbeiten bei der Verbundzentrale des Gemeinsamen Bibliotheksverbundes vorübergehend nicht erreichbar ist. Nachdem die Funktionsfähigkeit überprüft wurde, wird hier im Blog am Montag, 17. April 2023 eine Meldung erscheinen, dass die Abnahme erfolgt ist. Bis dahin empfehlen wir keine Datenerfassung/Bearbeitung durchzuführen, da es ansonsten im schlimmsten Fall zum Datenverlust führen kann.
Auch der Ostasien-OPAC (crossasia.stabikat.de) ist betroffen und bis einschließlich Montag früh nicht erreichbar. In der CrossAsia-Suche fehlen diese Titel dann ebenfalls.
CrossAsia Classroom: Online-Seminare im Sommersemester 2023
/in Aktuelles, SBB, Schulungen/by CrossAsiaWir möchten Sie herzlich dazu einladen an unseren zahlreichen Online-Schulungen im Sommersemester zu den Angeboten von CrossAsia teilzunehmen. Die Schulungen beginnen ab dem 25.4. mit einem allgemeinen Überblicksveranstaltung. Es werden aber auch spezielle Veranstaltungen zu den einzelnen Regionen (China, Japan, Korea, Südostasien und Zentralasien) sowie einzelnen Materialtypen angeboten.
Das aktuelle Programm für das Sommersemester 2023 finden Sie wie immer im CrossAsia Classroom und unter der Rubrik „Wissenswerkstatt“ im Veranstaltungskalender der Staatsbibliothek zu Berlin hier.
Auf der CrossAsia Classroom-Seite finden Sie außerdem aktuelles Infomaterial zu den einzelnen Regionen und Links zu unseren CrossAsia Tutorials.
Fall Sie als Institution ein auf Sie und ihr Publikum zugeschnittenes Web-Seminare kostenfrei buchen möchten, können Sie sich gerne über xasia@sbb.spk-berlin.de mit uns in Verbindung setzen oder direkt unsere regionalen Referent:innen dahingehend kontaktieren. Gerne kommen wir auch zu Ihnen, um Schulungen Live vor Ort abzuhalten.
Service Unterbrechungen bei vier CNKI Datenbanken
/in Aktuelles, Datenbanken/by CrossAsiaLiebe CrossAsia Community, liebe Nutzende,
(for English see below)
schon seit letztem Jahr finden sich in der internationalen Presse Echos von den neuen sicherheitsgesetzlichen Anforderungen, denen sich Informations- und Datenbankanbieter der VR China gegenüber sehen. Nun sind der internationale Markt und auch wir bei CrossAsia von diesen Veränderungen betroffen. CNKI muss nun eine Reihe ihrer Datenbanken ab dem 1. April 2023 vorläufig suspendieren und einer rechtlichen Prüfung unterziehen. Die Kolleg:innen in China arbeiten daran, ihre internationalen Businesspläne weiter verfolgen zu können und diese Dienste nach erfolgter Prüfung wieder für uns anzubieten.
Folgende CNKI Datenbanken sind betroffen:
– CDMD: Theses and Dissertations
– CPCD: Conference Proceedings
– NPCC: National population census of China
– CSYD: Statistical Yearbooks
CAJ, Monographic Series, Reference works und die Jahrbücher sind aktuell nicht betroffen.
Wir alle sind von diesen Nachrichten sehr betroffen und hoffen den Zugang zu den aufgelisteten Datenbanken wieder anbieten zu können.
Ihr CrossAsia Team
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Dear CrossAsia community, dear users,
During the past year, international press coverage made the new security regulations for digital service providers within the PR China visible. This now has an effect on both international markets and us here at CrossAsia. As of 01.04.2023, CNKI is forced to temporarily suspend four of its Databases pending regulatory review. Our colleagues in China are working towards a continuation of their global business plans and towards reinstating these services after the completion of the review process.
The following Databases are affected:
– CDMD: Theses and Dissertations
– CPCD: Conference Proceedings
– NPCC: National population census of China
– CSYD: Statistical Yearbooks
CAJ, Monographic Series, Reference Works and Yearbooks are not affected. We are all saddened by these developments, and hope to re-establish access to the above-mentioned resources soon.
Sincerely
CrossAsia team