Kyoto went through multiple natural and human-caused disasters after its establishment as the new imperial capital in 794 CE but continued to serve its initial function until 1869 when Emperor Meiji moved to Tokyo (formerly Edo) with the end of the 200-year dominance of the Tokugawa shogunate. The heart of Kyoto has stood in its current location since its completion, contributing to the impression of continuity in its cultural identity. The seven essays in this volume, however, demonstrate that “Kyoto” had to be “reinvented” and revitalized in response to changing political and cultural currents. In two parts, this volume explores the visual culture of Kyoto at two moments of crisis: immediately following the establishment of the Tokugawa regime in the seventeenth century, when the center of political authority moved to Edo; and in the latter half of the nineteenth century following the Meiji Restoration, when the emperor moved to Tokyo, along with members of the former aristocracy. In its approach, this book is in alignment particularly with Japanese scholarship beginning around the late 1990s which sought to reconsider Kyoto through its changes, focusing on the efforts made by both the residents and interested outside parties to reinvigorate it by redefi ning its identity at critical junctures in the city’s history. (All key previous studies are listed in the bibliography of one or more of the essays included in this volume.) Kyoto Visual Culture is, however, distinct from this preceding scholarship in the way it juxtaposes the Kyoto of the early modern and modern periods. The three essays in part 1 are case studies of how Kyoto-based individuals of different status appropriated or embodied the cultural history of ancient and medieval times in reaction to the rapidly changing political climate surrounding them. Morgan Pitelka traces the major accomplishments of the revered tea master and Kyoto-based infl uential warrior bureaucrat Kobori Enshū (1579–1647). Appointed as the Fushimi Magistrate in 1623, Enshū moved within the circle of social and political elites in and out of the city. Combining the splendor of the tea-drinking practice of the medieval warrior, the rusticity of the wabi tea of Sen no Rikyū (1522–91), and the elegance of Kyoto courtly culture, Enshū established a new aesthetic of tea that came to be known as kirei sabi or “gorgeous simplicity.” Pitelka concludes that Enshū’s tea practices and his orchestration and appraisal of tea utensils refl ected Kyoto’s “hybridized form” of cultural production in

中文翻译：

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江户时代和明治时代早期的京都视觉文化：再造艺术版。由 Morgan Pitelka 和 Alice Y. Tseng

京都在公元 794 年成为新帝都后经历了多次自然和人为灾难，但一直发挥着最初的功能，直到 1869 年明治天皇迁往东京（原江户）结束了 200 年的统治。德川幕府。京都的中心自建成以来一直位于现在的位置，为其文化特征的连续性做出了贡献。然而，本卷中的七篇文章表明，为了应对不断变化的政治和文化潮流，“京都”必须进行“改造”和振兴。本书分两部分探讨了京都在两个危机时刻的视觉文化：17 世纪德川政权建立之后，政治权力中心转移到江户；明治维新后的 19 世纪下半叶，天皇与前贵族成员一起搬到了东京。在其方法上，这本书特别与 1990 年代后期开始的日本学术保持一致，日本学者试图通过其变化重新考虑京都，重点关注居民和感兴趣的外部各方通过重新定义其在关键时期的身份来重振它的努力。城市历史的转折点。（之前所有重要的研究都列在本卷中的一篇或多篇论文的参考书目中。）然而，京都视觉文化与前面的学术不同，因为它并列了近代早期和现代时期的京都。第 1 部分中的三篇文章是案例研究，研究了居住在京都的不同身份的个人如何利用或体现古代和中世纪的文化历史，以应对周围迅速变化的政治气候。Morgan Pitelka 追溯了受人尊敬的茶道大师和京都有影响力的武士官僚 Kobori Enshū（1579-1647）的主要成就。远州于 1623 年被任命为伏见县令，在社会和政治精英圈内进出该市。结合了中世纪武士饮茶的辉煌、千利休（1522-91）侘茶的质朴和京都宫廷文化的优雅，远州建立了一种新的茶美学。作为 kirei sabi 或“华丽的简单。