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30/07/2016

Buddhist Priests List

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Famous Buddhist Priests - ABC-List


日本の名僧・高僧 88人


doogoo 道号 "Name of the Way" after a person entered priesthood


Some priests have their name as a kigo for Haiku.
. Introducing Japanese Haiku Poets and People .

Many of them already have their own page and are mentioned in boldface.
Check the ABC-List of this BLOG.
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Abutsu ni 阿仏尼 あぶつに Nun Abutsu-Ni (? - 1283)

Ankokuji Ekei 安国寺恵瓊 (1539 – 1600)


Baisan Monpon 梅山聞本 (?- 1417)

Bankei Yōtaku 盤珪永琢 Yotaku (1622 - 1693)

Banna 鑁阿 (ばんな) (1144 - 1199) (262)

Benkei, Musashibō Benkei 武蔵坊弁慶 Musashibo Benkei (1155–1189)


Chōgen, Choogen 重源 (1121 - 1206), Chogen, also known as Shunjōbō Chōgen 俊乗坊重源

Doogen 道元 Dogen Zenji (1200 - 1253)

Dookyoo 道鏡 Dokyo (? - 772)

Dooshoo 道昭 Dosho (629 - 700)


Eji 恵慈 えじ Eji (?~623?), Korean: Hyeja  
He was a tutor of Buddhism to Shōtoku Taishi.

Eikan 永観 Eikan (1032 - 1111)

Eisai (Yoosai) 栄西 Eisai 1141 - 1215)

Eizan Shookin 瑩山紹瑾 Eizan Shokin (1268 - 1325)

Eizon 叡尊 Eizon (1201 - 1290)

Enchin 円珍 / 圓珍 Enchin (814 - 891)

Enkan 円観  Enkan (1281 - 1356)

Enkuu, Enkū 円空 Enku (1632 – 1695)

Enni 円爾 Enni (1202 - 1280)

Ennin 円仁 Ennin Jigaku Daishi 慈覚大師 (794 - 864)

En no Ozune, Gyōja 役小角 En no Gyoja (634 - 706)

Ensai 円載 Ensai (? - 877)

Eshin Ni 恵信尼 Nun Eshin-Ni (1182 - ?1268)


Fukuda Gyookai 福田行誡 Fukuda Gyokai (1806 - 1888) (366)


Ganjin 鑑真 Ganjin / Jianzhen (688 - 763) Chinese monk

Gasan Jōseki, Jooseki 峨山韶碩 Gasan Joseki (1275 – 23 November 1366)

Genboo 玄肪 Genbo (? - 746)

Genshin 源信 Genshin (942 - 1017) (124)

Gesshoo 月照 Gessho (1813 - 1858) (354)

Getsushoo 月性 Getsusho (1817 - 1858) (352)

Gidoo Shuushin 義堂周信 Gido Shushin(1325 - 1388)

Gien 義淵(ぎえん) (? - 728)

Gudō Toshoku, Gudoo 愚堂東寔 Gudo Toshoku (1577 – 1661)

Gyooki 行基 Gyoki Bosatsu (668 - 749)

Gyooson, Gyōson 行尊 Gyoson (1057 - 1135) (136)


Hakuin Zenji 白隠禅師 Hakuin Ekaku (1686 - 1768)

Henjoo 遍昭 Henjo (816 - 890)

Hoonen 法然 Honen (1133 - 1212)

Hōzōin In'ei, Hoozoo-in 宝蔵院胤栄 Hozoin In-Ei (1521 – October 16, 1607)


Ikkyuu Soojun 一休宗純 Ikkyu Sojun (1394 - 1481)

Ingen 隠元 Eisai Zenji 栄西禅師 (1141 - 1215)

Ippen 一遍 Ippen (1239 - 1289)

Issan Ichinei 一山一寧  Issan(1247 - 1317)

Isshi Monju 一糸文守 Monju (1608 - 1646)


Jakuren 寂蓮 Jakuren (1139 - 1202)

Jakushin 寂心 Jakushin (? - 1001) (120)

Jien 慈円  Jien (1155 - 1225)

Jitchū, Jitchuu 実忠 Jitchu (? - 824)

Jiun 慈雲 Jiun (1718 - 1804)

Junjoo 俊ジョウ(草冠にイ乃) (1166 - 1227)

Juubin 守敏 Jubin (? around 800)

Juugen 重源 Jugen (1121 - 1206) - see Choogen


Kaisen Jooki 快川紹喜 Kaisen Joki (? - 1582) (268)

Kakuban 覚鑁 Kakuban (1095 - 1143)

Kakunyo 覚如 Kakunyo (1270 - 1351)

Kakushin Ni 覚信尼 Nun Kakushin Ni (1224 - 1283)

Kakuyuu 覚猷 Kakuyu (1053 - 1140) (鳥羽僧正 Toba Sojo)

Kangan Giin 寒巌義尹 Kangan (1217–1300)

Kanjoo 寛朝 Kanjo (?916 - 998)

Kawaguchi Chiekai 河口慧海 Kawaguchi Chiekai (1866 - 1945) (370)

Keichuu 契沖 阿闍梨 Keichu Ajari (1640 - 1701)

Kanzan Egen 開山慧玄 Kanzan(1277 - 1360)

Kenkai 兼海 Kenkai (1107 - 11 June 1155)

Kennyo 顕如 Kennyo (1543 - 1592) (276)

Kinkoku Shoonin 金谷上人 Saint Kinkoku Shonin (1761 - 1832) (316)

Kokan Shiren 虎関師錬 Kokan(1278 - 1346)

Kookei, Koogei, Kōkei 皇慶 Kokei (?977 – 1049)

Kooen 皇円 Koen (? - ?1169) 肥後阿闍梨 - Higo Ajari

Koogon 光厳法皇 Kogon Ho-O(1313 - 1364)

Kōsai, Koosai 幸西 Kosai (1163 – May 20, 1247)

Koun Ejō 孤雲懐奘 Ko-Un (1198 - 1280)

Kuukai 空海 弘法大師 Kukai Kobo Daishi (774 - 835)

Kuuya 空也 Saint Kuya (903 - 972)

Kyoonyo 教如 Kyonyo (1558 - 1614)


Mansai 満済 Mansai (1378 - 1435) (246)

Minchuu 明兆 Minchu (1351 - 1431) 

Mokujiki 木喰五行 Mokujiki Gogyo (1718 - 1810)

Mokujiki Oogo 木食応其 Mokujiki Ogo (1536 - 1608)

Mokujiki Tanshoo 木喰但唱 Mokujiki Tansho (? - 1641)

Mongaku 文覚 Mongaku (?1193 - ?1205)

Monkan 文観  Monkan (1278 - 1357)

Mugaku Sogen 無学祖元 Mugaku, Wuxue Zuyuan (1226 - 1286)

Mujū Dōkyō, Mujuu Dookyoo 無住道曉 Muji Dokyo (1 January 1227 - 9 November 1312)

Musoo Soseki 無窓疎石 Muso Soseki (1275 - 1351)

Myooe, Myōe 明恵 Myoe, Myo-E (1173 - 1232)


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. boozu 坊主 priest, お坊さん O-Bo-San .

oshoo 和尚 priest
nyuudoo 入道 Nyudo priest
shoonin, shônin 上人 saint, head priest of a temple
daitoko 大徳(だいとこ)daitoku だいとく priest of high standard
soojoo. sôjô 僧正 high-ranking priest, "archbishop"
meisoo 名僧 famous priest / monk
koosoo 高僧 high-ranking priest



Photo by Tamamura Kōzaburō (1856 - 1923)

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- - - many priests with names starting with NICHI belong to the Nichiren sect - - -

Nichigen, Buzen Nichigen 豊前日源 (?1263 – 1315)

Nichiji 日持 (Kaiko) (February 10, 1250 – ?1304)

Nichijin 日陣 Nichijin (May 30, 1339 - June 14, 1419)

Nichiken, Awaji Nichiken(淡路日賢 (1243–1338)

Nichimoku 日目 Nichimoku (1260 – 1333)

Nichiō, Nichioo 日奥 Nichio, NichiO (1565 – 1630)

Nichiren 日蓮 Saint Nichiren (1222 - 1282)

Nichiroo, Nichirō 日朗 Nichiro (1243 - 1320)

Nichizoo, Nichizō 日像 Nichizo(1269 - 1342)

Nikkō, Nikkoo 日興 Nikko (1246 –1333)

Nikoo, Minbu Nikō 民部日向 Mibu Niko (1253 - 1314)

Ninshoo 忍性 Ninsho (1217 - 1303)

Nisshin 日親 Nisshin(1407 - 1488)

Nisshō, Nisshoo 日昭 Nissho, (?1221 – 1323)

Nitchō, Nitchoo 日頂 Nitcho (1252 – April 19, 1317)

Nomura Moto Ni 野村望東尼 Nun Nomura Motoni (1806 - 1867) (350)

Noonin, Dainichibō Nōnin 大日房能忍 Nonin ( ? 1190)

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Ootagaki Rengetsu, Ōtagak 太田垣蓮月 Nun Otagaki Rengetsu (1791 - 1875)

Ootani Kooen Kubutsu 大谷光演 / 大谷句仏 Otani Koen (1875 - 1943)

Raigoo 頼豪 Raigo (1002 - 1084)

Rankei Dooryuu 蘭渓道隆 Rankei Doryu (1213 - 1278)

Rennyo 蓮如 Rennyo (1415 - 1499)

Rensei / Renshoo 蓮生 れんせい・れんじょう  Rensho / Renjo (1141 - 1208)

Rooben, Rōben 良弁  Roben (689 - 773)

Ryoogen 良源  Ryogen (912 - 985) (116)

Ryookan 良寛 Ryokan, Taigu 大愚 (1758 - 1831)

Ryoonin 良忍  Ryonin (1073 - 1132)

Ryuukoo 隆光 Ryuko (1649 - 1724)


Saichoo, Saichō 最澄 伝教大師 Saicho Dengyo Daishi (767 - 822)

Saigyoo Hooshi 西行法師 Saigyo Hoshi (1118 - 1190)

Sakuden 策伝 Sakuden (1554 - 1641)

Sengai 仙厓義梵 Sengai Gibon (175 1– 1837)

Sengaku 仙覚 Sengaku (?1203 - 1273)

Sesson Shuukei 雪村周継 Sesson (1504 - 1589)

Sesshuu 雪舟等楊 Sesshu Toyo (1420 - 1506)

Setouchi Jakuchō, Jakuchoo 瀬戸内寂聴 Nun Setouchi Jakucho (May 15, 1922 - )

Shimaji Mokurai 島地黙雷 Shimaji (1838 - 1911) (368)

Shinnyo 真如  Shinnyo 親王 (799 - 865) (132)

Shinran 親鸞  Shinran (1173 - 1262)

Shinshō, Shinshoo 真紹 Shinsho (797 – 873)

Shooboo 聖宝 Shobo (832 - 909)

Shoodoo 勝道 Shodo (735 - 817)

Shōkū, Shookuu 証空 Shoku (1177 - 1247), Seizan 西山

Shunkan 俊寛 Shunkan (c. 1143 – 1179)

Shunoku myooha 春屋妙葩 Shunoku Myoha(1311 - 1388)

- - soohei, sōhei 僧兵 Sohei, lit. "monk warriors", fighting monks

Suuden, Konchi-In Suuden 金地院崇伝 / Ishin Sūden 以心崇伝 Suden (1569 - 1633)

Suzuki Shosan 鈴木正三 Shosan (1579 - 1655) (288)

Suzuki Shunryū, Shunryuu 鈴木俊隆 Suzuki Shunryu (1904 - 1971) Zen


Taichō, Taichoo 泰澄 Taicho (682 – 767) - Tengu from Mount Hakusan
Etsu no Daitoku 越の大徳 - Great Man of Virtue from Etsu
Unpen Shoonin 雲遍上人 Saint Unpen Shonin
Shiramine Daisoojo 天狗 白峰大僧正 Tengu Shiramine Daisojo


Taigen Suufu 太原崇孚, 太原雪斎 Taigen Sessai (1469 - 1555) (266)

Taihan 泰範 (?817 ) disciple of Kukai (96)

Takeda Motsugai 武田物外 Takeda Motsugai (1795 - 1867)

Takuan, Takuan Sōhō 沢庵宗彭 Takuan Soho (1573 – 1645)

Tenkai 天海 Tenkai (1536 – 1643) / Nankōbō Tenkai 南光坊天海

Tettsū Gikai, Tettsu 徹通義介 Tetsu Gikai (1219 - 1309)

Tokuitsu 徳一 Tokuichi, Toku-Itsu (781? - 842?)


Uda Hoo-oo 宇多法皇 Uda Ho-O (879 - 931)


Yasutani Hakuun 安谷白雲 Yasutani Haku-Un (1885 - 1973) Kamakura Zendo

Yootaku, Bankei Yōtaku 盤珪永琢 Yotaku (1622 - 1693)

Yuien 唯円 Yuien,Yui-En (1222 - 1289) 

Yuukai 宥快 Yukai (1345 - 1416)

Yuuten 祐天 Yuten (1637 - 1718)


Zekkai Chuushin 絶海中津 Sekkai Chushin(1336 - 1405)

Zenjin ni 善信尼 Nun Zenjin-Ni (? sixth century)

Zenran 善鸞 Zenran (1217 - 1286)

Zooga、Sooga 増賀 Zoga, Soga (917 - 1003) (122)

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知っておきたい日本の名僧 / 瓜生中 Uryu Naka



日本名僧列伝 / 柏原祐泉 (編集), 薗田香融 (編集)



事典 日本の名僧 / 今泉淑夫 (編集)
180人の僧を没年順に収載した



名僧でたどる日本の仏教 / 末木文美士



名僧 100人
- reference : ne.jp/asahi/kiwameru/kyo -


more books about 日本の名僧 - 16 pages
日本名僧辞典 1976
日本をつくった名僧一〇〇人
日本の名僧入門―日本人の心を創りあげた二十人の素顔と生きざま
- source : www.amazon.co.jp -

List with books about the priests
- reference : yoshikawa-k.co.jp-


"Japanese Buddhist monks" - ABC-list
- - - More in the WIKIPEDIA !

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03/10/2014

Felice Beato Felix

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Beato Felice Beato

(1832 – 29 January 1909)



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also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events as the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial oeuvre of photojournalism. He had an impact on other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting.

Japan
By 1863 Beato had moved to Yokohama, Japan, joining Charles Wirgman, with whom he had travelled from Bombay to Hong Kong. The two formed and maintained a partnership called "Beato & Wirgman, Artists and Photographers" during the years 1864–1867, one of the earliest and most important[ commercial studios in Japan. Wirgman again produced illustrations derived from Beato's photographs, while Beato photographed some of Wirgman's sketches and other works. (Beato's photographs were also used for engravings within Aimé Humbert's Le Japon illustré and other works.)

Beato's Japanese photographs include portraits, genre works, landscapes, cityscapes, and a series of photographs documenting the scenery and sites along the Tōkaidō Road, the latter series recalling the ukiyo-e of Hiroshige and Hokusai. During this period, foreign access to (and within) the country was greatly restricted by the Shogunate. Accompanying ambassadorial delegations[30] and taking any other opportunities created by his personal popularity and close relationship with the British military, Beato reached areas of Japan where few westerners had ventured, and in addition to conventionally pleasing subjects sought sensational and macabre subject matter such as heads on display after decapitation.
His images are remarkable not only for their quality, but also for their rarity as photographic views of Edo period Japan.



Samurai of the Satsuma clan, during the Boshin War period

The greater part of Beato's work in Japan contrasted strongly with his earlier work in India and China, which "had underlined and even celebrated conflict and the triumph of British imperial might". Aside from the Portrait of Prince Kung, any appearances of Chinese people in Beato's earlier work had been peripheral (minor, blurred, or both) or as corpses. With the exception of his work in September 1864 as an official photographer on the British military expedition to Shimonoseki, Beato was eager to portray Japanese people, and did so uncondescendingly, even showing them as defiant in the face of the elevated status of westerners.

Beato was very active while in Japan. In 1865 he produced a number of dated views of Nagasaki and its surroundings. From 1866 he was often caricatured in Japan Punch, which was founded and edited by Wirgman. In an October 1866 fire that destroyed much of Yokohama, Beato lost his studio and many, perhaps all, of his negatives.

While Beato was the first photographer in Japan to sell albums of his works, he quickly recognised their full commercial potential. By around 1870 their sale had become the mainstay of his business. Although the customer would select the content of earlier albums, Beato moved toward albums of his own selection. It was probably Beato who introduced to photography in Japan the double concept of views and costumes/manners, an approach common in photography of the Mediterranean. By 1868 Beato had readied two volumes of photographs, "Native Types", containing 100 portraits and genre works, and "Views of Japan", containing 98 landscapes and cityscapes.

Many of the photographs in Beato's albums were hand-coloured, a technique that in his studio successfully applied the refined skills of Japanese watercolourists and woodblock printmakers to European photography.

Since about the time of the ending of his partnership with Wirgman in 1869, Beato attempted to retire from the work of a photographer, instead attempting other ventures and delegating photographic work to others within his own studio in Yokohama, "F. Beato & Co., Photographers", which he ran with an assistant named H. Woollett and four Japanese photographers and four Japanese artists. Kusakabe Kimbei was probably one of Beato's artist-assistants before becoming a photographer in his own right. But these other ventures would fail, and Beato's photographic skills and personal popularity would ensure that he could successfully return to work as a photographer.

Beato photographed with Ueno Hikoma, and possibly taught photography to Raimund von Stillfried.
Felice Beato with Saigo Tsugumichi (both seated in front), with foreign friends. Photograph by Hugues Krafft in 1882.

In 1871 Beato served as official photographer with the United States naval expedition of Admiral Rodgers to Korea. Although it is possible that an unidentified Frenchman photographed Korea during the 1866 invasion of Ganghwa Island, Beato's photographs are the earliest of Korea whose provenance is clear.



Beato's business ventures in Japan were numerous. He owned land and several studios, was a property consultant, had a financial interest in the Grand Hotel of Yokohama, and was a dealer in imported carpets and women's bags, among other things. He also appeared in court on several occasions, variously as plaintiff, defendant, and witness. On 6 August 1873 Beato was appointed Consul General for Greece in Japan.

In 1877 Beato sold most of his stock to the firm Stillfried & Andersen, who then moved into his studio. In turn, Stillfried & Andersen sold the stock to Adolfo Farsari in 1885. Following the sale to Stillfried & Andersen, Beato apparently retired for some years from photography, concentrating on his parallel career as a financial speculator and trader. On 29 November 1884 he left Japan, ultimately landing in Port Said, Egypt. It was reported in a Japanese newspaper that he had lost all his money on the Yokohama silver exchange.
© More in the WIKIPEDIA !


フェリーチェ・ベアト
- source : wikipedia Japan

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- quote
Beato in Yokohama
Beato resided in Yokohama for 21 years, the longest period he worked in a single place. Through his camera, he captured the transitional period between the feudal governance of the Edo period (1600–1868) and the imperial rule of the Meiji era (1868–1912) with memorable portraits, landscapes, and genre scenes. (Go to Chronology for more details of Beato's life and work.)
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“Photographic Views of Japan with Historical and Descriptive Notes”
When he arrived in Japan in 1863, Beato brought with him a considerable inventory of photographs and negatives. Unfortunately, these plus the negatives he initially made in Japan were lost in a fire that swept through Yokohama and destroyed much of the city in 1866. Between 1866 and 1868, Beato worked feverishly to rebuild his stock and reestablish his livelihood. After producing hundreds of negatives, he selected a suite of photographs which he published with descriptions under the collective title Photographic Views of Japan with Historical and Descriptive Notes shortly after the overthrow of the feudal regime in 1868. The complete set survives in some collections, but often the images have been disassembled.

This handsome album established a British view of “Japan” for the West. Each albumen print has a satin sheen. (For more about albumin prints, go to Photographic Terms.) The print is mounted on heavy paper to keep the thin photographic paper from curling inward after development. Almost every photograph is accompanied by a brief descriptive caption written by James W. Murray to provide an interpretive label for the viewer. The description is mounted on the opposite page and printed with distinctive type within an elegant border. When viewers turned each page of the large bound albums, they encountered not only a beautiful landscape, portrait, or scene of everyday life, but also a presumedly authoritative commentary on the subject depicted.

These captions are of particular interest today not only for the stories they tell, but also for the odd and old-fashioned ways in which many Japanese names and words are “romanized.” They also contain many factual errors that reveal the rudimentary level of foreign knowledge of Japan at this early stage in the nation's new relationship with the West. (The captions have been reproduced without correction here.)
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Commemorative Albums & Tourism
Albums were introduced very early into the practice of photography. The albums often were bound like books, with embossed titles printed on the cover or spine. Covers were made of leather, fabric, or carved wood. In Japan, they also included lacquer with elaborate inlays. Photographers assigned to the British military expeditions often created albums for the officers to commemorate their battles. Beato created his first such keepsake album for officers who fought in the Crimean War. Often the albums were sent to their families and friends in advance of the officers’ return to Britain as a way of communicating the complexity of their lives and display of bravery for their country. Such albums, sometimes displayed in lyceums, fed a hungry public with images long after battles were fought.
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Coloring Black-&-White Originals
In the two-volume Photographic Views of Japan, landscapes and points of interest comprise the first volume and are presented in black-and-white albumen prints. In the second volume, reproduced here, the albumen portraits and genre scenes of everyday life were colored by hand.

Beato colored the photographs using several methods. The tonal shades of velvety blacks, reddish-browns, and purples were controlled through the interaction of developer chemicals and the albumen paper. To achieve more vivid colors, artisans applied watercolors to the completed print. The usual hand-applied colors were green, blue, red, and yellow. Templates were cut to to ensure consistency when painting watercolors on multiple prints from the same negative.

Charles Wirgman (1832–1891), Beato’s journalist friend and business partner, initially painted the photographs with watercolor. Shortly after Wirgman and Beato began partnering in the studio, however, Japanese watercolor artists were contracted for this service. Beato had a ready supply of colorists from the skilled craftsmen who had been trained to color woodblocks for traditional woodcut prints. With color photographs, Beato hoped to appeal to the prevailing taste already established by Japanese woodblock prints.
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Photographs & Captions
This portrait of “Girl Playing the Samisen” acquires additional meaning with Murray’s descriptive caption, in which he writes about the instrument and the role of music in the training of young women. As he tells it, the instrument is the equivalent of the guitar, thus establishing for the viewer a comparative model. Murray continues with a description of how the samisen is “played with a flat piece of wood, or ivory, or horn, and seldom struck with the fingers,” and goes on to impose his own Western standards by characterizing its sound as “wild and harsh” and the woman’s voice as “by no means pleasant to the ear.” These girls are “studious and diligent, and music is part of their overall education,” he states, but there is a “wonderful absence of any approach to harmony in the airs played by even the most carefully taught.”
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Models & “Types”
The “Views of Japan” reproduced in this unit represent portraits selected from Beato’s wide-ranging opus and sold as a group by the photographer. This particular album, held by the Smith College Museum of Art, contains 50 images formerly bound in a green linen cover with the printed title, now absent, in the center of the cover. Although each photograph is different, the viewer may discern certain resemblances in the physical characteristics of the sitters. Beato usually hired his sitters and dressed them in appropriate attire for his studio photographs. The models for “Mr. Shōjirō” and “Our Painter” could almost be the same person, for example, although their descriptions differ greatly. In both images, the model holds instruments of trade in his hands. Mr. Shōjirō holds “that ingenious little calculating table of his …,” the soroban, or abacus. The painter stands in front of his portfolio of prints while holding his palette and brush. “A bit of a roué is our painter,” Murray states, “much given to wine, and not insensible to the charms of singing girls. A good creature on the whole…. ”
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Crime & Punishment
To some degree, the violence Beato captured in his earlier non-Japanese war photographs is evident in Views of Japan. During its transitional years as a treaty port, the Yokohama settlement was not entirely safe for foreigners. Often travel outside the confines of the settlement was not permitted or required hired guards. The two photographs that conclude the Smith College Museum of Art album, depicting “The Executioner” and “The Execution,” are vivid reminders of the harshness of the times. Beato staged a studio portrait for the former, a nameless executioner with sword raised ready to decapitate a criminal.
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“The Executioner” (detail)
The album concludes with two Beato photographs of violence. The caption accompanying this photo suggests that it depicts an actual execution ground. It was, in fact, staged in Beato’s studio.


snip
By contrast, “The Execution” is an outdoor shot without imaginary props, depicting a crucified criminal and several severed heads on display. Murray’s description, one of the lengthiest in the album, serves several purposes. It describes not only the execution scene but the multiple ways in which executions were performed—crucifixion, beheading, or forced suicide. When the traveler returned home to share Beato’s photographs and Murray’s texts, he or she came away with a final impression of barbarism—an image that would have a substantial and pernicious afterlife in later foreign representations.
snip
Tourism & the Western Image of Japan
With images such as these, Beato’s pioneer photographs helped consolidate the impressions of Japan held by many Westerners. Perusing such albums, the viewer was able to safely travel the byways of Japan and—supposedly—witness daily life. These graphics and their captions created an iconic image of Japan that would survive the sale of Beato’s studio in 1877 and even the photographer’s death in 1908. With his genre scenes, Beato provided a window on an exotic country interpreted through the lens of Western culture. Such albums became mementos for tourists and, for those who would never have the luxury of visiting, a bound collection of highly selected and filtered knowledge.
- source : ocw.mit.edu/ans7870


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curio shop

- - - Gallery of his photos - Beato's Japan: People
- source : ocw.mit.edu/ans


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- Reference - フェリーチェ・ベアト -

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23/05/2013

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. Baba Bunkoo, Baba Bunkō 馬場文耕 Baba Bunko . - (1718 - 1759) political writer

Baigan 梅丸, haikai poet from Ogaki

Baisaoo, Baisaō 売茶翁 Baisao, "Old Tea Seller" Zen master
賣茶翁 (ばいさおう) / 高遊外 Ko Yugai. (1675 – 1763)


. - - Bakumatsu  幕末 foreigners in Japan - - .
Aime, Humbert Aime エメ アンベール (1819-1900)
William John Alt - (1840-1905) ウィリアム・オールト
Bird, Isabella Bird, Isabella Lucy Bird イザベラ・バード (1831-1904)
Richard Henry Brunton - (1841 – 1901) - "Father of Japanese lighthouses"
Ranald MacDonald - (1824 – 1894) - first English teacher
- - Kenneth Ross MacKenzie
- - James Mitchell
Laurence Oliphant - (1829 – 1888)
Wirgman, Charles Wirgman チャールズ・ワーグマン(1832 - 1891)
Ernest Satow - Sir Ernest Mason Satow (1843 - 1929) アーネスト・サトウ
Schliemann, Johannes Heinrich Schliemann ハインリヒ・ユリウス・シュリーマン (1822 - 1890)
Scidmore, Eliza Ruhamah Scidmore エリザ・ルアマー・シドモア (1856 - 1928)
Suenson, Edouard Suenson エドゥアルド・スエンソン (1842 - 1921)
- - - - - Jack Seward (1924 – November 2010)



. Banjibanzaburo, Banji Banzaburo 万二万三郎 legendary Matagi hunter-brothers .

Bankei Yōtaku 盤珪永琢 Bankei Yotaku. Eitaku
(1622-1693) Zen priest


Banzuin Choobei 幡随院長兵衛 Banzuin Chobei, (1622–1657) a kyookaku 侠客
© More in the WIKIPEDIA !
. Chobei of Bandzuin . and Hirai Gonpachi 平井権八 and Komurasaki 小紫



Basho, Matsuo Basho (1644 - 1694)
..... Basho Jittetsu
蕉門十哲 / 10 important Disciples of Matsuo Basho


Beato Felice Beato / Felix Beato フェリーチェ・ベアト (1832 – 1909)
Photographer in Japan

Benkei 弁慶 - Musashiboo Benkei 武蔵坊弁慶 retainer of Yoshitsune

Benkei Kozaemon 棟梁弁慶小左衛門 master carpenter, Edo

Bessho Nagaharu 別所長治 (1558 - 1580) - Samurai


Bidatsu 敏達天皇 Emperor Bidatsu - (538 - 585)

Big Spenders, the 18 Playboys of Edo (juuhachi daitsuu) 十八大通

. Bijin - Edo no bijin 江戸の美人 the beauties of Edo .

Bing, Siegfried Bing (1838 – 1905) - German art dealer
- source : wikipedia


Binzuru, the Arhat 賓頭盧, びんずる、びんづる ビンヅル

Isabella Bird (1831 - 1904) - Travel writer


Blum, Robert Frederick Blum (9 July 1857 – 8 June 1903) - painter
More in the WIKIPEDIA !


Bodhisenna, Bodhisena, Bodaisenna 菩提僊那 - (704–760) priest
..... Baramon Sojo 波羅門僧上 Barahman from India

Bojo Toshiki Born July 7, 1957

Bokusetsu 木節 (Kibushi) - Mochizuki Bokusetsu 望月木節

. Bokushi (460- 380 BC ?) . Chinese philosopher Mo Di (Mo Ti), better known as Mozi (Mo-tzu)

Borsi Roberto Borsi - tatoo artist Fudo


Henry Pike Bowie ヘンリイ・パイク・ブイ  (1848–1921)
American lawyer, artist, author, Japanologist and diplomat.
- source : wikipedia


Boxer Charles Martin Boxer (1904 -2000) (1904 -2000)
A Truly British Samurai

BRIGID, Saint Brigid Ireland - St. Brigid (or Bridget, Brighid, Bridgid or Bríd)

Brinker, Helmut Heinrich Brinker (1939 - 2012)
Kunsthistoriker und Sinologe

Brinkley, Frank Brinkley. Francis Brinkley フランシス・ブリンクリー (1841 - 1912)
Irish newspaper owner, editor and scholar - The Japan Times


BUDDHA Shakyamuni Sidhartha Buddha

Bull, David Bull Woodblock Printmaker

Bukan 豊干 Feng-Kan Chinese Zen Monk

Bunsen, Woodblock Master ... around 1831

Busch, Wilhelm Busch (1832 - 1908) German Poet and Carricaturist

Busen sensei - Paintings Gallery

Buson, Yosa Buson (1715-1783) ... Painter and Poet
- - - - -
. Buson, 与謝蕪村 Yosa Buson in Edo - Cultural Keywords .

Busshi 仏師 ... - Buddhist sculptors Gallery


Butchoo, Butchō 仏頂和尚 / 佛頂和尚 Priest Butcho

Butsugai Fusen ... 1795~1867 Takeda Genkotsu Motsugi



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