Christine Guth

Tutor in Asian Design History Christine M E Guth

In this illustrated book Christine Guth examines the intimate relationship between art collecting, the tea ceremony, and business through the activities of Masuda Takashi (1848-1938), the highly charismatic director of the Mitsui conglomerate whose opulent life and passionate pursuit of art continue to influence new generations of aspiring business magnates in Japan. An elaborate social ritual in which the worlds of business and art collecting intersected, the tea ceremony guided Masuda in amassing the finest collection of Sino-Japanese art in the early Japanese industrial era. Guth's exploration of his aesthetic ideas deepens our understanding of not only the formation of the canon of Japanese art but also the role of art in the ideology of early modern Japan. At a time when there were few art museums in Japan and Japanese art was becoming internationally known, Masuda's tea gatherings functioned as a salon where his colleagues, other collectors, and art dealers could view, discuss, and handle works of art. Under his influence, art collecting and mastery of the tea ceremony became integral parts of the business training and activities of Mitsui executives. Masuda's collection was rich in calligraphy, ink painting, lacquer, and ceramics, but it was especially noted for its Buddhist painting and sculpture. These works, which were dispersed after World War II, are now in museums and private collections throughout Japan and the United States.

Masuda Takashi and the Mitsui Circle

Art, Tea, and Industry

Charles Longfellow, son of Henry Wadsworth Longfellow, arrived in Yokohama in 1871, intending a brief visit, and stayed for two years. He returned to Boston laden with photographs, curios, and art objects, as well as the elaborate tattoos he had "collected" on his body. His journals, correspondence, and art collection dramatically demonstrate America’s early impressions of Japanese culture, and his personal odyssey illustrates the impact on both countries of globetrotting tourism. Interweaving Longfellow’s experiences with broader issues of tourism and cultural authenticity, Christine Guth discusses the ideology of tourism and the place of Japan within nineteenth-century round-the-world travel. This study goes beyond simplistic models of reciprocal influence and authenticity to a more synergistic account of cross-cultural dynamics.

Tutor in Asian Design History Christine M E Guth

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