1 “Pond of Brilliance,” depicted in the Ban Dainagon ekotoba, detail. 18
2 The “Wild Sea Screen.” 20
3 “Keichō Nihon sōzu.” 34
4 “Kōkoku michinori zu.” 35
5 Territorial coverage of the bakufu’s four successive “complete maps of Japan.” 36
6 “Jōtokuji Map of Japan.” 37
7 Map of Japan, painted on a fan. 38
8 “Map of Great Japan” (Dai Nihon-koku zu, in Tōin, 1656. 39
9 Dai Nihon jishin no zu (1624). 40
10 Nakabayashi Kichibei, Fusōkoku no zu. 41
11 Ishikawa Ryūsen, “Annotated Map of Our Country” (Honchō zukan kōmoku, Sagamiya Tahei, 1687). 41
12 Nishikawa Joken, “The Directional Orientation of Japan” (“Nihon hōgaku no zu,” 1720). 50
13 Terajima Ryōan, “Dai-Nihon-koku no zu” (1712). 51
14 Nagakubo Sekisui, “Complete Route Map of Japan, Revised” (1779). 53
15 Hayashi Shihei, “Sangoku tsūran yochi rotei zenzu” (“Complete Map of the Three Countries,” 1786). 59
16 Kikaijima (“Strange Boundary Island”), detail of Fig. 15. 60
17 “Takeshima,” detail of Fig. 15. 60
18 The southern tip of Ezo, detail of Fig. 15. 61
19 Hayashi Shihei, “Ezo-koku zenzu” (“Complete Map of the Land of Ezo”). 61
20 Hayashi Shihei, “Ezo-koku zenzu” (detail of Fig. 19). 62
21 Kano Naizen, Nanban byōbu, early 17th c. 75
22 (L, R) Map of Japan & Mappa Mundi on folding screen. 80
23 (L, R) Depictions of peoples of forty-two countries around the world, arrayed around a mappa mundi, detail of Nijū-hachi toshi bankoku ezu byōbu, early 17th c. 82
24 Bankoku sōzu & Bankoku jinbutsu-zu, 1647. Hand-colored woodblock prints on paper. 83
25 Cannibal denizens of “Brazil.” Detail of Fig. 24. 85
26 Detail of Fig. 25, showing human hand and foot being grilled over an open fire. 86
27 Cannibals from “Brazil” roasting human body parts over an open fire, depicted in a cartouche of a mappa mundi folding screen, early 17th c. 87
28 Cannibals from “Brazil” roasting human body parts over an open fire, depicted in a cartouche of a mappa mundi folding screen, early 17th c. 88
29 Cannibals from “Brazil” roasting human body parts over an open fire. Theodor de Bry, Dritte Buch Americae (1593). 88
30 Dwarves and Giants of the antipodes, 1645 Bankoku jinbutsu-zu and subsequent iterations. Detail. 90
31 Warrior, farmer, artisan and merchant, depicted in Nakamura (1666). 98
32 Court dancer, prostitute, actors and dwarf, depicted in Nakamura (1666). 99
33 Hunter, diver, Ainu and Nanban, depicted in Nakamura (1666). 99
34 Detail from a folding screen, early 17th century. 110
35 Ishikawa Toyonobu, “Korean Smoking,” woodblock print, 1748. 110
36 Kano Naizen, Hōkoku sairei-zu byōbu. Detail, left-hand screen, 5th panel. 115
37 Wakebe-chō performs a “Korean Procession,” Hachiman Festival, Tsu City, 1990. 116
38–40 Wakebe-chō’s Hachiman Festival “Chinaman” (Tōjin) masquerades, ca. 1630s–1640s. Tsu Hachiman sairei emaki, ca. 1640. 117
41 Black-skinned men in Nanban garb. Detail from Kano Dōmi, six-panel folding screen, color and gold leaf on paper. 125
42 “Picture of Koreans Crossing the Sea by Ship.” Single-sheet print, 1811. 126
43 “Candy-peddler,” from Itchō gafu, 1770. 127
44 Toyotomi Hideyoshi, dressed in Chinese court garb. Yoshino hanami-zu byōbu, unsigned, color and gold leaf on paper; detail, left screen. 133
45 Daimyos and courtiers accompanying Hideyoshi on his Yoshino excursion. Yoshino hanami-zu byōbu, unsigned, color and gold leaf on paper; detail, left screen. 133
46 Japanese dandies dressed in a mixture of Nanban and Japanese clothing. Detail of unsigned pair of six-panel folding screens, color and gold leaf on paper. 135
47 Revelers in Edo’s Sanja Festival wearing Nanban costumes. Edo meisho-zu byōbu, pair of eight-panel screens, color and gold leaf on paper. Detail. 137
48 A group of boys masquerading as Nanban in a Kyoto festival. 138
49 Musicians, depicted in Chikujō-zu byōbu (“Castle-Building Screen, early 17th c.). 139
50 Korean military band entering Edo Castle at vanguard of Korean embassy. Kano Masunobu, Chōsen tsūshinshi kantai-zu byōbu (1655), detail. 158
51 The Korean “Three Ambassadors” approaching Edo Castle. Kano Masunobu, Chōsen tsūshinshi kantai-zu byōbu (1655). 160
52 Hanabusa Itchō, Bajō kigō-zu (“Calligrapher on Horseback,” ca. 1711–1719). Courtesy Sin Kisu Collection, Osaka Museum of History. 165
53 Schematic of 1796 Ryukyuan embassy parade across Edo. Ryūkyūjin tojō narabini Ueno o-miya sankei goretsu (1796, MS). Courtesy Historiographical Institute, Tokyo University. 170
54 Spectators lining a Nagoya street to watch Ryukyuan embassy procession. Odagiri Shunkō, Ryūkyū gashi (MS, 1832). 171
55 A monk and pages (l) and a group of women with a child (r) watch a Korean embassy parade through the post town of Okitsu. Unsigned Okitsu Chōsen tsūshinshi gyōretsu-zu byōbu, ca. 1682, detail. 171
56 Parents and children bowing respectfully at the Korean embassy as it moves through Okitsu. Unsigned Okitsu Chōsen tsūshinshi gyōretsu-zu byōbu, ca. 1682, detail. 171
57 A three-generation family watch the Korean embassy as it moves through Okitsu. Unsigned Okitsu Chōsen tsūshinshi gyōretsu-zu byōbu, ca. 1682. 173
58 A group of outcasts whose presence at a Korean embassy procession was banned by the authorities, are shown by the highway through Okitsu station as the embassy parades past. Unsigned Okitsu Chōsen tsūshinshi gyōretsu-zu byōbu, ca. 1682, detail. 178
59 The Korean vice-ambassador’s ship passing through the Inland Sea off Bizen Province. Chōsenjin raichō oboe Bizen gochisō-bune gyōretsu-zu (MS scroll, 1748). 178
60 A squatting guard with his staff, and a man sprinkling water to hold down the dust along the route of the 1655 Korean embassy. Kano Masunobu, Chōsen tsūshinshi kantai-zu byōbu, Courtesy Sennyūji, Kyoto. 179
61 A guard, and a man with a broom who is ready at a moment’s notice to sweep up any droppings from horses in the Korean embassy retinue. Kano Masunobu, Chōsen tsūshinshi kantai-zu byōbu. Courtesy Sennyūji, Kyoto. 181
62 Bird’s-eye view of 1624 Korean embassy entering Edo Castle for its audience with Tokugawa Iemitsu. Edo-zu byōbu. (Pair of six-panel folding screens, color & gold leaf on paper, ca. 1634–1635). Courtesy National Museum of Japanese History. 182
63 Samurai on duty in Edo Castle running to see the Korean embassy as it arrives in the main compound. Edo-zu byōbu. Detail. Courtesy National Museum of Japanese History. 183
64 Crowds of men, women and children gather in the Edo streets to watch the Korean embassy parade. Edo-zu byōbu. Detail. Courtesy National Museum of Japanese History. 183
65 Members of the Korean embassy on the plaza of Edo Castle arranging the Korean king’s gifts for the shogun. Edo-zu byōbu. Detail. Courtesy National Museum of Japanese History. 184
66 Shaving a sakayaki at an outdoor barber stall in Kyoto. Iwasa Matabei, Rakuchū rakugai-zu byōbu (Scenes of the capital screens, detail), early seventeenth century. Detail. 201
67 A range of male hairstyles depicted at the west end of Gojō Bridge, Kyoto. Iwasa Matabei, Rakuchū rakugai-zu byōbu. Detail. 202
68 Samurai with unshaved pates and facial hair. Iwasa Matabei, Rakuchū rakugai-zu byōbu (Scenes of the capital screens, detail), early seventeenth century. Detail. 202
69 Chinese men in Beijing being forced to adopt the Manchu tonsorial regime. From Ukai (1717, vol. 11). 203
70 Hanabusa Itchō, Tōjin ameuri-zu (Chinaman candy-seller), early eighteenth century. Fenellosa-Weld Collection, Boston Museum of Fine Art. 219
71 Hanabusa Itchō, “Candy-seller,” in Hanabusa (1770, 1: 5b–6a). 219
72 Watōnai and his mother shave his new Chinese retainers’ pates. From Chikamatsu (1715), Zashiki ayatsuri otogi gunki, vol. 2. 223
73 A Japanese warrior shaving the pates of “Chinese who have surrendered, performing their coming-of-age (genbuku) rite, and turning them into retainers.” From Terasawa (1790). 226
74 Murakudō Bakin, Watōnai-zu. Courtesy Tenma Jinja, Sabae City, Fukui Prefecture. 227
75 Utagawa Toyokuni, “Actors Ichikawa Ebizō V as Goshōgun Kanki and Ichikawa Danjūrō VIII as Watōnai Sankan.” 227
76 Unsigned Rakuchū rakugai-zu byōbu, (Scenes of the capital screens, detail), ca. 1620. 231
77 Unsigned Rakuchū rakugai-zu byōbu, (Scenes of the capital screens, detail, ca. 1620. 231
78 Unsigned Rakuchū rakugai-zu byōbu, ca. 1620. Detail. 232
79 Unsigned Rakuchū rakugai-zu byōbu, ca. 1620. Detail. 232
80 Scenes from Kano Tan’yū, Tōshōsha engi emaki. vol. 5. 233
81 Bankoku sōzu; Jinbutsu-zu (1647), detail. 234
82 Hishikawa Moronobu, “Korean Embassy Procession”, 1682. 235
83 The Korean ambassador, from Okumura Masanobu, “Korean Embassy Parade.” 235
84 Hishikawa Mornobu, “Yonosuke in Nagasaki,” in Ihara Saikaku, Kōshoku ichidai otoko, Edo, 1684. 237
85 Ihara Saikaku, “Chinese Dancers, Japanese Spectators,” in Ihara, Shoen ōkagami (1684). 238
86 Unsigned, “The Qing at a Banquet.” Woodblock print published by Bunkindō, Nagasaki, 18th c. 238
87 Unsigned, “Bawdy House.” Woodblock print published by Toshimaya, Nagasaki, n.d. 239
88 “Shintan,” i.e., a “Chinese” man, in Terajima (1712, vol. 13). 240
89 A Qing family depicted at home. Shunkōen & Okada, Ehon ikoku ichiran (1799). 241
90 Chinese men at the public bath, depicted in Nakagawa Tadateru, Shinzoku kibun (1799). 243
91 “Planting Rice Seedlings” (right), and “Cutting Sheaves” (left), depicted in Nakagawa Tadateru, Shinzoku kibun (1799). 243
92 “The Queue, the Flowered Skull-Cap, and Hair-bun,” depicted in Nakagawa Tadateru, Shinzoku kibun (1799). 244
93 After Hanabusa Itchō, “Makanai Tōjin” (The Foreign Quartermaster), in Hanabusa (1770, vol. 2). 245
94 (reference). Hanabusa Itchō, Makanai Tōjin. 245
95 Katsushika Hokusai, Sannō matsuri, in Hokusai, Tōto shōkei ichiran (1800). 247
96 Kōjimachi’s “Korean Parade” in the Sannō Festival, depicted in Saitō Gesshin, Tōtō saijiki (1855). 247
97 Ambassador Kim Igyo, depicted in Bunka-do Chōsen tsūshinshi jinbutsu zukan, (1811). 248
98 Hǒ Sŭng, depicted in Bunka-do Chōsen tsūshinshi jinbutsu zukan, (1811). 248
99 Katsushika Hokusai, frontispiece for Takizawa Bakin, Chinsetsu yumiharizuki (Takizawa 1807–1811, v. 1). 249
100 Illustration from Yūsōan, Inu hyakunin isshu (1669), depicting foreigners riding past Mt. Fuji. 254
101 “Lord Teishin” and his poem, “Ogura-yama,” in the first print edition of Ise Stories, 1608). 254
102 Map of Korea showing Katō Kiyomasa’s battle route. 263
103 Map of Mt. Fuji’s radius of visibility. 267
104 “Map of the Main Country of Japan” (detail, Eastern Japan), in Sin Sukchu, Haedong chegukki (Sin 1521). 270
105 “Map of the Country of Japan,” in Matsushita Kenrin, Ishō Nihon-den (1693). 271
106–108 Katsushika Hokusai’s “Eight Views of the Ryukyus” series (L–R): “Clear Atumn Weather at Chōkō” (Chōkō shūsei); “Sacred Spring at Castle Mountain” (Jōgaku reisen); “Banana Garden at Chūtō” (Chūtō shōen). (Edo, 1832) 275
109 “Mt. Fuji, Seikenji, Miho-no-Matsubara,” attributed to Sesshū Tōyō. Courtesy Eisei Bunko, Tokyo. 276
110 Katsushika Hokusai, “Sesshū paints Fuji [while] in China,” (Katsushika, 1814–1878, 10: 18b). 278
111 “The Port of Mingzhou,” in Kawamura Minsetsu (1767). 279
112 Kanō Norinobu (1692–1731) clearly anticipates the composition of Kawamura Minsetsu’s depiction of Sesshū gazing of Mt. Fuji from the mouth of the harbor at Mingzhou. (Shin Kisu Collection, Osaka Rekishi Hakubutsukan). 280
113 “Matsumae Screen,” presents a birds-eye view of Matsumae, (Matsumae-chō Kyōdo Shiryōkan). 281
114 “Map of the World and its Peoples” situates Mt. Fuji at the center. Courtesy Ōshima Akihide. 282
115 Panoramic view of Mt. Fuji, Seikenji and Miho-no-Matsubara, centered on the Tōkaidō post station of Okitsu, ca. 1682. Courtesy Amagasaki Kyōiku Iinkai. 283
116 Hanabusa Itchō, untitled hashira-e, ca. 1711–1719, depicting a mounted Korean flag-bearer transfixed by Mt. Fuji, (private collection). 283
117 Suzuki Harunobu, untitled woodblock print, ca. 1764, (photograph courtesy of Roger Keyes). 286
118 Korean embassy marching past Mt. Fuji, Illustration in a guidebook published to take advantage of popular interest in the Korean mission of 1748 (Chōsenjin dai-gyōretsu ki, 1748). Courtesy Kyoto University Library. 286
119 Hanegawa Tōei, “Koreans in Perspective,” ca. 1748. (Chōsenjin ukie, benizuri-e yoko-ōōban print. Courtesy Tokyo National Museum. 291
120 Katsushika Hokusai, “Raichō no Fuji”. (Katsushika Hokusai, Fugaku hyakkei, 3 vols., Edo, 1834; vol. 3, private collection). 294
121 A helmeted, mounted Katō Kiyomasa gazes at Mt. Fuji from the Orankai coast. Terasawa Masatsugu, Tales of Martial Valor and Great Success, Illustrated. (Ehon buyū taikō-ki, Kyoto: Hishiya Jihei, 1790; National Diet Library). 299
122 Akizato Ritō reworks Terawasa’s rendering of Kiyomasa’s sighting of Mt. Fuji. Akizato (1800). 300
123 Okada Gyokuzan’s rendition of Kiyomasa sighting Mt. Fuji from the Korean coast. Takeuchi & Okada (1797–1802, pt. 6, vol. 2). 300
124 “Orankai no Fuji,” in Katsushika Hokusai, Fugaku hyakkei (Katsushika 1834, 3: 8b). 302
125 Watanabe Nobukazu, “Katō Kiyomasa Gazes upon Mt. Fuji from Korea” (1893). Courtesy Hideyoshi & Kiyomasa Museum, Nagoya). 303
126 The severed heads of the five ambassadors from the Mongol emperor. (Ishikawa Masumi, Mōzokki [Ishikawa 1858], Tokyo University Library). 307
127 An illustration from Kanagaki Robun, Kokkei Fuji-mōde (1860). 308
128 Maruyama Ōzui, “Mt.Fuji,” with two colophons by Ōta Nanpo. Courtesy of the Minneapolis Institute of Art. 309
129 The tengu deity of Mt. Fuji (atop the rain cloud) calls up a storm to blow Rutherford Alcock and his party down off the slopes of Mt. Fuji. (Unsigned monochrome printed broadside (kawaraban), 1860, in Kinoshita & Yoshimi, 1999, 89). 311
130 Alcock and his party grovel before the “god of the mountain,” (Unsigned monochrome printed broadside (kawaraban), 1860, in Nishimaki, 1978, 2: 82). 311
131 Utagawa Yoshimori, “Matchless: Famed Mountain of Japan” (1860). Courtesy of the Kanagawa Prefectural Museum. 313
132 Setsuzan Ganshō, Ema (votive plaque), 1830. Courtesy Fuji Jinja, Ryūgasaki City. 317
133 Yashima Gakutei, untitled surimono. Courtesy Chazen Museum of Art. 318
134 Ukita Ikkei & Ukita Shōan, “Kiyomasa Gazes on Mt. Fuji from Orankai” (n.d.). Courtesy Hideyoshi & Kiyomasa Museum, Nagoya. 319
135 Utagawa Kuniyoshi, “Fujiwara Masakiyo,” in the series Heroes of the Taiheki (1847). 320
136 Utagawa Kuniyoshi, “Watōnai,” from the series Wakan jun Genji (1853). 321
137 Utagawa Yoshitora, “In the Ten’an era [857-859] Satō Kazue-no-suke Masakiyo Sees Mt. Fuji from the Coast of Parhae on the Day He Attacked Parhae.” (1860, collection of the author). 322
138 “Map of Korea,” from Edo dai-setsuyō kaidai-kura (Takai, Nakamura & Kikukawa 1863). 323
139 Front cover of Utagawa Yoshitora, Kōmyō kassen-ki Chōsen seibatsu (Tokyo, 1869). Courtesy Marega Collection, Università Pontificia Salesiana, Rome. 325
140–141 Illustration from Torii Kiyonaga, Meidai higashiyama-dono (1778). Courtesy National Diet Library. 333
142 Torii Kiyonobu I, “The Actor Ōtani Hiroji I as the Candy-seller Kokusen’ya,” benizuri-e, ca. 1717 (Boston Museum of Fine Art). 334
143 Two boys dressed as Karako (“Chinese boys”) offer the Karako odori to the deity of the Ekijin Shrine. Photo courtesy Shin Kisu. 335
144 Mizuno Toshikata, “Nihon ryakushi zukai jinnō jūgodai” (1895). Courtesy Tōyō Keizai Daigaku Library. 345