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Commercialization of the Edo Style in the Meiji and Taishō Periods : The Booms of Genroku Patterns and Edo Taste Created by Mitsukoshi Department Store
Get PDFapplication/pdf国民国家としての「日本」成立以降，今日に到るまで，さまざまな立場で共有する物語を形成する際に「参照」され，「発見」される「伝統」の多くは，「基層文化」としての原始・古代と，都市江戸を主な舞台とした「江戸」である。明治20年代から関東大震災前までの時期は，「江戸」が「発見」された嚆矢であり，時間差を生じながら，政治的位相と商品化の位相で進行した。前者は，欧化政策への反撥，国粋保存主義として明治20年代に表出してくるもので，「日本」固有の伝統の創造という日本型国民国家論の中で，「江戸」の国民国家への接合として，注目されてきた。しかし後者の商品化の位相についてはいまだ検討が不十分である。そこで本稿では，明治末より大正期において三越がすすめた「江戸」の商品化，具体的には，日露戦後の元禄模様，および大正期の生活・文化の位相での「江戸趣味」の流行をとりあげ，「江戸」の商品化のしくみと影響を検討した。明らかになったのは以下の点である。
①元禄模様，元禄ブームは三越が起こしたもので，これに関係したのが，茶話会と実物の展示という文人的世界を引き継いだ元禄会である。同会では対象を元禄期に限定して，さまざまな事象や，時代の評価をめぐる議論，そして模様の転用の是非が問われた。ただし，元禄会は旧幕臣戸川残花の私的なネットワークで成立したもので，三越が創出したわけではなかった。残花の白木屋顧問就任や，三越直営の流行会が機能したこともあって，残花との関係は疎遠になる。元禄会自体は，最後は文芸協会との聯合研究会で終焉する。また，元禄ブーム自体も凋落した。
②大正期の「江戸」の商品化に際しては，三越の諮問会である流行会からの発案で分科会たる江戸趣味研究会が誕生する。彼らは対象を天明期に絞り，資料編纂の上で研究をすすめ，「天明振」の提案を目指した。しかし，研究成果は生かされず，元禄を併存した形で時期・階層の無限定な江戸趣味の展覧会が行われる。そして，イメージとしての「江戸趣味」が江戸を生きたことの無い人々の中に定位することを助長した。「江戸」は商品化の中で，関東大震災を迎える前に，現実逃避の永井荷風の「江戸」ともまた異なった，漠然としたイメージになったのである。その後，「江戸趣味研究会」の研究の方向性は，国文学や，三田村鳶魚の江戸研究へと引き継がれていくことになった。Many of the “traditions” that have been “referred to” or “recognized” to form a national identity of members of different social groups since the establishment of Japan as a nation state up until now are based on the fundamental culture shaped in the primitive/ancient times and the culture developed in the City of Edo. An “Edo style” was first “recognized” during the period from the Meiji 20s (1887-1896) to the Great Kantō Earthquake of 1923. It was developed politically and commercially in different time spans. The political development of the style manifested itself in forms of resistance against Europeanization policies and desire for preservation of national characteristics in the Meiji 20s. These phenomena have been analyzed in the studies of Japanese-type nation-state building, which indicate that Edo culture created “Japanese traditions” and thus integrated the country as a nation state. On the other hand, the commercialization has not been fully analyzed. Therefore, this article examines the commercialization of the Edo style promoted by Mitsukoshi from the end of the Meiji period to the Taishō period (at the beginning of the 20th century). More specifically, this paper focuses on the great boom of Genroku patterns after the Russo-Japanese War of 1904-1905 and the Edo taste widely adopted in daily life and culture during the Taishō period (1912-1926) to analyze the mechanism and impact of the commercialization of the Edo style. The results of the analysis indicate the following two points.
i. The boom of Genroku patterns was created by Mitsukoshi with support from Genroku-kai, a society spun off from a literary circle to organize tea parties and exhibitions of Genroku culture. The society's discussions focused on matters relating to the Genroku years from 1688 to 1704, including various phenomena and criticisms of the era and the appropriateness of reinterpretation of Genroku patterns. Genroku-kai was founded, not by Mitsukoshi, but by Zanka Togawa, a former retainer of the Tokugawa Shogunate, by using his private network. Eventually, Zanka and Mitsukoshi were estranged, in part because he was appointed to Senior Advisor of Shirokiya and in part because the Ryūkō-kai, an advisory group of Mitsukoshi, functioned to fulfill its intended purpose. Genroku-kai ended up in merging with Bungei Kyōkai to become Rengō Kenkyū-kai, and the Genroku boom lost its momentum.
ii. The “Edo style” of the Taishō period was commercialized by Edo Shumi Kenkyū-kai established by Ryūkō-kai as its subcommittee to study Edo taste. They focused their theme on the Tenmei years from 1781 to 1789, compiling various data to create a “Tenmei style.” Their study results, however, were given little attention. When an exhibition of Edo taste was held, various Edo styles, including the Genroku style, were combined, irrespective of class or time period. This helped an image of “Edo taste” establish itself among people who had never experienced the Edo period. Thus, a vague but new image of Edo taste was shaped in the process of commercialization before the Great Kantō Earthquake. It was also different from the one depicted by Kafū Nagai as escapism. Later, the research of Edo Shumi Kenkyū-kai was taken over by the studies of Edo culture by Engyo Mitamura and other Japanese literature scholars.一部非公開情報ありdepartmental bulletin pape
[Research Notes] Introduction of a Pipe Organ into Nihonbashi Mitsukoshi Department Store
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Creation of Fashion Trends and Literature : Literary Columns in Imayou issued by Matsuya Gofukuten
Get PDFapplication/pdf明治30年代は，デパートメントストア化を進める呉服店が一様にその機関雑誌を刊行し始めた時期である。呉服店／百貨店の機関雑誌は，近代的な流行，すなわち流行(モード)を形成し，その商品を紹介するための媒体であっただけでなく，多くの読み物を提供する文芸誌的な性格も兼ね備えていた。三越や白木屋の機関雑誌にはそうした色彩が色濃く刻まれているが，明治39〔1906〕年に創刊されたとされる松屋呉服店の『今様』にもそのような要素を認めることができる。現在確認できる範囲の『今様』から推測すると，明治45〔1912〕年から大正2〔1913〕年の『今様』誌上にはしばしば文芸欄が設けられていたようだ。三越や白木屋の機関雑誌同様に，その記事の多くは江戸文化に造詣の深い者や，やや古い世代の文人たち，当時活躍していた知識人たちによって書かれていることが多い。また，その誌面からは，明治45〔1912〕年に新聞記者や広告代理業者を集めて「今様会」なる組織が結成されていたことも分かる。『今様』に掲載された文学作品は，三越や白木屋の機関雑誌に掲載された作品と同様に，結婚や家庭生活，夫婦生活を取り上げ，その中で消費という行動を描いているものが多いが，三越や白木屋のそれと大きな差異を孕む作品も見られる。泉鏡花「橋むかふ」，秋田雨雀「浴場の午後」「短き夢」，久保田万太郎「小てるとつる代」がそれだ。『今様』に掲載された他の作品に比して，これらはいずれもその物語の目的が不明瞭であると同時に，それに呼応した独特な表現性を発揮しているのである。とりわけ，呉服店／百貨店の機関雑誌に掲載された文学作品は古い世代の書き手によるものが多い中で，雨雀や万太郎といった新人たちが『今様』に作品を寄せていることは特筆に値しよう。そのような点にこそ『今様』という雑誌の意義があるのだ。In the Meiji 30s (1897–1906), kimono fabrics stores launched their booklets while developing into department stores. The booklets of kimono fabric / department stores served not only as a medium to introduce their products and create modern fashion trends but also as a literary magazine to offer many articles to read. This was particularly prominent in the booklets published by Mitsukoshi and Shirokiya. Another similar example was Imayou, issued by Matsuya Gofukuten for the first time in 1906. It is presumed, from the information available at present, that Imayou published from 1912 to 1913 often contained literary columns. These columns, as well as the booklets of Mitsukoshi and Shirokiya, were mainly written by scholars with a profound knowledge of Edo culture, literary authors of older generations, and intellectuals of the times. It is also found that a society called “Imayou-kai” was established in 1912, consisting of newspaper journalists and advertising agents. Imayou published many literary works similar to those in the booklets of Mitsukoshi and Shirokiya. They mainly depicted consumption activities in the daily lives of newly-weds, families, and couples. Imayou, however, also offered some unique works, such as Hashi Mukou (Over the Bridge) by Kyōka Izumi, Yokujō -no-Gogo (The Afternoon of the Bathhouse) and Mijikaki Yume (A Short Dream) by Ujaku Akita, and Koteru-to-Tsuruyo (Koteru and Tsuruyo) by Mantarō Kubota. Compared with other novels in Imayou, their objectives were unclear, which was reflected in their unique expressions. In addition, it is worth noting that newly emerging writers such as Ujaku and Mantarō contributed their works to Imayou since most literary works in the booklets of kimono fabric / department stores were written by authors of older generations. This makes Imayou an important magazine to analyze.departmental bulletin pape
A Study of Fountain Pens from the End of the Meiji Era to the Beginning of the Taishō Era in Japan : A Paradigm Shift in Their Marketing and Its Meaning
Get PDFapplication/pdf本稿は筆記環境の近代化と消費文化の様相を万年筆を通して考えようとするものである。ここではまず，明治の日本において万年筆が販売に際してどのような位置づけであったか，について，丸善における広告宣伝を確認し，特に夏目漱石が書いた「余と万年筆」（1912）をはじめとする万年筆関係の文章を分析した。さらに三越百貨店における万年筆の販売の様相を『三越』『三越タイムス』からうかがい，その特徴について考察した。その結果として，万年筆は筆記の近代化のシンボルとして，明治末から大正の初めにはかなり普及したが，特に三越では舶来品としての万年筆の販売に尽力し，さらに関連する商品も視野にいれ，商品そのものばかりではなく，関連する知識や使用法の啓蒙にも努めていたことが明らかになった。日本における万年筆の歴史，筆記文化の近代を考えるためには，ここで論じた以外にも国産化の過程をはじめとする複眼的な考究が必要であろう。This paper examines fountain pens to reveal the modernization of writing instruments and the changes of consumption culture. First, this paper analyzes the position of fountain pens in marketing strategies in Japan in the Meiji era (1868-1912) by examining the advertisements of Maruzen, Yo to Mannenhitsu (A Fountain Pen and I) by Sōseki Natsume (published in 1912), and other essays and writings regarding fountain pens. Moreover, this paper traces the marketing of fountain pens at Mitsukoshi Department Store and analyzes their characteristics by examining its booklets named Mitsukoshi and The Mitsukoshi Times. The results of the analysis indicate that fountain pens became very popular as a symbol of modernization in the writing universe from the end of the Meiji era to the beginning of the Taishō era (at the beginning of the 20th century). In particular, Mitsukoshi Department Store actively promoted the sale of imported fountain pens. In addition to sales promotions, it shared related knowledge, including how to use a fountain pen, to create cross-selling opportunities. In order to fully reveal the history of fountain pens and the modernization of writing instruments in Japan, further studies from different angles will be needed, including the research of the process of promoting the domestic production of fountain pens.departmental bulletin pape
Expressions of Disasters in the Publishing from the End of Edo to Meiji Period : Focusing on the Depictions of Scenes
Get PDFapplication/pdf安政2年10月2日に関東南部を襲った大地震は，江戸の下町を中心に甚大な被害を与えることとなった。この安政の江戸大地震に関しては，地震の被災状況を簡略な絵図と文字情報で周知した瓦版類，地震の被害や被災者の逸話などをまとめた冊子，地震の原因であると信じられていた地中の大鯰をテーマとした一種の戯画・諷刺画である鯰絵など，多様な出版物が売り出された。これらは災害史や民俗学の分野で注目を集めつつあるが，一部に精細な被災の光景を描く図を含みながらも，絵画史の領域での検討はかならずしも十分ではなかった。本稿では，安政江戸地震を機に盛んとなった出版物における災害表象を，主に風景表現の視点から検討する。
安政の大地震に関する一枚刷には，従来の瓦版などの簡素な印刷物とはことなる，高度な木版多色摺の技術を用いた臨場感豊かなものが散見され，たんに災害を速報するという以上の機能が期待されている。
それらに見られる被災の表現は名所図会の挿絵の視点や造本趣向を応用した『安政見聞誌』でひとつの頂点を見せ，その工夫は『安政見聞録』『安政風聞集』などにも踏襲されている。
安政の大地震における災害絵図出版の盛行により，点数こそ多くはないものの錦絵の出版にも災害図の一領域が生み出されることになり，明治期には地震や火山の噴火，大火災などをテーマとした作品が出版され，やがて関東大震災の絵葉書などにもつながってゆく。The great earthquake that hit the southern Kantō region on the second day of the tenth month of Ansei 2 (1855) caused immense damage, especially in the downtown of Edo. This Great Earthquake of the Ansei Era was featured in various publications, such as newssheets describing the impact of the disaster with simple illustrations and texts, booklets containing the accounts of the aftermath and the narratives of victims of the calamity, and cartoons and caricatures depicting the giant catfish which was allegedly living under the ground and to which the catastrophe was attributed (the drawings were known as “Namazu-e”). These historical sources are attracting increasing attention from folklorists and historians who study disasters. In contrast, despite including fine drawings and paintings of the scene of the catastrophe, these historical materials have not been fully analyzed by art historians. Therefore, this paper examines the depiction of disasters in prints, especially in landscapes, which were increasingly produced after the Great Earthquake of the Ansei Era.
The single-sheet prints illustrating the Great Earthquake of the Ansei Era seem to have assumed a more important role than merely reporting the disaster situation as many of them were produced using the sophisticated technique of multicolor woodblock printing to add a sense of reality that could not be provided in simple prints such as conventional newssheets.
The expression of disaster situations in these prints reached a peak with the publication of Ansei Kenmonshi (A Chronicle of Events of the Ansei Era), which used the same illustration perspectives and bookmaking techniques as meisho zue (illustrated topographies). These devices and techniques are also observed in contemporary publications such as Ansei Kenmonroku (A Record of Events of the Ansei Era) and Ansei Fūbunshū (A Collection of Reports of Events of the Ansei Era).
The popularity of disaster paintings after the Great Earthquake of the Ansei Era led to the emergence of the genre of disaster paintings in Nishiki-e prints, though the number of such paintings remained small. In the Meiji period, drawings and paintings of earthquakes, volcanic eruptions, conflagrations, and other catastrophes were published, which led to the production of picture postcards of the Great Kantō Earthquake.一部非公開情報ありdepartmental bulletin pape
The Development of Department Stores with Bride's Outfit : 1912-1926
Get PDFapplication/pdf百貨店が成立するまで，小売業は呉服や小間物といった業種ごとに店が形成されていた。したがって，婚礼のための商品を買い求める際，複数の専門店を買い回りながら多くの商品を短期間で購入しなければならなかった。しかし，百貨店が陳列販売を導入し，取扱商品を呉服だけでなく雑貨などにも拡大したことによって，ひとつの店舗内で業種の異なる複数の商品を購入できるワンストップショッピングが可能となった。ワンストップショッピングは，消費者の商品探索の費用を削減し，短期間で複数の商品を購入しなければならない婚礼需要にとっては非常に有効であった。しかし，百貨店の成長とともに店舗面積が広がり，取扱商品が拡大すればするほど，ワンストップショッピングは可能でありながら必要な商品を見つけるための時間が増加し，消費者は商品を効率的に探索することができなくなった。そこで，三越は，御婚礼調度係を設置し，消費者のワンストップショッピングが有効に機能するよう売場を再編成したのである。
大正時代，消費市場が飛躍的に拡大したことによって，百貨店は都市部だけでなく地方都市でも設立されるようになり，また，都市の百貨店が通信販売や出張販売を行うことによって，地方の消費者も百貨店を利用することができるようになった。その中で，婚礼は，百貨店の既存顧客だけでなく，地方客や都市部のこれまで百貨店を利用していなかった消費者にまでターゲットを広げる貴重な機会であった。そして，この婚礼支度という大きな需要に的確に応えた百貨店は，売上高を増加させていったのである。ところが，第一次世界大戦後の景気低迷によって，婚礼需要が抑制されると，自らの立場に相応しい支度をしたいけれども，ある一定の予算内で収めたいという中間所得者層の顧客に対して，三越は，婚礼支度の標準を示し，必要以上の出費を抑える工夫を施した。つまり，百貨店は，顧客層を下方に拡大しながら成長するマーケティング戦略を採用したのである。Department store was the first modern retailer in Japan. With the growth of modern cities and the industrial development, the department store had innovated retail management. One major innovation was the diversification of their merchandise. Japanese department stores diversified their merchandise after they incorporated the new display format into their converted sales areas. They aimed to expand the range of their merchandise to the extent that they could be ‘one-stop shops’. In this way department stores developed their sales techniques, and expanded the size of their individual stores' sales areas, their number of stores, and their target market to include a broader, middle economic class of consumer. This study shed light on the role of bride's outfit in expanded retail market between 1912 and 1926, through the investigation of cases of Mitsukoshi and Takashimaya, which were popular department stores at the time.
Mitsukoshi launched the list of bride's outfit which covered the goods for the newlywed couple. This suggested affordable bride's outfit that customer could buy their new life and which met the traditional bride's rule. There were three-tier price ranges which was 1000 yen, 2000 yen, 3500 yen, according to their budget. Also department stores showed the bride's outfit of celebrities at their point of sales and then attracted customers who wanted followed the celebrities. That was the marketing strategies of department stores and certainly contributed to increase their sales. The bride's outfit was the crucial role to expand the merchandise of department stores and to increase the sales of department stores.departmental bulletin pape
Place and Dates of Uozumi‒no‒Tomari : Reconsideration of the Buried Woods Excavated from the Eigashima Port, Akashi City
Get PDFapplication/pdf魚住泊は，天平年間に僧行基が播磨・摂津国に置いた五泊の一つである。その場所については，現魚住港説，江井ヶ島港説があるが，確かな証拠に乏しかった。このたび，1986年に江井ヶ島港に接する赤根川の河口から見つかった木椋の一部とみられるマツ材の¹⁴Ｃ年代を測定した。較正年代から伐採年代は10世紀と推定された。この年代は，914年（延喜14年）に三善清行が朝廷に魚住泊の修復を願い出た年代に対応する。魚住泊は，赤根川の河口に木材で基礎を造り石と土を用いて突堤を築き，船溜りをつくったのが起源で，そこが現在の江井ヶ島港に継承されているのであろう。Uozumi-no-Tomari is one of the five ports opened in Harima and Settsu Provinces in the Tenpyo¯ period (729‒749) by a monk named Gyo¯ki. It was believed to have been located in the present port of Uozumi or Eigashima though there was not ample evidence. In this study, radiocarbon dating was performed on the samples taken from the timbers excavated in 1986 at the mouth of the Akane River next to Eigashima Port. The calibrated radiocarbon dates indicated that they had been felled in the 10th century, which coincides with Engi 14 (914), when Miyoshi Kiyoyuki applied to the Imperial Court for the restoration of Uozumi-no-Tomari Port. It is considered that the origin of the port was a quay with wooden foundations and stone and soil banks at the mouth of the Akane River and that it has become the present port of Eigashima.departmental bulletin pape
The Dawn of Ancient Japanese Wooden Tablets
Get PDFapplication/pdf日本最古級の木簡の再検討、法隆寺金堂釈迦三尊像台座墨書銘の再釈読、百済木簡との比較研究などを通じて、日本列島における木簡使用の開始および展開について検討を加え、次のような結論を得た。
①日本列島における木簡使用は、王仁や王辰爾の伝承が示唆するように、百済を中心とする朝鮮半島から渡来した人々を通じて、早ければ五世紀代に、遅くとも六世紀後半には開始された。具体的な証拠物によっては裏づけられないが、『日本書紀』の記事やその後の状況などを総合すると、王都とその周辺部、屯倉を中心とした地方拠点で、限定的に使用されるにとどまったと推定される。当該期には、主として物や人の管理に関わって、音声では代用できない事項を中心に、記録木簡が先行する形で使用されと推測される。
②六四〇年代頃になると、ある程度木簡が普及するようになり、発掘調査によって木簡の存在を確かめることができるようになる。しかし、木簡が出土している場所は、基本的に飛鳥・難波といった王都とその周辺部にとどまり、依然として大きな広がりは認められない。出土点数も微々たるものにとどまっている。とはいえ、文書・記録・荷札・付札・習書・その他の木簡が存在しており、その後につながる木簡使用が認められる点は重要である。ただし、木簡の内容を具体的にみると、その後の木簡と比べて、典型的な書式にもとづいて記載されたものが少なく、やや特殊な場面で使用された木簡の比率が高い。これらのことは、日常的な行政の場で木簡を使用する機会が、のちの時代よりも少なかったことを意味している。
③天武朝（六七二－八六）になると、木簡の出土点数が爆発的に増大し、紀年銘木簡も天武四年（六七五）以後連続して現れるようになる。木簡が出土する遺跡も、王都とその周辺部に限られなくなり、地方への広がりも顕著に認められる。木簡の種類・内容に注目すると、荷札木簡が目立つようになり、前白木簡など上申の文書木簡も多く使用されている。また、記録木簡や習書木簡も頻用された。ただし、下達の文書木簡はあまり使われなかった。こうした木簡文化の飛躍的発展をもたらした背景として、日本律令国家の建設にともなう地方支配の進展・文書行政の展開があった。天武朝とそれに続く持統朝（六八七－九七）には、日本と中国（唐）との間に国交はなく、新羅との直接交渉を通じて、さらに渡来人の子孫や亡命百済人などの知識を総動員しながら、国づくりが進められた。そのため、当該期の木簡には、韓国木簡の影響が色濃い。
④大宝元年（七〇一）になると、約三〇年ぶりとなる遣唐使の任命（天候不順のため、派遣は翌年に延期）、大宝律令の制定・施行、独自年号（大宝）の使用などがおこなわれ、従来のような朝鮮半島を経由して中国の古い制度を学ぶのではなく、同時代の最新の中国制度を直接摂取しようとする志向が強くなっていく。これにともなって、木簡の表記・書式・書風などの面で、同時代の唐を模倣する動きが現れ、かつての朝鮮半島からの直接的な影響がやわらぐ。Through a reexamination of some of Japan's oldest wooden tablets, a reinterpretation of the writing in sumi ink on the supplementary material of the pedestal of the Shaka Triad enshrined in the Kon-do (Main Hall) of Horyu-ji Temple, and a comparison with Baekje wooden tablets, this study examines the start and development of use of wooden tablets in the Japanese Islands and draws the following conclusions.
(1) As suggested by the legends of Wani (Wang In) and Oh Jin-ni , wooden tablets were introduced to the Japanese Islands at earliest in the fifth century or at latest in the latter half of the sixth century by immigrants from Baekje and other parts of the Korean Peninsula. Though there is no supporting evidence, putting all accounts together, including the articles of Nihon Shoki ( the Chronicle of Japan) , it can be deduced that the use of wooden tablets was limited to the area in and around the imperial capital, miyake (imperial-controlled territories) , and regional hubs. It is considered that at that time, wooden tablets for record purposes were adopted ahead of others. They were used mainly for management of people and goods, in particular when verbal communication was unavailable.
(2) Around in the 640s, the use of wooden tablets spread to some degree. Their existence is corroborated by excavation research. Still, as a rule, the use was limited to the imperial capital and its surroundings, such as Asuka and Naniwa. Not only was the use geographically confined but also the number of wooden tablets excavated from that time is limited. Nevertheless, there is an important finding that various kinds of wooden tablets were used in their early stages, such as document, record, shipping label, tag, writing practice, and other wooden tablets. A close examination into the content of wooden tablets reveals that compared to later use, many wooden tablets were free from typical document styles and used in rather special circumstances. This means that there were fewer occasions to use wooden tablets in everyday administration at that time than later.
(3) The Tenmu period (672-686) saw an explosive increase in the use of wooden tablets. Especially, wooden tablets dated using imperial year names appeared consecutively after 675 (Tenmu 4) . Moreover, wooden tablets were excavated not only from sites in and around the imperial capital but also in other provinces. With regard to the type and content of wooden tablets, the use of shipping labels multiplied dramatically, and document wooden tablets to report to higher officials, such as zenpaku mokkan, were often used. In addition, wooden tablets were also frequently used for record and writing practice purposes. In contrast, document wooden tablets to give directions to subordinates were rarely produced. There was a historical background behind this remarkable development of the wooden tablet culture; with the establishment of the ritsuryo nation of Japan, the imperial government expanded its territory and document administration system to rural areas. From the Tenmu period to the Jito period (687-697) , when it had no diplomatic relationship with China (the Tang Dynasty) , Japan promoted nation building through direct interchanges with Silla and full use of knowledge of migrant descendants and Baekje exiles. Therefore, the wooden tablets produced at that time were significantly affected by Korean wooden tablets.
(4) In 701 (Taiho 1) , a mission to the Tang Dynasty was arranged for the first time in the past three decades (the dispatch was postponed one year due to bad weather) , Taiho Ritsuryo (the Code of Taiho) was formulated and put in effect, and the use of the original era name, Taiho, started. Japan was more inclined to learn the latest system at that time directly from China rather than learn old Chinese systems through the Korean Peninsula. At the same time, Japan started to imitate the description, document style, and calligraphy manner of wooden tablets of the Tang Dynasty, and the influence of the Korean Peninsula was weakening.一部非公開情報ありdepartmental bulletin pape