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三景園
No full textTea Pavilion Restaurant (modern commercial restaurant) and entrance to garden; A Japanese garden which is an expression of friendship between San Diego and its sister city Yokohama. The design is guided by the original principles of the Japanese garden while incorporating elements of the regional landscape and climate. The first Japanese garden and "Teahouse" was created in 1914 for the Panama-California Exposition. This was dismantled in 1941. The present garden was begun in 1955. Various landscape architects have worked on the garden; the first master plan by Fong & LaRocca Associates with consultant Takeo Uesugi was approved in 1979. In 1985, landscape architect Takeshi Ken Nakajima named the garden San-Kei-En, which means garden of three types of scenery; pastoral, mountain, and lake. The last improvement phase was completed in 1999. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 8/15/2015
Six Pieces of Armour Underwear Handed Down by The Uesugi Family (Part II): Report on Costume Used by Uesugi Kenshin and Uesugi Kagekatsu (Part VI)
No full textA general discussion on the six pieces of war costume handed down by the UESUGI Family and now owned by Uesugi Shrine, and a detailed description of one of them, were published in Part I in No. 291 of this journal. In this number, the author discusses in detail the other five pieces and also refers to some materials for comparison from slightly later periods which are preserved in other places than the Uesugi Shrine.
The first one of the following six specimens owned by the Uesugi Shrine was described in Part I and the other five are treated in this number.
1) Armour underwear of blue ramie with stencil-patterned design used by UESUGI, Kagekatsu (1555-1623).
2) Armour underwear of red crape used by UESUGI, Kagekatsu (Pl. I, fig. 6, 7). This is close in form to the one treated in Part I which is for summer wear. But this is for winter wear and is padded with floss-silk. The outside cloth is red crape of silk and is the oldest extant specimen of crape in Japan. The lining cloth is red ramie.
3) Armour underwear of plain-weave white silk used by UESUGI, Kanenobu (1530–1578) (fig. 8, 9). It is a piece of underwear padded with floss-silk. The white silk is used both for the outside and the lining.
4) Shirt of chiain-mail used by UESUGI, Kanenobu (Pl. II, fig. 10, 11). It is chainmail lined with white ramie and was used as armour underwear. It weighs 3. 9 kg.
5) Cap used by UESUGI, Kanenobu (Pls. III, IV-a, fig. 12). It is made of white silk twill with woven designs of pine, bamboo and plum. The inside circumference measures as long as 70 cm and this fact suggests that this cap was used over the helmet or something similar.
6) Cap of chain-mail used by UESUGI, Kanenobu (Pl. IV-b, fig. 13). It is a kind of underwear for protection and is accompanied
by an inner cap. The chain is applied over ramie cloth. Floss-silk is laid over the chain and it is covered by black satin. The black satin is rather badly broken, as may be seen in the plate. The inner cap is made of black satin, the circumference of which is 58 cm. The total weight is 760 g.
The following specimens are introduced and discussed for the purpose of comparison.
a) Armour underwear of crape with multicolour stencil-patterned design, used by TOKUGAWA, Ieyasu (1542–1616) (Pl. V, fig. 14,15). It is owned by the Tokugawa Reimei. kai Foundation. Judging from its form and other features it seems to be of Ieyasu's late years.
b) Armour underwear hemmed with embroidery used by TOKUGAWA, Ieyasu, which is in the Tokyo National Museum (fig. 18).
c) Armour underwear of satin used by ODA, Nobunaga (1534–1582) kept in Nagoya Castle (fig. 16).
d) Armour underwear of satin used by ODA, Nobunaga, kept in Nagoya Castle (fig. 17).journal articl
Six Pieces of Armour Underwear Handed Down by The Uesugi Family (Part I): Report on Costume Used by Uesugi Kenshin and Uesugi Kagekatsu (Part VI)
No full textVery little is known about actual examples of war costumes in the Muromachi and Momoyama Periods. A fortunate recovery in relation to this problem was that of a group of costumes in 1955 at Uesugi Shrine in Yonezawa. The group included eight jimbaori (formal coats worn on the battlefield), four shirts worn under the armour and two caps worn under the helmet. One of the shirts and one of the caps are made of ramie cloth and are covered with chain-mail. All the pieces are well preserved, offering valuable material for the study of war costumes of the period.
The author has already made a report on the eight jimbaori in No. 259 of this journal and in the present number discusses the other six pieces. Two of the shirts, namely the blue ramie shirt with stencil-patterned design (Pls. I, II and IIIa) and the red crape shirt (Pl. IIIb; fig. 1), according to tradition, were used by Kagekatsu UESUGI (1555-1623), and the others are said to have been used by Kenshin UESUGI (1530–1578). The former two are a boy's size and therefore, if the tradition is right, they date back to the period from about 1567 to about 1572.journal articl
Reconstructing the Life of Uesugi Kiyoko
No full textUesugi Kiyoko (1270–1342) was the mother of the founder of the Ashikaga shogunate, Takauji (1305–1358), and his brother and chief administrator, Tadayoshi (1306–1352). Although Kiyoko lived within the vortex of a new political order that was being formed by her politically important sons in the early decades of the fourteenth century, little is known about her. Hers is a story not easily told: because information about her is so fragmentary, no monograph or even a single article in English or Japanese has been published about her life. In this essay, I seek to reconstruct the life of Uesugi Kiyoko through an examination of written records by contemporary diarists, personal letters, and poetry written by Kiyoko herself, and a number of physical sites relating to her life. The result is a nuanced picture of an educated woman who wrote letters and poetry, wielded significant land stipends in her own interests, and helped her two sons work together for political gain
Twelve Kosode Purporting to Have Been Used by Uesugi Kenshin: The Second Report on Costumes Said to Have Been Used by Uesugi Kenshin and Uesugi Kagekatsu
No full textIn this paper the author studies nine kosode (small sleeve-banded kimono) said to have been used by UESUGI Kenshin and three kosode type examples of the ten dōbuku (coat worn over kosode) also said to have been used by UESUGI Kenshin (shown as (8), (9), (10) in Table 1, the
First Report; Vol. 216, the Bijutsu Kenkyu).
Kosode is an old type of kimono and is a typical Japanese costume. Its origin dates back to the Muromachi-Momoyama Period (sixteenth century) but few existing examples from those days are known, and especially is the case for those of daily use. Therefore, for the study of early kosode, we have used nuihaku (robe with embroidery and gold-leaf imprint)of noh drama because it is considered to be almost the same. But the recovery in 1955 of the costumes of the Uesugi Family which include the twelve kosode now in question, has provided us with important materials for their study.
Those kosode are very valuable in the historical study of costume and of textile art, since they, like the other costumes handed down by the Uesugi Family, are well preserved in their most original form and represent sound traditions and rare quarity in textiles.
The author gives an outline explanation in the second chapter, details of each kosode in the third chapter, and her conclusion in the fourth chapter.
The below listed are the twelve kosode with the names and numbers given by the writer for convenience :
(1) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, interchanging purple and white at the waist. Pl. III-a, fig. 1,2,3.
(2) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, interchanging dark brown and light brown at the (vertical) center. Pl. III-b, fig. 4,5.
(3) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, of brown ground. fig. 6, 7.
(4) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, of white ground. fig. 8, 9.
(5) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, of white ground. fig. 10.
(6) Silk kosode with bamboos-and-sparrows
medallion design in twill damask weave, of white ground. fig. 11.
(7) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, of white ground. fig. 12, 13.
(8) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, of white ground. fig. 14.
(9) Silk kosode with bamboos-and-sparrows medallion design in twill damask weave, of white ground. fig. 15, 16.
(10) Peacock blue pongee kosode with scarlet silk lining. Pl. IV-a, fig. 17.
(11) Scarlet nerinuki plain weave kosode with light-green-yellow lining. fig. 18.
(12) Golden-yellow nerinuki plain weave kosode with hand-painting. Pl. IV-b, V, fig. 19, 20, 21.
(1) horizontally tripartite in purple and white, the middle zone white. Cloth is twill damask weave silk. The woven bamboos-andsparrows medallion designs are the coat of arms of the Uesugi Family.
(2) kosode type dōbuku of twill damask silk weave whose half side is dark brown and the other half is light brown. It has woven bamboosand-sparrows medallion designs.
(3) brown twill damask weave silk kosode with woven bamboos-and-Sparrows medallion designs.
(4)-(9) white twill damask weave silk with the same kind of designs.
(10) kosode of blue pongee with lining of scarlet nerinuki plain weave peculiar to the Muromachi and Momoyama Periods.
(11) scarlet nerinuki weave kosode with lining of light-green-yellow nerinuki.
(12) golden-yellow nerinuki weave kosode with hand-painted designs.journal articl
Eight Jimbaori Used by Uesugi Kenshin: Report on Costume Used by Uesugi Kenshin and Uesugi Kagekatsu
No full textJimbaori is the robe worn over armour. It began to be used in the Warring States Period (1467-1568) when the tactics of war changed to a new type in which large troops quickly maneuvered for field battles and attack and defence of castles. In such a period, armour was modified to light and active one and Jimbaori was innovated for the use in bad weather.
The eight Jimbaori handed down by the Uesugi Family are said to have been used by UESUGI Kenshin (1530-1578), their ancestor and a noted war lord of the Warring States Period. This traditional attribution seems to be right, judging from the fact that the style and materials used are of this period as well as the other costumes with same attribution which were discussed in Parts 1 to 4 of this Report (The Bijutsu Kenkyu No. 216, 219, 228, 233, 242, 243, 244).
These eight are the oldest existing examples of jimbaori being important works for the history of Japanese textile. They are completety in original condition except (8) which was repaired in 1964. They are generally well preserved.
Though they have practical materials and forms, at the same time, the cloths are given high quality and the designs are of supreme artistic character.
The eight jimbaori are as follows:
(1) Paper-cloth jimbaori made of waterproof paper coated with astringent juice of persimon and lined by thin silk wadding. Pl. Ⅲ a.
(2) Jimbaori of white twill silk attached with yak wool. Pl. Ⅲ b.
(3) Jimbaori of scarlet damask with cloud pattern. Pl Ⅱ a.
(4) Jimbaori of white damask with cloud pattern. fig. 8.
(5) Jimbaori of blue and scarlet wool. Pl. Ⅰ
(6) Jimbaori of scarlet wool. Pl. Ⅳ a.
(7) Jimbaori of scarlet wool. Pl. Ⅳ b.
(8) Jimbaori of white plane silk with painted design of cloud and dragon, lined by silk wadding. Pl. Ⅱ b.journal articl
The Uesugi: a study of a Japanese warrior family’s political and military involvement in eastern Japan, 1252-1455. Chapter 2: Military activities, 1336-1350
No full textThe essay is the second of a projected series of essays collectively entitled 'The Uesugi: a study of a Japanese warrior family’s political and military involvement in eastern Japan, 1252-1455'. It examines the Uesugi family’s military activities during the first fourteen years of the conflict that broke out between Emperor Godaigo and the Ashikaga in early 1336
RECURSOS HÍDRICOS E MONOCULTURA DE PALMA: A PROBLEMÁTICA SOCIOAMBIENTAL NO CASO DO RIO UESUGI, EM IGARAPÉ-AÇU (PARÁ/BRASIL)/WATER RESOURCES AND PALM MONOCULTURE: THE SOCIO-ENVIRONMENTAL PROBLEM IN THE CASE OF THE UESUGI RIVER, IN IGARAPÉ-AÇU (PARÁ/BRAZIL)
No full textEste artigo analisa os impactos provocados pela monocultura de palma, como primeiro vetor, e pelo avanço da urbanização, como vetor secundário, no Rio Uesugi, no município de Igarapé-Açu (PA). Trata-se de um dos principais afluentes do Rio Igarapé-Açu, sendo este, por sua vez, afluente do Rio Marapanim. O objetivo é avaliar as condições ambientais do Rio Uesugi, colaborando para uma compreensão detalhada da bacia hidrográfica do Rio Marapanim. A metodologia avalia dados secundários de instituições públicas de pesquisa e estatísticas e avaliação ambiental em trabalhos de campo.Palavras-chave: recursos hídricos; monocultura de palma; urbanização; impactos ambientais; Igarapé-Açú (PA)
Reconstructing the Life of Uesugi Kiyoko
No full textUesugi Kiyoko (1270–1342) was the mother of the founder of the Ashikaga shogunate, Takauji (1305–1358), and his brother and chief administrator, Tadayoshi (1306–1352). Although Kiyoko lived within the vortex of a new political order that was being formed by her politically important sons in the early decades of the fourteenth century, little is known about her. Hers is a story not easily told: because information about her is so fragmentary, no monograph or even a single article in English or Japanese has been published about her life. In this essay, I seek to reconstruct the life of Uesugi Kiyoko through an examination of written records by contemporary diarists, personal letters, and poetry written by Kiyoko herself, and a number of physical sites relating to her life. The result is a nuanced picture of an educated woman who wrote letters and poetry, wielded significant land stipends in her own interests, and helped her two sons work together for political gain.departmental bulletin pape
RECURSOS HÍDRICOS E MONOCULTURA DE PALMA: A PROBLEMÁTICA SOCIOAMBIENTAL NO CASO DO RIO UESUGI, EM IGARAPÉ-AÇU (PARÁ/BRASIL)/WATER RESOURCES AND PALM MONOCULTURE: THE SOCIO-ENVIRONMENTAL PROBLEM IN THE CASE OF THE UESUGI RIVER, IN IGARAPÉ-AÇU (PARÁ/BRAZIL)
No full textEste artigo analisa os impactos provocados pela monocultura de palma, como primeiro vetor, e pelo avanço da urbanização, como vetor secundário, no Rio Uesugi, no município de Igarapé-Açu (PA). Trata-se de um dos principais afluentes do Rio Igarapé-Açu, sendo este, por sua vez, afluente do Rio Marapanim. O objetivo é avaliar as condições ambientais do Rio Uesugi, colaborando para uma compreensão detalhada da bacia hidrográfica do Rio Marapanim. A metodologia avalia dados secundários de instituições públicas de pesquisa e estatísticas e avaliação ambiental em trabalhos de campo.Palavras-chave: recursos hídricos; monocultura de palma; urbanização; impactos ambientais; Igarapé-Açú (PA)
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