The Premise of Fidelity: Science, Visuality, and Representing the Real in Nineteenth-Century Japan
This book is an exploration of the process by which the Shohyaku-sha shaped the concept of shashin. As such, it disrupts the dominant narratives of photography, art, and science in Japan, providing a prehistory of Japanese photography that requires the accepted history of the discipline to be rewritten.
Knowledge of materia medica. Another element that differentiates the activities of the Shōhyaku-sha from the Renaissance cabinet of curiosity is the notion of “containment.” The Shōhyaku-sha’s lack of overt interest in putting themselves in the ratifying position (of “authority” of all knowledge associated with materia medica, or building a collection that would demonstrate the group’s ability to address all items related to materia medica) indicates rather that their intention emerged from acute.
Subsequently, or see at a distance, if things and words, distinct from one another, did not, from the very first, communicate in a representation. Asserting the importance of historicity and structural contingency in formulating an episteme, Foucault points to a space of possibility for natural history between naming and seeing. In this newly available space, things and words exist as and within representation. The names of plants represented in Roman letters and the illustrations that.
Between the work of scholars in Edo and in Owari. Yōan aims to expound the truth (shinri) of the taxonomic theory in his book, much like, he imagines, Buddhist sutra. His focus on apprehending an abstract conceptual framework for classifying living things accounts for his disinterest in Linnaean names, since he is unconcerned with bringing the binominal taxonomy into practice. Yōan employs the traditional method of rhythmically punctuating his sentences to facilitate memorization and recitation,.
Not subsumed within the aesthetic discourse promoted by Kōkan. Rather, the concept proved important as a response within a specific regional and intellectual environment that fostered the collaboration of Bokusen, Hokusai, and Shūen with the Shōhyaku-sha. Whereas Kōkan aimed to absorb and champion Western pictorial techniques, which included perspective pictures and etchings, by heralding their ability to foreground the visible aspects of the pictorial subject, the Shōhyaku-sha’s concern with.
Pictorial method, pictures begin with the concept of butsu’i and end with hitsu’i. Hitsu’i interferes with objects, while butsu’i assists hitsu’i. Hitsu’i emerges in tracing the outlines, while butsu’i effuses from shades of colors when one assembles and uses these techniques of representation from the West. When illuminated by the light of the moon and the sun, various incomprehensible and uncertain elements of the world come to be shaped and [illegible] via expressions of shading, surface.