The entire fascinating story of Japan told in one exciting manga-style volume!A History of Japan in Manga tells the action-packed saga of Japan from its misty origins up to the present day. Epic battles, noble Samurai and duplicitous leaders are all portrayed in modern manga fashion! The lively stories in this book include:The Dawn of Japan: The Birth of Buddhism and the transition from hunters--gatherers to agricultural societies of ancient timesThe Genpei Wars: Davage battles between the Taira and Minamoto clans that led to the powerful warlord Minamoto no Yoritomo naming himself Japan's first ShogunThe Onin Wars: A decade-long struggle for domination of Japan in which thousands of Samurai fought and tragically lost their livesThe 47 Ronin: Loyal Samurai who vowed to avenge the death of their master, choosing honor over surrender and being forced to commit mass ritual suicide as a resultThe Satsuma Rebellion: A dramatic last stand by Samurai loyal to the Shogun who revolted against the new Meiji government and its plans to finally modernize JapanAnd many more!Dozens of indelible portraits, manga stories, maps and info-sidebars bring the full sweep of Japanese history to life in one easy-to-read book!; Pagination: 320 pages over 1000 b&w manga and detailed maps; Date of Publication: 07/03/2023

The entire fascinating story of Japan told in one exciting manga-style volume!A History of Japan in Manga tells the action-packed saga of Japan from its misty origins up to the present day. Epic battles, noble Samurai and duplicitous leaders are all portrayed in modern manga fashion! The lively stories in this book include:The Dawn of Japan: The Birth of Buddhism and the transition from hunters-gatherers to agricultural societies of ancient timesThe Genpei Wars: Davage battles between the Taira and Minamoto clans that led to the powerful warlord Minamoto no Yoritomo naming himself Japan's first ShogunThe Onin Wars: A decade-long struggle for domination of Japan in which thousands of Samurai fought and tragically lost their livesThe 47 Ronin: Loyal Samurai who vowed to avenge the death of their master, choosing honor over surrender and being forced to commit mass ritual suicide as a resultThe Satsuma Rebellion: A dramatic last stand by Samurai loyal to the Shogun who revolted against the new Meiji government and its plans to finally modernize JapanAnd many more!Dozens of indelible portraits, manga stories, maps and info-sidebars bring the full sweep of Japanese history to life in one easy-to-read book!.

This book takes the perspective of Mito Domain, one of three branches of Japan’s ruling Tokugawa shogunate, to explore the dynamic history of political reform in early modern Japan. This book, while grounded in Mito, examines the role that this domain and its people played in the birth of the modern Japanese nation-state in the nineteenth century.

This reproduction is a new, individually printed and proofed, superior quality, giclee* process, fine art print. It is printed on 100% cotton rag acid-free, heavyweight fine art paper with a luxurious textured watercolor paper finish and archival pigment inks to ensure permanence. Reproduced at Hiroshige's actual dimensions of 15 x 10 inches, it is printed on larger 18 x 13 inch paper to allow ample room for matting and framing. Hiroshige's One Hundred Famous Views of Edo, 1856-1858, was composed of 118 splendid woodblock landscape and genre scenes of mid-nineteenth-century Tokyo. It remains one of the greatest achievements of Japanese art and is a celebration of the style and world of Japan's finest cultural flowering. Zōjōji Pagoda and Akabane, 1857 The Zōjōji Pagoda was part of the mausoleum of the second shogun, Hidetada. It lay at the southern edge of a hill above the tomb itself. Hiroshige chooses to show only the pagoda's top two stories, painted a splendid red. The dense mass of evergreens pressing close around the building was believed to protect against fire. The six vertical banners rising behind the stylized cloud in the center signify the famous Suitengō Shrine, known for assuring safe births. The area became crowded on the fifth day of each month, when the shrine was opened to the public. The view is to the southwest with Akabane Bridge spanning the Furukawa River in the center. Like Venice and Florence in Renaissance Italy, Edo (modern day Tokyo), was the cultural center of Japan. Visually, Hiroshige’s woodcuts may be taken as a travelogue of mid-ninetieth century Japan that predates the invention of color photography. In essence, that is what the series presents – a color saturated panorama of daily life in Tokyo and its outlying districts with its firework displays, geishas on parade, teahouses and the city’s fashionable commercial and scenic districts. The woodcuts were all of uniform size, approximately 15 x 10 inches (oban tateye format). Hiroshige’s signature – Hiroshige-ga, appears is the vertical cartouche on red background in the lower left hand part of each print. The vertical cartouche, also on red background, in the upper right section is the series title (Meiso Edo hyakkei) and the smaller square in multiple colors bears the name of the individual print. The publisher often left his seal in a vertical cartouche in the lower left hand margin. The censor’s seals are those in the upper right margin. Ando Hiroshige (1797-1858) was the foremost woodblock artist of his day specializing in scenes of birds, fish, flowers and landscapes. His bird and flower prints defined the kacho-e school of landscape scenes within the larger ukiyo-e genre of portraits of courtesans, actors and scenes from everyday life. During a forty year career Hiroshige produced thousands of kacho-e designs. Many also include short descriptive poems (haiku) by collaborating popular poets. Reproduction - Heavyweight Fine Art Paper, watercolor texture surface & archival pigment inks. Original Medium: Woodcut with colored inks on paper Image Size - actual, 15 x 10 inches printed on larger 18 x 13 inch paper to allow ample borders for matting and framing. NOTE: The Da Vinci Art Prints watermark on this image is for computer viewing only and of course NOT on the actual print. PayPal only please. Prints ship in a heavy protective cardboard tube. **the giclee process produces a high quality, fine art reproduction from a high-resolution digital file of an image. The file is then printed with a high-resolution photo generation printer on a fine art paper. Most artists and working photographers today use the giclee process to produce reproductions of their original artwork and photographs. As with any original art or fine art reproduction, it is recommended that prints are framed and displayed under glass to prevent color fade or shift over the years.

A two-fold tea-ceremony or furosaki Japanese screen from the late 17th or early 18th century by Kano Tanshin Morimasa. Ink on gold leaf. China originally introduced horse paintings to Japan; the works typically focused on capturing the essence of horses in their various environments and often involved integrating human figures into the images. The Kano school was closely aligned with the Samurai class. Often, their paintings of horses abandoned the scenes and customs of ordinary life no longer were the horses strictly classifiable as war horses, pack horses, or draught horses; the horses were no longer tied to the customs of daily life. The Samurai, who lived in a closed and rigid hierarchical society established by the Shogunate, favoured the energy and freedom horses symbolise; Kano school artists commonly depicted the equine creatures as they are here, in unfettered and carefree family groups. Kano Tanshin Morimasa (1653-1718) was the son of Kano Tanyu (1602-1674) by his second wife. Tanyu had originally planned for Kano Toun Masanobu to succeed him as head of his Kajibashi Kano branch; the late birth of his son, however, altered that plan. Upon his father’s death in 1674, Tanshin became head of the Kajibashi. As is evidenced by this work, he painted in the same manner as his father, the man by whom he was trained. Tanshin received the honorary Buddhist title of Hogan (eye of the law) in 1715. This tea-ceremony screen predates that.

Horses Kano Tanshin Morimasa (1653-1718) Two-panel tea-ceremony Japanese screen or furosaki Ink on gold leaf, late 17th-early 18th century Measures: H 55 cm x W 182 cm The Kano school was closely aligned with the warrior class in Japan. The samurai, who lived in a closed and rigid hierarchical society established by the Shogunate, were drawn to the energy and freedom horses symbolize; Kano school artists commonly depicted the equine creatures as they are here, in unfettered and carefree family groups. China originally introduced horse paintings to Japan; the works typically focused on capturing the essence of horses in their various environments and often involved integrating human figures into the images. Kano Tanshin Morimasa (1653-1718) was the son of Kano Tanyu (1602-1674) by his second wife. Tanyu had originally planned for Kano Toun Masanobu to succeed him as head of his Kajibashi Kano branch; the late birth of his son, however, altered that plan. Upon his father’s death in 1674, Tanshin became head of the Kajibashi. He painted in the manner of his father; his work characterized by a light, carefree style, with an exquisite sense of color. Tanshin received the honorary Buddhist title of Hogan (eye of the law) in 1715. This tea-ceremony screen predates that.

In an age when few people ventured beyond their place of birth, André Palmeiro left Portugal on a journey to the far side of the world. Bearing the title \"Father Visitor,\" he was entrusted with the daunting task of inspecting Jesuit missions spanning from Mozambique to Japan. A global history in the guise of a biography, The Visitor tells the story of a theologian whose extraordinary travels bore witness to the fruitful contact--and violent collision--of East and West in the early modern era. In India, Palmeiro was thrust into a controversy over the missionary tactics of Roberto Nobili, who insisted on dressing the part of an indigenous ascetic. Palmeiro walked across Southern India to inspect Nobili's mission, recording fascinating observations along the way. As the highest-ranking Jesuit in India, he also coordinated missions to the Mughal Emperors and the Ethiopian Christians, as well as the first European explorations of the East African interior and the highlands of Tibet. Orders from Rome sent Palmeiro farther afield in 1626, to Macau, where he oversaw Jesuit affairs in East Asia. He played a crucial role in creating missions in Vietnam and seized the opportunity to visit the Chinese mission, trekking thousands of miles to Beijing as one of China's first Western tourists. When the Tokugawa Shogunate brutally cracked down on Christians in Japan--where neither he nor any Westerner had power to intervene--Palmeiro died from anxiety over the possibility that the last Jesuits still alive would apostatize under torture.

This reproduction is a new, individually printed and proofed, superior quality, giclee* process, fine art print. It is printed on 100% cotton rag acid-free, heavyweight fine art paper with a luxurious textured watercolor paper finish and archival pigment inks to ensure permanence. Reproduced at Hiroshige's actual dimensions of 15 x 10 inches, it is printed on larger 18 x 13 inch paper to allow ample room for matting and framing. Hiroshige's One Hundred Famous Views of Edo, 1856-1858, was composed of 118 splendid woodblock landscape and genre scenes of mid-nineteenth-century Tokyo. It remains one of the greatest achievements of Japanese art and is a celebration of the style and world of Japan's finest cultural flowering. Zōjōji Pagoda and Akabane, 1857 The Zōjōji Pagoda was part of the mausoleum of the second shogun, Hidetada. It lay at the southern edge of a hill above the tomb itself. Hiroshige chooses to show only the pagoda's top two stories, painted a splendid red. The dense mass of evergreens pressing close around the building was believed to protect against fire. The six vertical banners rising behind the stylized cloud in the center signify the famous Suitengō Shrine, known for assuring safe births. The area became crowded on the fifth day of each month, when the shrine was opened to the public. The view is to the southwest with Akabane Bridge spanning the Furukawa River in the center. Like Venice and Florence in Renaissance Italy, Edo (modern day Tokyo), was the cultural center of Japan. Visually, Hiroshige’s woodcuts may be taken as a travelogue of mid-ninetieth century Japan that predates the invention of color photography. In essence, that is what the series presents – a color saturated panorama of daily life in Tokyo and its outlying districts with its firework displays, geishas on parade, teahouses and the city’s fashionable commercial and scenic districts. The woodcuts were all of uniform size, approximately 15 x 10 inches (oban tateye format). Hiroshige’s signature – Hiroshige-ga, appears is the vertical cartouche on red background in the lower left hand part of each print. The vertical cartouche, also on red background, in the upper right section is the series title (Meiso Edo hyakkei) and the smaller square in multiple colors bears the name of the individual print. The publisher often left his seal in a vertical cartouche in the lower left hand margin. The censor’s seals are those in the upper right margin. Ando Hiroshige (1797-1858) was the foremost woodblock artist of his day specializing in scenes of birds, fish, flowers and landscapes. His bird and flower prints defined the kacho-e school of landscape scenes within the larger ukiyo-e genre of portraits of courtesans, actors and scenes from everyday life. During a forty year career Hiroshige produced thousands of kacho-e designs. Many also include short descriptive poems (haiku) by collaborating popular poets. Reproduction - Heavyweight Fine Art Paper, watercolor texture surface & archival pigment inks. Original Medium: Woodcut with colored inks on paper Image Size - actual, 15 x 10 inches printed on larger 18 x 13 inch paper to allow ample borders for matting and framing. NOTE: The Da Vinci Art Prints watermark on this image is for computer viewing only and of course NOT on the actual print. PayPal only please. Prints ship in a heavy protective cardboard tube. **the giclee process produces a high quality, fine art reproduction from a high-resolution digital file of an image. The file is then printed with a high-resolution photo generation printer on a fine art paper. Most artists and working photographers today use the giclee process to produce reproductions of their original artwork and photographs. As with any original art or fine art reproduction, it is recommended that prints are framed and displayed under glass to prevent color fade or shift over the years.

The Devil is in the Details-of HistoryThe young German physician Philipp Franz von Siebold sails to Japan in 1823. As an accomplished naturalist, just like his great model Alexander von Humboldt, he explores the reclusive island empire. His successes as a surgeon, healer and bridge builder between the cultures are unheard of. He even finds the love of his life. Yet, his ambitious scientific work is instrumental to a ghoulish plan that will change the course of history. Unknowingly, the young explorer, already dubbed the 'Humboldt of the East', has entered the service of the Devil. The Discovery of the East Pole is a tableau of the colonial world, the rise of science and the birth of modern Japan in the 19th century. It's the epic of a natural scientist like Measuring the World, philosophical like Eco's The Name of the Rose, enthralling like Clavell's Shogun and a metaphysical novel in the tradition of Goethe's Faust . With one important distinction. It's a true story. History Revised through LiteratureThe Nippon Trilogy The Discovery of the East Pole with its three parts Shiboruto, Secret Maps and The Road to War is based on a large set of true stories and makes use of as little fiction as possible. In fact, some of them are even more true than the history textbooks that need to be revised. The assumed 'opening of Japan' by the United States, for example, will be told for the first time as it has really happened. Thus, the genre of the Nippon Trilogy is True Historical Fiction. Great Reading ComfortEach volume of the Nippon Trilogy is provided with an extensive glossary, a register of characters with short bios, a chronology, maps and a table with historical units of measurement and currency. In the e-book versions, all scientific and Japanese terms and the names of historical persons in the text are hyperlinked to the places of their respective explanations. An Expert's Opinion\"Congratulations on the successful Discovery of the East Pole! With this historical 'true fiction' novel, you have established a new literary genre that follows the motto: 'Only precision is really entertaining' (Goethe). And indeed, your book is not only the result of stupendous research on your tragic hero. It is also a Nippon Trilogy that urges our Eurocentric instructional society to transform itself into a learning society in Japanese matters and a culture whose literary 'opening' is now within reach with your book. I wish you many readers!\" Manfred Osten is a German writer, diplomat, expert on Japan and former Secretary General of the Alexander von Humboldt Foundation Reviews\"The widely travelled author, who studied political science and philosophy at Waseda University in Tokyo and trained as a Japan expert [...], draws a credible picture of Siebold's living conditions and the era on the basis of his broad knowledge of Japanese culture and extensive research. This, and the quality of its elevated style, makes the trilogy stand out from the mass of historical novels.\" Würzburger Main-Post \"For all those who face this work with an unbiased spirit and heart, there is a wealth of knowledge that I have never before found so lovingly collected and nurtured in any book, so combined, about the history of Japan and the forced opening to the rest of the world.\" Miki101, Amazon Germany, Top 500 Reviewer \"It pays to hold on! Admittedly, the beginning was a bit difficult for me, especially since the deeper meaning of the entrance via mythology did not immediately open up to me. In the course of the novel one finally comes to the conclusion that Siebold's work has left significant and long-lasting traces beyond the national borders of Japan. For my part, I have rediscovered the subject of Siebold for myself.\" Veronika Nagata from Japan Access