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organization history, reception, and press coverage started to emerge. Despite the diversity of methodological approaches, a large number of these studies share a conviction that it was in the Soviet Union in 1928 that Kabuki’s first tour abroad took place. Scholars tend to perceive this historical event as a part of a larger framework based on a cultural dialogue between the “East” and the “West”, often overlooking the theatrical nature of this dichotomy. In the late 1920s and early 1930s. the cultural and ideological construct of “East meets West” assisted Japan and the Soviet Union in creating favorable images of themselves on the international stage. The commitment of contemporary scholars to the very same discourse demonstrates the extent to which their conclusions are dominated by the ideology imprinted in primary sources documenting the Kabuki trip to the USSR. This paper reveals the mechanisms through which contemporary research revives the traditional East-West dichotomy and suggests the possible reasons behind the humanities’ desire to reestablish conventional boundaries between “cultures” and “nations”.

KEY WORDS: cultural dialogues, Kabuki theater, Soviet tour, Russo-Japanese cultural contacts, cinema, Sergei Eisenstein.

Russian miraculous creatures

in contemporary Japanese novels in the background of the Russian-Japanese relations

in the first Post-Cold War decade

Maria N. Malashevskaya

Department of social development of Asian and African countries, Saint Petersburg State University, Saint Petersburg.

E-mail: malashevskaya@gmail.com

Supported by JTI, project ID 37294899, project code: 2.54.1215.2014, ID in Pure system 37294899, “Linguistic evolution in the background of information and communication technology”

Novels by Japanese diplomat Kawato Akio under the pseudonym Kumano Akira “Beyond the Horizon — the Tale of Ilya” and famous prose writer Shimada Masahiko “Love on Iturupe” which narrate about Perestroika and post-Perestroika Russia at the end the 1980s –1990s has become an object of this studying. The imagination of authors is aimed to display historical, political, social and economic realities of the Soviet society, transmitting to a new Russian society at the period of great changes. Bifurcation dynamics in Russia attracted Kawato Akio’s interest for reinterpretation of “Doctor Zhivago” by Boris Pasternack — he depicts the way of revolution hero and member of new society in the person of his central character, the journalist Ilya Makoshin. Shimada Masahiko touched new Russian circumstances in the area of the Russian-Japanese borderland. Authors of the texts are rather similar in their views toward Russian conditions, while the demolition of a socialist system and determination of Cold War had happened. It is notable, that both texts are interwoven wonderful and magic inside new-coming Russia. Mermaids and witches, myth and tradition, ought to be seen as harmonious elements of Russian spiritual culture of the multinational country. Kawato Akio enters the Japanese reader into the world of Russian fairy tale and Slavic beliefs, and Shimada Masahiko

describes the world of the spirits inhabiting Iturup, narrates about myths by Ainu who are a link between Japan and Russia, as well as all other world. Usage of spiritual subject of this kind focused on mythology designs multidimensional picture of existing of Russian society, inviting Japanese reader to a dialogue.

KEY WORDS: Kawato Akio, Shimada Masahiko, wonderful, Japanese-Russian dialogue, perestroika, 1990s.

Features of Consideration

of Russian-Japanese Military Conflicts in the Journals “Mado” and “Muza” of the late 20th — early 21th centuries

Marina S. Boloshina

Russian Christian Academy for the Humanities, Saint Petersburg. E-mail: boloshina_marina@mail.ru

The paper analyzes publications in Japanese popular scientific journals “Mado” (“Window”) and “Muza” as the most representative of the group of periodicals published by Japanese Russian studies scholars, published in the last quarter of the 20th — the beginning of the 21th century. The quarterly magazine “Mado” (“Window”) was issued from 1972 to 2005 (No. 1–133) by the Japanese publishing and book-selling company “Science”. The “Muse” has been published from 1983 to the present by the Japanese Scientific Society of Researchers of Russian and Soviet Literature with the same name, headed by a professor at Osaka University, Kazuhiko Hockey. This article presents various types of publications, where the following features of consideration of the subject of Russian-Japanese military conflicts are highlighted: the predominance of an implicit way of addressing this topic; the desire to overcome negative stereotypes of Russian perception as a “danger from the north”, to arouse readers interest in Russian culture and literature. The selection of materials in the journals is carried out in such a way as to create the right perception context for military-historical publications, focusing on the history of the establishment and development of cultural connections between our countries. All publications emphasize the priority of cultural and spiritual connections between our countries. The Japanese Russian studies scholars undertook a special cultural mission — to change Japanese perception of Russia, to familiarize the Japanese with the Russian Culture following the educational activities of Equal-to-the-Apostles St. Nicolas of Japan. The existence of periodicals in Japan, which form a positive image of Russia, proves that the ideological confrontation between Japan and Russia did not have a national character. The journals devoted to Russia, published by the Japanese Russian studies scholars even in terms of political confrontation continue cultural dialoge — the best way to preserve peace.

KEY WORDS: “Mado”, “Muza”, Japanese popular scientific journals, Japanese Russians studies scholars, Russian-Japanese military conflicts, the dialogue of cultures.

Japanese Zen flute shakuhachi and Sufi flute nay. Typological or genetic relationship of tradition?

Margarita V. Esipova (Yessipova)

Research Centre for Methodology of Historical Musicology, Moscow Tchaikovsky Conservatory, Moscow; State Institute for Art Studies, Moscow.

E-mail: esipova.margo@yandex.ru

Two with the dominant role of longitudinal flute which sound replaces the prayer are examined. Real history of shakuhachi, flute of komusō monks from Fukesyū sect is summerized existing in parallel with the legendary one set out in “Kyotaku Denki” and followed by the bearers of tradition. The uniqueness of the shakuhachi tradition in the General Buddhist and the Japanese cultural context is accented. The author takes the view of researchers associating appearance of fuke-shakuhachi in Japan with arrival of “foreigner” Rōan, Chan monk from China, who became friend and companion of Ikkyū. New aspect of the shakuhachi study is suggested — in the context of the longitudinal flute traditions of Eurasia in general as well as in China (from 1st cent.) in particular where similar flutes were not associated with the Buddhist context. Ways of the longitudinal flute penetration in China are examined, from Persia in the Tan Period and from Central Asia, with Sufi teachers conducting missionary activities, in Yuan Period. The author makes a supposition that nay could be brought by Persians-Zoroastrians to China where a modification occurred of the Sogdian-Persian tradition in line with Islam, later merged with the shaman one of Central Asia. Comparative analysis of the compositions’ musical fabric and the principles of their musical organization shows that shakuhachi music (honkyoku) by a number of parameters is closest to Mongolian flute tsuur tradition. Numerous comparisons of the shakuhachi and the nay traditions by diverse parameters are drawn. The final goals of performance are also compared, with Zen breakthrough, enlightenment and Sufi dissolution of one’s personality in Divine love, or Absolute. Particular status of nay in Sufi culture of Asia (especially of the Mevlevi order) is identified related to Jalāl ad-Dīn Rūmī’s activities. The author comes to conclusion that the Zen shakuhachi tradition is a rebirth or reincarnation of inoconfessional idea in a typically esoteric (Shingon Buddhism) spirit.

KEY WORDS: shakuhacni, Fuke/Fukesyū, komusō, suizen, nay/ney, tsuur, sufi music, Mawlaw’īyya/Mevlevi

The synthesis of orientalism and the Renaissance elements in the works of Fujishima Takeji (Using the example

of the “Woman with an Orchid”)

Alisa Yu. Payuk

Saint Petersburg Stieglitz State Academy of Art and Design, Saint Petersburg. E-mail: payuk_a93@mail.ru

Fujishima Takeji is one of the most well-known representatives of the Western-style painting. His experience and authority helped the absorption of this phenomenon in Japanese culture due to the fact that he combined adopted methods with original artistic outlook. Particularly, in Fujishima’s works we can find the examples of influence of the Italian Renaissance paint-

ing. The painter was trying not only to learn the old masters techniques but to express some new approaches to Japanese art. Thus, the “Woman with an Orchid” points out using of oriental themes in a form of the Renaissance profile portrait.

KEY WORDS: Japanese art, Renaissance, Fujishima Takeji, orientalism, yoga.

Shin Hanga Movement (New Prints) in the first half of 20th century: Tradition and Innovation

Elena O. Tyagunova

Saint Petersburg Stieglitz State Academy of Art and Design, Saint Petersburg. E-mail: lena.tyaga@gmail.com

The article is devoted to the main aspects of the development of Japanese woodblock prints of the first half of 20th century, in particular, there are emphasize the development of the so-called new prints or shin-hanga. Meiji Restoration (1868) inspired to the development of Western forms of art and to the departure from traditional forms of creative work, which included ukiyo-e prints. In the first half of 20th century and in the Taisho period (1912–1926) traditional ukiyo-e artist continued their active work, but in the same time in the Japanese artistic community emerge completely different views about the further development of national art. The revision of attitudes towards ukiyo-e prints has led to the emergence of movements for the creation of a new sort of engraving. There was a movement that broke with the former canons of ukiyo-e, with the principles of the craft division of labor, and with the features of the artistic structure of traditional engraving. This art movement was called sosaku-hanga (“creative prints”) and existed from 1910 to 1950. At the same time, in 1915 by the publisher Watanabe Shozaburo another movement was born, which was called shin-han- ga (“new prints”). The term was created to distinguish shin-hanga from ukiyo-e engraving, which began to be considered by the Japanese as a product of mass consumption, unlike the Europeans, who thought about ukiyo-e as Japanese property, especially during the period of popularity of Japonism. With the tightening of control over art and culture in wartime, the shin-hanga movement by 1942 almost ceased to exist. The article reviewed a number of features associated with the traditions that the masters of shin-hanga preserved, and with innovations that appeared under the influence of Western art and modern culture.

KEY WORDS: Japanese art, 20th century, woodblock print, new prints, ukiyo-e, shin-hanga, sosaku-hanga, stylistics, genres, subjects, technology, figurativeness, tradition, innovation.

Titus Naoshiro Kato and the “golden age” of Japanese Orthodox singing

Natalia F. Klobukova

Scientific and Creative Center “World Musical Cultures”. Moscow State Tchaikovsky Conservatory, Moscow.

E-mail: harunoumi@mail.ru

The article briefly discusses the biography of Titus Naoshiro Kato (1908–2009) — the Japanese choirmaster, composer, musician, creator of the new style of Japanese orthodox singing art. Tito Kato was a participant in the Second World War. After the war he was interned and spent two years in Soviet captivity, but this did not affect his love for Russian song and Russian choral art. Being in captivity, Tito Kato listened and recorded Russian songs, which Russian guard soldiers sang, and he himself directed the vocal ensemble, for which he made a lot of arrangements for Russian songs. After the repatriation, Titus Kato led many choral groups for many years, wrote theoretical articles on choral singing, made transcriptions of songs by Russian composers into Japanese, created a wonderful choir of the Intercession Church of Osaka, and popularized Russian sacred music in Japan. The life of Titus Kato can rightfully be called the “golden age” of Japanese Orthodox singing.

KEY WORDS: Titus Naoshiro Kato, Japanese Orthodox singing, Japanese prisoners of war, Japanese choral singing, Intercession Church of Osaka.

Inoue Yuichi: inclusive exception

Alexander P. Belyaev

Institute for Oriental and Classical Studies, National Research University Higher School of Economics, Moscow.

E-mail: aleoxander@gmail.com

The paper introduces Inoue Yuichi: his art and the artist himself, who still is one of the most well-known outside Japan Japanese calligraphers. The author considers “YU-ICHI” phenomenon as an “inclusive exception”, which may be understood as biography of voluntary “exception”, rage against the tradition, rejection of official forms of SHO establishment, and from the other hand — reassignment of his heritage by contemporary forms of representation. The “revolution of SHO”, made by Yuichi, comically-dramatically drove into “traditional imitation” afterwards. The author came to conclusion: “YU-ICHI” and the character of his statement are fundamentally irreproducible.

KEY WORDS: avant-garde, Japanese calligraphy, Inoue Yuichi, outsider, philosophy of writing, tradition.

“Noble men” in the “Capital of Peace and Tranquility”: Maliciousness and evil deeds of noble persons

in the Heian Japan

Maxim V. Grachev

Department of History and Culture of Japan, Institute of Asian and African Studies, Lomonosov Moscow State University, Moscow.

E-mail: maxgr73@mail.ru

This article argues that displays of violence and cruelty are essential elements in a “technology of power” of the court society of the Heian Japan. Generated by “emotional instability” personal hatred and fears were released as efficient forces operating in the world of aristocracy.

KEY WORDS: court society, cruelty, evil deeds, Fujiwara family, Heian Japan, maliciousness, violence.

Japanese Color Culture Peflected

in Historical Documents

Olga A. Khovanchuk

Institute of Oriental Studies, Far Eastern Federal University, Russkiy Island. E-mail: komanchister@gmail.com

The article deals with some state documents regarding colors and rules for their use, issued by the government of Japan from ancient times to the late medieval period. Basing on the information from these documents article traces the stages of formation colors culture and analyses the role of color in social life of Japan. Reveals changes in aesthetic views caused by rules of state documents, religion and interaction of different social groups.

KEY WORDS: Japan, traditional costume, color, aesthetic views.

Kuidōraku

Murai Gensai

Partial translation by Oksana A. Nalivaiko.

Institute of Asian and African Studies, Lomonosov Moscow State University. E-mail: ksankin30@yandex.ru

The fragment of the “gastronomic novel” by Murai Gensai compares various methods of preparing European dishes known in Japan and prefers home cooking over the cuisine of restaurants and hotels.

KEY WORDS: Meiji era, Westernization, European cuisine in Japan.

The “Way of Tea” and the financial and industrial oligarchy of Japan in the Meiji era (1868–1912)

Anastasia V. Kudryashova

Institute of Asian and African Studies, Lomonosov Moscow State University,

Moscow.

E-mail: nasubi.kalavinka@gmail.com

MSU Research Project “History and culture of the oriental countries; contacts between civilizations”.

At the Meiji period (1868–1912), representatives of the industrial and banking elite of Japan, who contributed to the revival and strengthening of the country’s financial and economic power, began to gather more often over a cup of tea when discussing work. At first, representatives of large businesses and authorities used tea rooms as the convenient places for business negotiations; then they were interested in collecting and buying rare samples of tea utensils, and as a result, driven by the desire to use their accumulated wealth in the tea room space, they themselves began to practice the Way of Tea, becoming well-known Tea masters chajin and artistic people. Gradually between the largest business people in Japan tea ceremony was considered one of the most important arts. The main aim was to polish the higher education and form the aesthetic, ethical and moral qualities of Japanese people.

KEY WORDS: Japan, The Way of Tea, Japanese tea ceremony, art, Chanoyu, business, financial elite, zaibatsu, tea Room, tea utensils.

The Negishi racecourse in Yokohama: an excursus into the history

Ksenia A. Spitsyna1, Dina V. Andreeva2

1Independent researcher, Moscow. E-mail: ksenia_phd@mail.ru

2Nikulin Moscow Circus on Tsvetnoy boulvar, Moscow.

With our thanks to the Equine Museum of Japan in Yokohama for the received materials and inspiration of the idea of this article.

The history of life of foreign settlers in Yokohama consists of various episodes. The story about the Nagishi racetrack is one of them. The official opening of the racecourse in Nagisi was in January 1867. This racetrack became the first Western type stationary racetrack in Japan for regular tests for horses. The earthquake of 1923 destroyed the Negishi Hippodrome facilities. Some years later the reconstruction works began. The last races on the hippodrome in Negishi took place in October 1942, soon it was closed and started to be used for military purposes. At present, the towers of race stands are a part of the park, the territory of which was used for racetrack. Inside of the park there is also the «Equine Museum of Japan».

KEY WORDS: Japan, Yokohama, Negishi, Hippodrome, history.

The concept of Kamban

in Japanese culture and language

Anna S. Shimanskaya

Department of Linguistics and Professional Communication in Political Sciences, Institute of International Relations and Social and Political Sciences, Moscow State Linguistic University, Moscow.

E-mail: gladkina@mail.ru

The article describes in detail the concept of kamban in Japanese culture and language, gives basic meanings and definitions, covers the history of origin and culture of sign usage in Japan, gives examples of the transfer of veiled codes and information that could various signs contain. As a result, several aspects that signs and plates cover in Japanese culture are revealed, namely, cultural-historical, functional, social, and modern. Each of these aspects is characterized in detail and supported by examples that make it possible to understand that kamban signs are a unique way of combining art and commerce, which traditionally refers to the use by Japanese merchants and artisans of signs to identify, display and advertise products manufactured and sold; the source of the appearance of outdoor advertising in the form in which it can be seen in Japan at the present time; visual system of public control and education, which allows to convey to the population the rules of behavior and generally accepted moral values; as well as the methodology for organizing production and supply, which allows implementing the “just-in-time” principle, which appeared relatively recently, but has already gained a leading position and is being actively implemented in production, business and management in many countries around the world. The analysis of the use of plates and signs from the 17th century to the present day, given in the article, allows tracing the transformation of the concept of kamban in Japanese culture and language, as well as learning more about the historical and cultural events of Japan, in particular of the Edo era.

KEY WORDS: the concept of kamban, Japanese culture, Japanese language, signs and plates, the era of Edo, advertising and art, kanban methodology.

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