Can an imperial city survive, let alone thrive, without an emperor? Alice Y. Tseng answers this intriguing question in Modern Kyoto, a comprehensive study of the architectural and urban projects carried out in the old capital following Emperor Meiji's move to Tokyo in 1868. Tseng contends that Kyoto remained critical to Japan's emperor-centred national agenda.
It was not until Japan's opening to the West during the Meiji period (1868-1912) that terms for "art (bijutsu) and "art museum" (bijutsukan) were coined. This title documents Japan's unification of national art and cultural resources to forge a modern identity influenced by European museum and exhibition culture.
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