alinearoundtheworld

Princess Eugenie asked for her wedding dress be designed with a low back as a tribute to the hospital where she had a childhood scoliosis operation.

The gown, which was designed by Peter Pilotto and Christopher De Vos, has a neckline that folds around the shoulders and a low back that drapes into a flowing full length train, said Buckingham Palace.

Happy International Women’s Day!

We started the Badass Women in Japanese History series because we wanted to highlight the amazing lives and sheer badassery of historical Japanese women.

Take some time today to learn about and celebrate some of these lovely Japanese ladies!

Tomoe Gozen: A warrior worth a thousand men

Murasaki Shikibu: The world’s first novelist

Queen Himiko: Loved by the people, the gods, but not historians

Higuchi Ichiyō: Returned Japanese literature to its roots

Gold Fireflies Dance Through Japanese Enchanted Forest in the Summer of 2016

Kyoto is known for its many temples and historical structures, yet each and every one is one of a kind in some particular way. Even buildings that were modeled after each other have distinct traits and a unique identity. The Silver Pavilion is one example of this because even though it was modeled after the Golden Pavilion, its architecture and the feeling that is conveyed is strikingly different from the Golden Pavilion. The Golden and Silver Pavilions were built by two Ashikaga shoguns, Ashikaga Yoshimitsu and his grandson Ashikaga Yoshimasa, respectively.  Although both are Zen temples today, the different personalities of their builders and the times during which they were built are reflected in their different styles. The Golden Pavilion, which was built by Ashikaga Yoshimitsu, incorporated “both shinden and shoin architectural styles” which symbolizes the leader’s involvement in both the political and the warrior world (Stavros, 120). In this structure, the first floor is built in the imperial style while the second floor is built in the samurai residence style, and the third floor is built with Buddhist temple architecture. This blending of architectural styles reflected the lessening of the divide between the aristocrats and the warriors because previously the shinden style was only used by the ruling elite. The bright gold is very attention-catching and seems to be a proclamation of the owner’s authority. Conversely, the Silver Pavilion which was built by Yoshimitsu’s grandson Yoshimasa has a much more understated style. The silver covering that was supposed to be on the interior walls was never put in because the shogunate’s money was going towards funding troops in the Onin War. The more subtle style reflects the waning authority of the shogunate.

(photo from http://content.time.com/time/travel/cityguide/article/0,31489,2049375_2049370_2048907,00.html)

(photo from www.japan-guide.com )

When Heian-kyo was founded in 794, Emperor Kanmu envisioned a city that displayed its strength and power (Stavros, page 1).  With so much ambition dedicated to demonstrating how centralized and organized it would be, Emperor Kanmu emphasized physical appearance and architecture. As a result, much of what was constructed in this period was influenced by the aspirations of the imperial court and has now shaped Kyoto greatly.

When Heian- kyo was planned, everything including even its land distribution was carefully well thought. Stavros describes Heian-kyo to have been focused on adopting “the technologies, institutions and ideas indicative of a modern ‘civilized’ society” (Stavros, page 7). As a result, the Chinese urban models were mimicked, land grid patterns were seen and affluence was beginning to be more prevalent in the northern areas where the imperial palace was located. In addition, land had more significance since it demonstrated not only social status, but also the people’s motivation to become great like the imperial court. This has shaped Kyoto today because the street signs are still named in accordance to the proximity of the imperial palace. I have walked down the streets in Kyoto and have marveled at how everything is geographically laid out. Store by store, house and departments all in its own place. It is very astounding to see how everything is geometrically divided and it only demonstrates how organized it is. Although, there are flaws because of the rough outlines of the roads, it is interesting to see how much dedication was put in city planning to use space efficiently.

           In addition, the imperial palace had such an important role in demonstrating the ambitions that it served as an example to the city of how strong, organized and beautiful it should be. With its architectural design (vibrant colors, greenery, and materials), most of its design was copied and seen in certain houses, but most importantly in temples and shrines. In addition, although the imperial palace served as a center of Kyoto, and had many cultural influences specifically the Chinese, it served as “a large and complex institution that while cosmetic cues from China, was different on a fundamental level” (Stavros, page 20).  This is indicative of Kyoto taking in different cultural elements and growing and advancing in its own culture.

The Golden and Silver Pavilion are similar in the fact that both were built as retirement houses but acted as political bases giving the elites who built them increased power.  However, aesthetically the two complexes vary greatly.  The Golden Pavilion is three stores tall – with each story using a different architectural style.  The most distinguishing characteristic of the Golden Pavilion is the golden plating that covers the top two stories.  

Where the Golden Pavilion is flashy and self-explanatory, the sliver Pavilion is quite the opposite.  Even though it was named after the metal and it had planned to incorporate silver in the design, the Silver Pavilion is not silver.  Instead, it is a humble brown color surrounded by an amazing garden. 

 In terms of what these buildings tell us about the Ashikaga Shogunate, Stavros states that elites would often retire from Japan’s government in order to obtain greater power from behind the scenes; however, since the buildings were constructed around the edges of the city, there inceptions help to legitimize the emperor and the elites in the government.  Since the Ashikaga shogunate built both the Golden and Sliver Pavilion, one can conclude that the group was extremely powerful in during that time in Japanese society. In fact as Stavros states “Ashikaga Yoshimitsu – famously received an embassy from the Ming court addressing him as ‘King of Japan’” (98).  A title that he received after he had retired from his potion; a title created completely outside of the “frame work of Japanese politics” (98).

The Golden and Silver Pavilion are similar in the fact that both were built as retirement houses but acted as political bases giving the elites who built them increased power.  However, aesthetically the two complexes vary greatly.  The Golden Pavilion is three stores tall – with each story using a different architectural style.  The most distinguishing characteristic of the Golden Pavilion is the golden plating that covers the top two stories.  

Where the Golden Pavilion is flashy and self-explanatory, the sliver Pavilion is quite the opposite.  Even though it was named after the metal and it had planned to incorporate silver in the design, the Silver Pavilion is not silver.  Instead, it is a humble brown color surrounded by an amazing garden. 

 In terms of what these buildings tell us about the Ashikaga Shogunate, Stavros states that elites would often retire from Japan’s government in order to obtain greater power from behind the scenes; however, since the buildings were constructed around the edges of the city, there inceptions help to legitimize the emperor and the elites in the government.  Since the Ashikaga shogunate built both the Golden and Sliver Pavilion, one can conclude that the group was extremely powerful in during that time in Japanese society. In fact as Stavros states “Ashikaga Yoshimitsu – famously received an embassy from the Ming court addressing him as ‘King of Japan’” (98).  A title that he received after he had retired from his potion; a title created completely outside of the “frame work of Japanese politics” (98).

“Today, Bombay’s reputation as a city of many tongues and many cultural expressions is under threat.” -Sujata Patel, pg. 330