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nchristi
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Re: J-Drama: 篤姫 (Atsu-hime)
I remember when I was a complete stranger to the Taigas. One Saturday night I was channel surfing and came upon the one airing at the time (a number of years ago). There were no e-subs at that time, but I was captivated by the costumes and the strange newness of what I was seeing, though I couldn't understand a word. I eagerly anticipated each Saturday night rolling around just to see this 'mystery' program with a culture so beautiful yet different from mine. At that time I had not yet discovered the K-dramas—which were very limited and also without e-subs.
I've had people walk through the room while a taiga is on and most of the time they stop and have to watch it for a while (especially men). It interests them on a level that the K-dramas do not. Maybe because most American men are familiar with ninja and samurai stuff and when they recognize those costumes and swords, their attention is drawn.
As you said, Peg, there is no way a stranger's appreciation will rival that which we appreciate. But I know what I see and comprehend is minimal compared to what you, Bubu, and Hiroshi experience. And then there are native Japanese who leave us all in the dust.
On the other hand, people who grow up with that native experience may be so used to it that they take it for granted to some extent. Maybe we have a greater appreciation for the visual beauty in some ways. I know, for example, that I am always taking careful note of the stitchery and embroidery on the costumes, deeply appreciating and admiring the quality. It may all be done by machine these days, but I've done a lot of sewing and needlework by hand and seen very old Japanese works of embroidery art that leave me speechless. It is truly amazing that people could make such perfect work stitching by hand, not to mention the intricately complicated designs and colors.
One of the things that has always fascinated me about the Taigas is the clear distinction of opposite behavior between men and women. A simple example is women walk with tiny, floating steps with their toes pointed inward. Men take great, purposeful strides with toes pointed outward. Bowing when seated, women's hands are together, fingers pointing inwards. Men's hands are far apart. And on it goes...
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12/17/2008, 1:33 pm
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bubu13
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Re: J-Drama: 篤姫 (Atsu-hime)
A Japanese Princess Gets Her Royal Due at the Sackler Gallery
Click image to enlarge
December 18, 2008
Back in 1984, curator Ann Yonemura purchased the first-ever artifact for the Sackler Gallery of Art. It was an antique Japanese palanquin. Palanquins were used as transportation during the Tokugawa period of Japanese history, which ended in 1868. High-ranking Japanese nobility sat in the fancy compartments, and as many as six bearers carried it through the streets.
Yonemura knew that the palanquin belonged to a high-ranking noblewoman, since only the elite were permitted such ostentation. But it wasn’t until this year, as reported in the January issue of Smithsonian magazine, that she figured out who the palanquin was made for.
Yonemura received a call from Shin’ichi Saito, a curator at the Tokyo Metropolitan Edo-Tokyo Museum. A document he’d found in the Japanese National Archives listed the items that had been made for the 1856 marriage between shogun Tokugawa Iesada and Princess Atsuhime. He was sure the Sackler’s palanquin was made for Atsuhime. She would have sat in it, and six bearers would have carried her through the streets from her parents’ home to her new husband’s.
--Read more @ Smithsonian.com
Last edited by bubu13, 12/19/2008, 6:26 pm
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12/18/2008, 7:31 pm
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brad6
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Re: J-Drama: 篤姫 (Atsu-hime)
bubu,
that is so wonderful for us after watching the drama. It almost makes us part of the history don't you think?? Well almost...
Such a lovely conveyance fit for our Atsuhime. thanks for posting about this bubu.
Peg
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12/18/2008, 11:26 pm
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bubu13
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Re: J-Drama: 篤姫 (Atsu-hime)
class blockquote nchristi wrote:
Bubu, the link to enlarge the Atsuhime palanquin isn't working for me. ("404 - File not found...")Strange, it still works for me.
But, I see they just changed the image/link on the Smithsonian page, maybe that's why it stopped working.
EDIT:
Okay, it no longer works for me either, I guess I still had the image in my browser cache, and that's why it was working for a while... that is until I reloaded the page.
So, I uploaded another smaller file to my original post. I think Photobucket has a 1 MB limit for images.
And here is the hi-res version... I uploaded to Sendspace... 3.7 MB.
http://www.sendspace.com/file/0ce4jv
Last edited by bubu13, 12/19/2008, 6:30 pm
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12/19/2008, 5:48 pm
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brad6
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Re: J-Drama: 篤姫 (Atsu-hime)
I can still get the enlaargement but I have aded the second link and saved it..
It seems to me upon looking again that there is a difference in the placement of the 'door' in this version. Maybe I am remembering wrongly but I thought that the opening was at the front so that Atsuhime would enter and then the foremost carrier would be in front of her. Her window was at the side and I think she looked out through this. On this picture it is sslowing the window looking back at the rear carrier. Maybe I am seeing this all wrong but tell me if I am please. The more I look at this picture the more I think I am seeing it in the wrong perspective.
Peg
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12/20/2008, 12:54 am
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Hiroshi66
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Re: J-Drama: 篤姫 (Atsu-hime)
I've also been wondering lately about how people who do not usually watch dramas react when they see a taiga drama, Peg. I had recently purchased an Atsuhime photo book from the Japanese bookstore and was reading it at school, when one of my friends became curious about it and asked to look at it. My friend is interested in Japanese music and has only watched a couple of dramas, but he's never seen a taiga. He was immediately captivated by the costumes and visual appearances of the characters, and even asked me what time this drama airs so he can watch it sometime. Since he's been used to watching Japanese dramas or movies set in today's time period, it must have been really interesting for him to see something taking place over a century ago.
Nchristi, I agree -- I also think that since we haven't grown up in that native environment, we're more appreciative of the visual aspects of the taigas. I've also become really interested in the beautiful kimonos and costumes worn by our characters. So fascinating to think that at that time, all of it was done by hand without modern sewing machines. It was also interesting to see how Atsu's clothing changed after she took the tonsure. She used to wear bright-colored kimonos when she was still married to Shogun Iesada. After he passed away and she became Lady Tenshoin, she switched to wearing more subtle colored kimonos (often dark blue or a burgundy.)
I really love these taiga dramas. I think they offer a glimpse of what life was like before the modern Japan of today. I'm glad that even strangers to Japanese culture can appreciate the visual aspects of the taigas. Maybe it'll give them an opportunity to start watching these excellent productions.
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12/20/2008, 9:57 am
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Hiroshi66
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Re: J-Drama: 篤姫 (Atsu-hime)
Bubu, thanks for posting the article and the picture of Atsu's palanquin! It's so fascinating to see the same exact palanquin that was used by Atsu when she was on her way to marry Shogun Iesada in Edo. A few weeks ago, I was re-watching the episode where Atsu, in her palanquin, entered Edo for the very first time. It's so fascinating that we're now able to see the real palanquin where Atsu was seated for weeks on her journey from Satsuma to Edo.
I was wondering the same thing, Nchristi. It sure seems very difficult to sit in the palanquin for days and days, even though it is so beautifully decorated with paintings from various scenes of The Tale of Genji. Maybe Atsu had to remain seated at all times inside the palanquin, unless the procession stopped for a lunch or dinner break along the journey. It must have been very difficult for the servants accompanying Atsu on her journey. I think I remember seeing that Ikushima also had her very own palanquin, but all the other attendants probably had to walk on foot, carrying all of Atsu and Ikushima's luggage (along with their own!) And then the poor people who had to carry the palanquin... it must have been extremely difficult. Yeah... I don't think they'd be very happy if they accidentally dropped the palanquin with Atsu in it, LOL! 
Peg, I was just looking at the picture again, and it looks like there are two windows. There's a window on Atsu's left-hand side (right on the door). Yeah, I think this is the window we've seen her use in the drama, since she's always looking out her window towards her left-hand side. In the picture of the palanquin, we also see a window that would be behind Atsu. I don't remember seeing a window behind Atsu in the drama, though. The only window I remember seeing in the drama was right on the door that opens and closes.
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12/20/2008, 10:33 am
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Hiroshi66
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Re: J-Drama: 篤姫 (Atsu-hime)
Atsuhime #45 - A Letter From Mother
 
I just finished watching tonight's episode of the taiga, and each episode is getting more and more interesting. The suspense building with each upcoming episode is really well done. Nonetheless, with only five episodes remaining to air, it really is sad to think that this taiga will be ending shortly. Even though I'm looking forward to the next taiga, Tenchijin, I think that Atsuhime has been one of the best taigas that we have seen in quite a while.
There was a lot of political development in this episode. I'm glad I was taping it while watching -- during some of the commercial breaks, I had to do a quick re-watch of some scenes to make sure I got everything down. Even though Shogun Yoshinobu handed back his authority to the Emperor, the Tokugawa family still enjoyed its wealth and high social status. That must be why Saigo, Okubo, and Iwakura are so intent on weaking Yoshinobu's authority. Saigo and especially Okubo seem to be pushing for outright war between Satsuma and the Tokugawa. First, they secured the Imperial edict which ordered Yoshinobu to hand over his court title and property over to the Emperor. Then we have Saigo's "strategy" of provoking the Tokugawa by burning parts of Edo castle and causing trouble in Edo. I guess they are doing their best to provoke Shogun Yoshinobu to go to war with Satsuma.
Back in Satsuma...
I guess this episode really demonstrated the true rift between Saigo/Okubo and Naogoro. Even though the three were best friends once before, it really looks like the three are split over the question of war. Saigo/Okubo want to crush the Tokugawa by force, while Naogoro wants to prevent a bloody war. Naogoro seems to be the one with a disadvantage -- for one thing, he is stuck in Satsuma with his injured leg (did we ever hear how he got the leg injury? I don't think it was ever mentioned.) What's worse is seeing Naogoro blame himself for the way things are turning out. Even though he (and the late Ryoma) did their best to prevent war, Naogoro is stuck in Satsuma, practically a hostage to his leg condition. At least he has the loving Ochika with him for care and support. Even though she knows that he and Okoto had a child together, Ochika is still showing love and care for her husband just like before.
It seems like one of the main reasons why Naogoro is so upset with the possibility of a Satsuma/Tokugawa war is due to Tenshoin. Naogoro's scene with Hisamitsu was a very sad one. I'm glad that Hisamitsu gave permission to Naogoro and Atsu's mom to write a letter pleading Atsu to return to Satsuma and avoid the war. After all, Tenshoin had went to Edo for Satsuma's sake. The saddest scene was when we saw Atsu read the letter from her mother pleading her to return to Satsuma. Oyuki (Atsu's mom) must be terrified for her daughter living in Edo, especially because of all the rumors of a possible war.
The most moving scene was when Oyuki told Atsu's brother about knowing all along Atsu wouldn't return. When Atsu's brother asked her why, she responded by saying that she knew because Atsu was her daughter. It reminded me of that scene in the beginning of the series, when Atsu had first been adopted by Nariakira. Atsu's mother told her that no matter where she may go or who she may become, she will always be her daughter.
It was interesting to see Onoshima again. She was the woman who delivered Oyuki's letter to Atsu in the Ooku. We hadn't seen her for well over twenty episodes -- she used to be one of the attendants in Nariakira's Edo residence where Atsu lived before her marriage.
I think this episode did a great job of showing how devoted and resolved Tenshoin is. She has such a great sense of duty to the Tokugawa family and the Ooku. Despite the growing possibility of war with Satsuma (and even possibly being killed if Satsuma invades Edo Castle), Tenshoin has made it clear that she will stay and fight in the Ooku. Even after she was begged by Takiyama, Shigeno, and Karahashi to leave for Satsuma, Tenshoin stuck to her guns and even stated that she will stay in the Ooku until the end. I'm amazed by her sense of duty and courage. Even though she had an oppurtunity to return to Satsuma and live with her family once more, Tenshoin decided to fight for the Tokugawa family.
So Saigo and Okubo are also growing out their hair? I noticed that like Naogoro, they also changed their "topknot" hair-do and grew their hair out.
I was a bit confused by the significance of the red "Imperial standard" we saw at the end of the episode. The red flag resembles the chrysanthemum - which is the symbol of the imperial family. It looks like part of Okubo and Saigo's strategy is that they have secured the support of the Imperial court against the Tokugawa and Yoshinobu. Now that the skirmishes between the Satsuma and the Tokugawa are getting more serious, Yoshinobu has also expressed his desire to secure support from the court against Satsuma. I wonder who the court will end up supporting?
With Tenshoin worried about a war between Satsuma and the Tokugawa, we're now in December of 1867. Episode #46 airs next Saturday, December 27th!
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12/20/2008, 10:27 pm
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