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Private Academies of Chinese Learning in Meiji Japan: The Decline ...

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216 PRIVATE ACADEMIES OF CHINESE LEARNING IN MEIJI JAPAN<strong>The</strong> Kan Chazan Museum was <strong>in</strong> part funded with money fromTakeshita Noboru’s 100 million yen grants, received by each <strong>of</strong><strong>Japan</strong>’s 3,268 local govern<strong>in</strong>g towns and villages <strong>in</strong> 1988. 18 <strong>The</strong>grants can be seen <strong>in</strong> the context <strong>of</strong> furusato zukuri or furusatosōsei (“native place mak<strong>in</strong>g” or “native place creation”), <strong>Japan</strong>’sanswer to the alienation and <strong>in</strong>security experienced <strong>in</strong> post-warurban society, especially s<strong>in</strong>ce the oil shocks <strong>of</strong> the 1970s. 19 For thegovernment, this style <strong>of</strong> adm<strong>in</strong>istration, which aims to forge a“cultural state”, to promote local developments and to <strong>in</strong>clude anaffective dimension <strong>in</strong> its policies. <strong>The</strong> word furusato (literally“old village”, mean<strong>in</strong>g home village) evokes feel<strong>in</strong>gs <strong>of</strong>nostalgia, and furusato zukuri serves to produce a sense andpopular memory <strong>of</strong> the past. It comprises <strong>in</strong>itiatives such as therevival and re-<strong>in</strong>vention <strong>of</strong> local festivals and the development <strong>of</strong>“old village”-villages, where city dwellers can enjoy so-calledtraditional pursuits. <strong>The</strong> 100 million yen grants empowered localcommunities. Many <strong>of</strong> them spent the money on projectscharacterized by a comb<strong>in</strong>ation <strong>of</strong> cultivat<strong>in</strong>g the localenvironment, reviv<strong>in</strong>g local tradtions to foster local identity andefforts for economic revival, <strong>of</strong>ten through tourism.Furusato evokes images <strong>of</strong> agriculture and traditional crafts,festivals and anyth<strong>in</strong>g associated with <strong>Japan</strong>ese folklore. Kangakuscholars, representatives <strong>of</strong> an elite culture, do not fit this image.Nevertheless, the same year, 1992, which saw the completion <strong>of</strong>the Kan Chazan Memorial Museum (plans for which existedbefore Takeshita’s grants), also saw the completion <strong>of</strong> theMorohashi Tetsuji Memoral Museum <strong>in</strong> Shitada village, Niigataprefecture, built with money from the Takeshita grants. <strong>The</strong>museum is part <strong>of</strong> a huge complex, <strong>in</strong>clud<strong>in</strong>g Morohashi’sbirthplace, a study moved from Tokyo, <strong>in</strong> which he and hisassistants worked on the Dai kanwa jiten [<strong>The</strong> Great <strong>Ch<strong>in</strong>ese</strong>-<strong>Japan</strong>ese Character Dictionary], a <strong>Ch<strong>in</strong>ese</strong>- and <strong>Japan</strong>ese-stylegarden, a car park and a restaurant. <strong>The</strong> whole site isimpressively named kangaku no sato [home <strong>of</strong> <strong>Ch<strong>in</strong>ese</strong> learn<strong>in</strong>g].Morohashi (see Chapter 5) was a modern-day Ch<strong>in</strong>a specialistand teacher at the new schools rather than a kangaku scholar andjuku master (his father had a juku). Still, like the juku and theirmasters, he is commemorated as a representative <strong>of</strong> “<strong>Japan</strong>esetradition”. Dur<strong>in</strong>g the last years <strong>of</strong> the Edo period and perhapseven more so <strong>in</strong> the early <strong>Meiji</strong> period, when school<strong>in</strong>g<strong>in</strong>creased, Confucian ideas and morals spread from the rul<strong>in</strong>gelite to the lower classes. Commemorat<strong>in</strong>g kangaku scholars as

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