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http://www.magiclanternsociety.org/about- magic-lanterns/the-magic-lantern-in-japan/ For more on Japanese magic lantern shows, see our society webpage:

Figure 2 http://www.magiclanternsociety.org/about- magic-lanterns/the-magic-lantern-in-japan/ For more on Japanese magic lantern shows, see our society webpage:

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Japanese chromatropes. Photo by Mitsue Ikeda.
Japanese chromatropes. Photo by Mitsue Ikeda.
Fig. 1. An example of a furo (Japanese wooden magic lantern). Photo by Mitsue Ikeda, December 13, 2011.
Fig. 1. An example of a furo (Japanese wooden magic lantern). Photo by Mitsue Ikeda, December 13, 2011.
Fig. 2. An example of tane-itas (lantern slides). These slides are used for an original play, “Sakura Shiranami Hyoi To Bukuro),” by Nishiki Kage-e Ikeda-Gumi. This loosely translates into The Floating Thief at Cherry Blossom Time; a literal translation is Cherry Trees, White Waves and a Bean Bag. However, a person famil- iar with traditional Japanese kabuki theatre recognizes the cherry tree as a marker for cherry blossom time, white waves as an idiom for a thief and the bean bag as a device that allows for magical things to occur, for exam- ple, a character to time travel. [Photo by Mitsue Ikeda, November 7, 2010]
Fig. 2. An example of tane-itas (lantern slides). These slides are used for an original play, “Sakura Shiranami Hyoi To Bukuro),” by Nishiki Kage-e Ikeda-Gumi. This loosely translates into The Floating Thief at Cherry Blossom Time; a literal translation is Cherry Trees, White Waves and a Bean Bag. However, a person famil- iar with traditional Japanese kabuki theatre recognizes the cherry tree as a marker for cherry blossom time, white waves as an idiom for a thief and the bean bag as a device that allows for magical things to occur, for exam- ple, a character to time travel. [Photo by Mitsue Ikeda, November 7, 2010]
n The oldest furo in existence is the “Kage Ninge (Shadow Doll)”!”7 that has been handed down in the Tsuchishima clan of Ogaki, Matsue City, Shimane prefecture (Fig. 3, hereafter called the “Ogaki- Matsue furo”). Earlier studies (Okuhara 1963, Yamamoto 1975) state that this oldest furo was man- ufactured in the late Edo period (1840-60’s) and had been used for show business until the end of the Tai- sho period (1912-1926). Fig. 3. Furo and tane-ita of Ogaki-Matsue furo (“Kage Ninge”). [Photo by Mitsue Ikeda, August 23, 2008]
n The oldest furo in existence is the “Kage Ninge (Shadow Doll)”!”7 that has been handed down in the Tsuchishima clan of Ogaki, Matsue City, Shimane prefecture (Fig. 3, hereafter called the “Ogaki- Matsue furo”). Earlier studies (Okuhara 1963, Yamamoto 1975) state that this oldest furo was man- ufactured in the late Edo period (1840-60’s) and had been used for show business until the end of the Tai- sho period (1912-1926). Fig. 3. Furo and tane-ita of Ogaki-Matsue furo (“Kage Ninge”). [Photo by Mitsue Ikeda, August 23, 2008]
Fig. 4. A set of tools for Japanese magic lantern perfor- mance (Ogaki, Matsue’s“Kage Ninge’” collection): Clockwise from top left, Furos, lenses, Shamisen (Japanese guitar), oil vase (oil for light source), Joruri book (a script), Tane-ita, Wooden clappers, and Screen [Photo by Mitsue Ikeda, Au- gust 23, 2008]
Fig. 4. A set of tools for Japanese magic lantern perfor- mance (Ogaki, Matsue’s“Kage Ninge’” collection): Clockwise from top left, Furos, lenses, Shamisen (Japanese guitar), oil vase (oil for light source), Joruri book (a script), Tane-ita, Wooden clappers, and Screen [Photo by Mitsue Ikeda, Au- gust 23, 2008]
Fig. 5 (left). An earthen oil lamp filled with rapeseed oil and wicks. [Photo by Mitsue Ikeda, March 17, 2010]
Fig. 5 (left). An earthen oil lamp filled with rapeseed oil and wicks. [Photo by Mitsue Ikeda, March 17, 2010]
Fig. 7. The inside of Ogaki, Matsue furo (“Kage Ninge”) from the back. A light source is placed inside, behind the lens. A tane-ita is placed on the left side leaning toward the furo. [Photo was taken by Mitsue Ikeda, on August 23, 2008]
Fig. 7. The inside of Ogaki, Matsue furo (“Kage Ninge”) from the back. A light source is placed inside, behind the lens. A tane-ita is placed on the left side leaning toward the furo. [Photo was taken by Mitsue Ikeda, on August 23, 2008]
Fig. 8. The first model of Ikeda-Gumi furo, built in 2004. Left: The front of the furo. Center: the back of the furo wtih a back lid and a corded incandescent bulb. Right (from left to right): a focus lens part/ the furo/ a condenser lens part/ a naka-waku (interior frame) [Photo was taken by Mitsue Ikeda, on Janu- ary 11, 2005]
Fig. 8. The first model of Ikeda-Gumi furo, built in 2004. Left: The front of the furo. Center: the back of the furo wtih a back lid and a corded incandescent bulb. Right (from left to right): a focus lens part/ the furo/ a condenser lens part/ a naka-waku (interior frame) [Photo was taken by Mitsue Ikeda, on Janu- ary 11, 2005]
Fig. 9. The current Ikeda-Gumi furo built in 2011. Left: The front and the top of the furo, Center: the back of the furo with a back lid and a portable bat- tery. Right (from left to right): a focus lens part, the furo, a condenser lens part. [Photo was taken by Mitsue Ikeda, on December 13, 2011]
Fig. 9. The current Ikeda-Gumi furo built in 2011. Left: The front and the top of the furo, Center: the back of the furo with a back lid and a portable bat- tery. Right (from left to right): a focus lens part, the furo, a condenser lens part. [Photo was taken by Mitsue Ikeda, on December 13, 2011]
Fig. 10. Trick tane-itas for "Doke Shishi Kai", restored in 2013. [Photo by Mitsue Ikeda, on February 01, 2015]
Fig. 10. Trick tane-itas for "Doke Shishi Kai", restored in 2013. [Photo by Mitsue Ikeda, on February 01, 2015]
Fig. 11. "Karinsha (a Sketch of Nishiki Kage-e)" [Photo by Mitsue Ikeda on December 24, 2017]
Fig. 11. "Karinsha (a Sketch of Nishiki Kage-e)" [Photo by Mitsue Ikeda on December 24, 2017]
Fig. 12. Members of “Nishiki Kage-e Ikeda-Gumi” practicing , multiple furos are utilized to rear project images onto the screen. [Photo by Yoshinori Matsuo, November 1, 2011]
Fig. 12. Members of “Nishiki Kage-e Ikeda-Gumi” practicing , multiple furos are utilized to rear project images onto the screen. [Photo by Yoshinori Matsuo, November 1, 2011]
Fig. 13. Example of yokai (supernatural creatures) depicted by a tane-ita slide. From “Sakura Shirana- mi Hyoi To Bukuro (Floating Thief at Cherry Blos- som Time)”. [Photo by Yoshinori Matsuo, November 7, 2011]
Fig. 13. Example of yokai (supernatural creatures) depicted by a tane-ita slide. From “Sakura Shirana- mi Hyoi To Bukuro (Floating Thief at Cherry Blos- som Time)”. [Photo by Yoshinori Matsuo, November 7, 2011]
One of Nishiki Kage-e Ikeda-Gumi’s original plays, “Sakura Shiranami Hyoi To Bukuro (Floating Thief at Cherry Blossom Time)” provides a good example of the characteristics of Japanese magic lantern’s spatia representation described above. On one tane- ita slide, a man and a door are shown and the rest of slide is completely blacked out (Fig. 14). The man’s movement and his dialogue tell the audience that there is a house behind the door. The tricks attached to this tane-ita have the man open the door and he then disappears into the house. These movements inform that the next scene will take place inside the house. Fig. 14. The scene of a man approaching a door from “Sakura Shiranami Hyoi To Bukuro (Floating Thief at Cherry Blossom Time).” [Photo by Yoshinori Matsuo, November 7, 2010]
One of Nishiki Kage-e Ikeda-Gumi’s original plays, “Sakura Shiranami Hyoi To Bukuro (Floating Thief at Cherry Blossom Time)” provides a good example of the characteristics of Japanese magic lantern’s spatia representation described above. On one tane- ita slide, a man and a door are shown and the rest of slide is completely blacked out (Fig. 14). The man’s movement and his dialogue tell the audience that there is a house behind the door. The tricks attached to this tane-ita have the man open the door and he then disappears into the house. These movements inform that the next scene will take place inside the house. Fig. 14. The scene of a man approaching a door from “Sakura Shiranami Hyoi To Bukuro (Floating Thief at Cherry Blossom Time).” [Photo by Yoshinori Matsuo, November 7, 2010]
Figure 15. The underwater scene from “Sakura Shi- ranami Hyoi To Bukuro (Floating Thief at lizing every possibility of its symbolic space is a key to portraying the world of the Japanese magic lantern.
Figure 15. The underwater scene from “Sakura Shi- ranami Hyoi To Bukuro (Floating Thief at lizing every possibility of its symbolic space is a key to portraying the world of the Japanese magic lantern.
This article, derived from the Ph.D. dissertation men- tioned on the previous page, examines the magic lan- tern in Japan from a very different perspective from that of Mitsue Ikeda’s article. The author focuses on the cultural impact of the magic lantern rather than technical details of its construction and public display. In particular he argues that understanding of how the magic lantern works became a key element in under- standing the structure and function of the human eye in the period from the 1770s to the 1820s. The magic lantern was introduced into Japan by Dutch traders in the 18th century. The author links early interest in the magic lantern to writings of the Rangaku (Dutch Studies) movement, a major avenue for introducing western empirical methods into Japanese science and medicine. After a short overview of the early history of the magic lantern in Japan, the author devotes much of the article to Japanese ophthalmology and the problems of making direct observations on the work- ings of the eye. The more easily understood optics of the magic lantern thus became a means for under- standing optics of the eye. Japanese illustration (1851) comparing the optics of the magic lantern (top) with the optics of the human eye.
This article, derived from the Ph.D. dissertation men- tioned on the previous page, examines the magic lan- tern in Japan from a very different perspective from that of Mitsue Ikeda’s article. The author focuses on the cultural impact of the magic lantern rather than technical details of its construction and public display. In particular he argues that understanding of how the magic lantern works became a key element in under- standing the structure and function of the human eye in the period from the 1770s to the 1820s. The magic lantern was introduced into Japan by Dutch traders in the 18th century. The author links early interest in the magic lantern to writings of the Rangaku (Dutch Studies) movement, a major avenue for introducing western empirical methods into Japanese science and medicine. After a short overview of the early history of the magic lantern in Japan, the author devotes much of the article to Japanese ophthalmology and the problems of making direct observations on the work- ings of the eye. The more easily understood optics of the magic lantern thus became a means for under- standing optics of the eye. Japanese illustration (1851) comparing the optics of the magic lantern (top) with the optics of the human eye.
Lynne Kent. 2019. Conjuring unseen forces: rainmaking in Australia with John Henry Pep- per. Journal of Science and Popular Culture 2:143-154.
Lynne Kent. 2019. Conjuring unseen forces: rainmaking in Australia with John Henry Pep- per. Journal of Science and Popular Culture 2:143-154.
Above: The result of light source experiment using a wooden Japanese magic lan- tern. From top to bottom: 1) An earthen oil lamp filled with rapeseed oil and wicks; 2) A kerosene lamp; 3) A Halogen lamp 12V 35W with a reflector [experiment and pho- tos by Mitsue Ikeda]. Only the bright modern source produces a realistic color for the cherry trees (right), but 19th century audiences would have experienced a more dimly lit image.
Above: The result of light source experiment using a wooden Japanese magic lan- tern. From top to bottom: 1) An earthen oil lamp filled with rapeseed oil and wicks; 2) A kerosene lamp; 3) A Halogen lamp 12V 35W with a reflector [experiment and pho- tos by Mitsue Ikeda]. Only the bright modern source produces a realistic color for the cherry trees (right), but 19th century audiences would have experienced a more dimly lit image.
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Japanese TheatreAnimation HistoryHistory magic lanternJapanese film history
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