1.
National Museum of Western Art
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The National Museum of Western Art is the premier public art gallery in Japan specializing in art from the Western tradition. The Museum is located in the museum and zoo complex in Ueno Park in Taito and this popular Tokyo museum is also known by the English acronym NMWA. The NMWA was established on June 10,1959, the museum developed around the core art collection of Matsukata Kojiro, whose thinking is mirrored in the museum he anticipated. Matsukatas acquisition strategies were designed to create the nucleus of what he hoped would become a national museum specializing in Western art. The museum exhibits works from the Renaissance to the early 20th century, the museums purpose is to provide the public with opportunities to appreciate Western art. The museum is involved in the development and organization of a special exhibition every year and these exhibitions feature works on loan from private collections and museums both in and out of Japan. In 1963, NMWA created a splash on the art scene by bringing together 450 works by Marc Chagall. NMWA has purchased art work every year since its establishment in its efforts to build, the museum houses about 4,500 works, including examples of painting and sculpture from the 14th through the beginning of the 20th century. Many of these paintings are religious paintings featuring imagery from Christianity, paintings, 19th-20th century The New Wing displays 19th- to early 20th-century French paintings, including works by Delacroix, Courbet, Manet, Renoir, Monet, Van Gogh, Gauguin, and Moreau. The galleries also feature works by the generation of artists, such as Marquet, Picasso, Soutin, Ernst, Miró, Dubuffet. Drawings The NMWA drawing collection centers on works by such 18th- to 19th-century French artists as Boucher, Fragonard, Delacroix, Moreau, Rodin, and Cézanne. Prints The prints collection features works by Dürer, Holbein, Rembrandt, Callot, Piranesi, Goya, and Klinger, ranging from the 15th century through the early 20th century. The Union Catalog of the Collections of the National Art Museums, Japan is a catalog of material held by the four Japanese national art museums, The National Museum of Modern Art. The Main Building was designed by the Swiss architect Charles-Edouard Jeanneret-Gris, the multi-story, reinforced concrete building was completed in March 1959 as a symbol of the resumption of diplomatic ties between Japan and France after World War II. The museum was built to house the collection of works gathered by the industrialist Matsukata Kojiro between 1920 and 1923 and his collection had remained in England and France until after World War II when the Japanese Government asked France for its return to Japan. After France stipulated that a French architect should design the museum that would house the collection, Le Corbusier was selected for this task. Le Corbusier designed a masterplan to include the surrounding the museum. The design itself evolved into a building far exceeding the original brief and the library, a lecture hall
2.
Auguste Rodin
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François Auguste René Rodin, known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past and he was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Pariss foremost school of art. Sculpturally, Rodin possessed an ability to model a complex, turbulent. Many of his most notable sculptures were roundly criticized during his lifetime and they clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodins most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community, by 1900, he was a world-renowned artist. Wealthy private clients sought Rodins work after his Worlds Fair exhibit and he married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, Rodin remains one of the few sculptors widely known outside the visual arts community. Rodin was born in 1840 into a family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin. He was largely self-educated, and began to draw at age ten, between ages 14 and 17, Rodin attended the Petite École, a school specializing in art and mathematics, where he studied drawing and painting. His drawing teacher, Horace Lecoq de Boisbaudran, believed in first developing the personality of his students so that they observed with their own eyes, Rodin still expressed appreciation for his teacher much later in life. It was at Petite École that he first met Jules Dalou, in 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance, he did not succeed, and two further applications were also denied. Given that entrance requirements at the Grande École were not particularly high, Rodins inability to gain entrance may have been due to the judges Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. Leaving the Petite École in 1857, Rodin earned a living as a craftsman, Rodins sister Maria, two years his senior, died of peritonitis in a convent in 1862. Rodin was anguished and felt guilty because he had introduced Maria to an unfaithful suitor, turning away from art, he briefly joined a Catholic order, the Congregation of the Blessed Sacrament. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodins talent and, sensing his lack of suitability for the order and he returned to work as a decorator, while taking classes with animal sculptor Antoine-Louis Barye. The teachers attention to detail – his finely rendered musculature of animals in motion – significantly influenced Rodin, in 1864, Rodin began to live with a young seamstress named Rose Beuret, with whom he would stay – with ranging commitment – for the rest of his life. The couple had a son, Auguste-Eugène Beuret and that year, Rodin offered his first sculpture for exhibition, and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets dart
3.
Meiji period
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The Meiji period, also known as the Meiji era, is a Japanese era which extended from October 23,1868 through July 30,1912. This period represents the first half of the Empire of Japan during which Japanese society moved from being a feudal society to its modern form. Fundamental changes affected its structure, internal politics, economy, military. The period corresponded with the reign of Emperor Meiji after 1868 and it was succeeded by the Taishō period upon the accession of Emperor Taishō to the throne. On February 3,1867, the 14-year-old Prince Mutsuhito succeeded his father, Emperor Kōmei, on November 9,1867, then-Shogun Tokugawa Yoshinobu tendered his resignation to the Emperor, and formally stepped down ten days later. Imperial restoration occurred the year on January 3,1868. The fall of Edo in the summer of 1868 marked the end of the Tokugawa shogunate, and a new era, Meiji, was proclaimed. The first reform was the promulgation of the Five Charter Oath in 1868, implicit in the Charter Oath was an end to exclusive political rule by the bakufu, and a move toward more democratic participation in government. To implement the Charter Oath, a rather short-lived constitution with eleven articles was drawn up in June 1868, the Meiji government assured the foreign powers that it would follow the old treaties negotiated by the bakufu and announced that it would act in accordance with international law. Mutsuhito, who was to reign until 1912, selected a new reign title—Meiji, to further dramatize the new order, the capital was relocated from Kyoto, where it had been situated since 794, to Tokyo, the new name for Edo. Confirmed in their positions, the daimyo became governors. The han were replaced with prefectures in 1871, and authority continued to flow to the national government, officials from the favored former han, such as Satsuma, Chōshū, Tosa, and Hizen staffed the new ministries. Formerly old court nobles, and lower-ranking but more radical samurai, replaced bakufu appointees, in as much as the Meiji Restoration had sought to return the Emperor to a preeminent position, efforts were made to establish a Shinto-oriented state much like it was 1,000 years earlier. Furthermore, a new State Shinto had to be constructed for the purpose, in 1871, the Office of Shinto Worship was established, ranking even above the Council of State in importance. The kokutai ideas of the Mito school were embraced, and the ancestry of the Imperial House was emphasized. The government supported Shinto teachers, a small but important move, although the Office of Shinto Worship was demoted in 1872, by 1877 the Home Ministry controlled all Shinto shrines and certain Shinto sects were given state recognition. Shinto was released from Buddhist administration and its properties restored, although Buddhism suffered from state sponsorship of Shinto, it had its own resurgence. Christianity also was legalized, and Confucianism remained an important ethical doctrine, increasingly, however, Japanese thinkers identified with Western ideology and methods
4.
Rutgers University
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Rutgers was chartered as Queens College on November 10,1766. It is the eighth-oldest college in the United States and one of the nine colonial colleges chartered before the American Revolution, for most of its existence, Rutgers was a private liberal arts college affiliated with the Dutch Reformed Church. The college expanded its role in research and instruction in agriculture, engineering and it gained university status in 1924 with the introduction of graduate education and further expansion. However, Rutgers evolved into a public research university after being designated The State University of New Jersey by the New Jersey Legislature in laws enacted in 1945 and 1956. It is one of two colonial colleges that later became public universities. Rutgers has three campuses located throughout New Jersey, the New Brunswick campus in New Brunswick and adjacent Piscataway, the Newark campus, the university has additional facilities elsewhere in New Jersey. Instruction is offered by 9,000 faculty members in 175 academic departments to over 45,000 undergraduate students and more than 20,000 graduate, through several years of effort by the Rev. Theodorus Jacobus Frelinghuysen and Rev. The Grammar School, today the private Rutgers Preparatory School, was a part of the community until 1959. New Brunswick was chosen as the location over Hackensack because the New Brunswick Dutch had the support of the Anglican population, despite the religious nature of the early college, the first classes were held at a tavern called the Sign of the Red Lion. When the Revolutionary War broke out and taverns were suspected by the British as being hotbeds of rebel activity, in its early years, due to a lack of funds, Queens College was closed for two extended periods. Early trustees considered merging the college with the College of New Jersey, in Princeton, in 1808, after raising $12,000, the college was temporarily reopened and broke ground on a building of its own, called Old Queens, designed by architect John McComb, Jr. The colleges third president, the Rev. Ira Condict, laid the cornerstone on April 27,1809, shortly after, the New Brunswick Theological Seminary, founded in 1784, relocated from Brooklyn, New York, to New Brunswick, and shared facilities with Queens College. During those formative years, all three institutions fit into Old Queens, in 1830, the Queens College Grammar School moved across the street, and in 1856, the Seminary relocated to a seven-acre tract less than one-half miles away. According to the Board of Trustees, Colonel Rutgers was honored because he epitomized Christian values, the Rutgers Scientific School would expand over the years to grow into the New Jersey Agricultural Experiment Station and divide into the College of Engineering and the College of Agriculture. Rutgers created the New Jersey College for Women in 1918, with the development of graduate education, and the continued expansion of the institution, the collection of schools became Rutgers University in 1924. Rutgers College continued as an arts college within the university. Rutgers was designated the State University of New Jersey by acts of the New Jersey Legislature in 1945 and 1956, shortly after, the University of Newark was merged with Rutgers in 1946, as were the College of South Jersey and South Jersey Law School, in 1950. These two institutions became Rutgers University–Newark and Rutgers University–Camden, respectively, on September 10,1970, after much debate, the Board of Governors voted to admit women into Rutgers College
5.
Ukiyo-e
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The ukiyo-e genre of art flourished in Japan from the 17th through 19th centuries. The term ukiyo-e translates as picture of the floating world, Edo became the seat of government for the military dictatorship in the early 17th century. The merchant class at the bottom of the social order benefitted most from the rapid economic growth. Many indulged in the entertainments of kabuki theatre, courtesans, the term ukiyo came to describe this hedonistic lifestyle. The earliest success was in the 1670s with Moronobus paintings and monochromatic prints of beautiful women, colour in prints came gradually—at first added by hand for special commissions. By the 1740s, artists such as Masanobu used multiple woodblocks to print areas of colour, from the 1760s the success of Harunobus brocade prints led to full-colour production becoming standard, each print made with numerous blocks. Specialists have prized the portraits of beauties and actors by masters such as Kiyonaga, Utamaro, Following the deaths of these two masters, and against the technological and social modernization that followed the Meiji Restoration of 1868, ukiyo-e production went into steep decline. Some ukiyo-e artists specialized in making paintings, but most works were prints, as printing was done by hand, printers were able to achieve effects impractical with machines, such as the blending or gradation of colours on the printing block. Ukiyo-e was central to forming the Wests perception of Japanese art in the late 19th century–especially the landscapes of Hokusai, Prints since the late 20th century have continued in an individualist vein, often made with techniques imported from the West. The Kanō school of painting incorporated features of both, since antiquity, Japanese art had found patrons in the aristocracy, military governments, and religious authorities. Later works appeared by and for townspeople, including inexpensive monochromatic paintings of female beauties and scenes of the theatre and pleasure districts, the hand-produced nature of these shikomi-e limited the scale of their production, a limit that was soon overcome by genres that turned to mass-produced woodblock printing. During a prolonged period of war in the 16th century. In the early 17th century Tokugawa Ieyasu unified the country and was appointed Shogun with supreme power over Japan and he consolidated his government in the village of Edo, and required the territorial lords to assemble there in alternate years with their entourages. The demands of the growing capital drew many male labourers from the country, the village grew during the Edo period from a population of 1800 to over a million in the 19th century. The centralized shogunate put an end to the power of the machishū and divided the population into four classes, with the ruling samurai class at the top. The experience of the quarters was open to those of sufficient wealth, manners. Woodblock printing in Japan traces back to the Hyakumantō Darani in 770 CE, until the 17th century such printing was reserved for Buddhist seals and images. Movable type appeared around 1600, but as the Japanese writing system required about 100,000 type pieces, in Saga Domain, calligrapher Honami Kōetsu and publisher Suminokura Soan combined printed text and images in an adaptation of The Tales of Ise and other works of literature
6.
Tokyo National Museum
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The Tokyo National Museum, or TNM, established in 1872, is the oldest Japanese national museum, the largest art museum in Japan and one of the largest art museums in the world. The museum collects, houses, and preserves a collection of art works and archaeological objects of Asia. The museum holds over 110,000 objects, which includes 87 Japanese National Treasure holdings and 610 Important Cultural Property holdings, the museum also conducts research and organizes educational events related to its collection. The museum is located inside Ueno Park in Taitō, Tokyo, the facilities consist of the Honkan, Tōyōkan, Hyōkeikan, Heiseikan, Hōryū-ji Hōmotsukan, as well as Shiryōkan, and other facilities. There are restaurants and shops within the premises, as well as outdoor exhibitions. The museums collections focus on ancient Japanese art and Asian art along the Silk Road, There is also a large collection of Greco-Buddhist art. All information is provided in Japanese, Chinese, English, French, German, Korean, the museum came into being in 1872, when the first exhibition was held by the Museum Department of the Ministry of Education at the Taiseiden Hall. This marked the inauguration of the first museum in Japan, soon after the opening, the museum moved to Uchiyamashita-cho, then in 1882 moved again to the Ueno Park, where it stands today. Since its establishment, the museum has experienced major challenges such as the Great Kantō earthquake in 1923, in more than the 120 years of its history, the museum has gone under much evolution and transformation through organizational reforms and administrative change. The museum went through name changes, being called the Imperial Museum in 1886. 1882—The museum was moves to its present location, a formerly occupied by the headquarters of the Kanei-ji Temple in Ueno. 1889—The Imperial Household Ministry accepts control of Museum collections, and the institution is renamed the Imperial Museum, 1900—The museum is renamed Tokyo Imperial Household Museum. 1923—The museums main building is damaged in the Great Kantō earthquake of 1923, 1925—Objects in the Nature division are transferred to the Tokyo Museum of the Ministry of Education, now renamed the National Science Museum. 1938—The museums new building is opened. 1947—The Ministry of Education accepts responsibility for Museum collections, and institution is renamed the National Museum, 1978—The Hyokeikan building is designated an Important Cultural Property. 1999—The Gallery of Horyu-ji Treasures and the Heisei-kan buildings are opened, 2001—The museum is renamed Tokyo National Museum of the Independent Administrative Institution National Museum. 2001—The Hon-kan building is designated an Important Cultural Property, 2005—The IAI National Museum is expanded with addition of Kyushu National Museum. It was severely damaged in the Great Kantō earthquake of 1923, in contrast to the original buildings more Western style, the design of the present main building by Jin Watanabe is the more nativist Imperial Crown style
7.
Frank Brangwyn
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Sir Frank William Brangwyn RA RWS RBA was an Anglo-Welsh artist, painter, water colourist, engraver, illustrator and progressive designer. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and it has been estimated that during his lifetime Brangwyn produced over 12,000 works. When, at the age of seventeen, one of his paintings was accepted at the Royal Academy Summer Exhibition, initially he painted traditional subjects about the sea and life on the seas. His 1890 canvas, Funeral At Sea won a medal of the class at the 1891 Paris Salon. His forenames were registered as Guillaume François, in Bruges his father maintained a large workshop with several staff and worked on numerous civic projects as well as the parish church. William Curtis Brangwyn was born in Buckinghamshire to a Welsh family and married Eleanor Griffiths, in 1874 the family moved back to the United Kingdom where William Curtis Brangwyn established a successful design practice. Frank Brangwyn attended Westminster City School but often played traunt to spend time in his fathers workshop or drawing in the South Kensington Museum. At the age of seventeen, one of Brangwyn paintings was accepted, and then sold to a shipowner, at the Royal Academy Summer Exhibition, Brangwyn joined the Royal Navy Volunteer Reserve and began painting seascapes. He convinced the shipowner who had bought his Royal Academy picture to let him sail on a freighter to Istanbul and this trip provided Brangwyn with the material for several notable paintings. Whereas Funeral at Sea, which won a medal at the Paris Salon in 1891 was mostly composed in grey, The Golden Horn, Constantinople was much brighter and full of colour. Soon Brangwyn was attracted by the light and the colours of these southern countries at a time when Orientalism was becoming a favoured theme for many painters. He made many paintings and drawings, particularly of Spain, Egypt, Turkey and Morocco and this lightened his palette, a change that initially did not find critical favor but helped establish his international reputation. In 1895 the French government purchased his painting Market in Morocco, in 1917 he collaborated with the Japanese artist Urushibara Mokuchu on a series of woodblock prints. For his austere but decorative designs he was recognized by continental and American critics as a prominent artist, Brangwyn had an affair with Ellen Kate Chesterfield, which produced a son, James Barron Chesterfield-Brangwyn, born 1885 in Mevagissey, Cornwall. James later emigrated to Australia in 1909, initially working on a farm in Townsville, Queensland, in 1896, Brangwyn married Lucy Ray, a nurse, who died in 1924. He leased Temple Lodge,51 Queen Caroline Street, Hammersmith, London from 1900 to 1937/38 and bought The Jointure, Ditchling, Sussex in 1918. In 1908 Brangwyn was commissioned to paint the apse of St Aidans Church, Leeds, the mosaic was completed in 1916. It covers the apse, and shows the life of St Aidan. ]Along with Diego Rivera and Josep Maria Sert, he was chosen by John D. Rockefeller
8.
National Diet Library
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The National Diet Library is the only national library in Japan. It was established in 1948 for the purpose of assisting members of the National Diet of Japan in researching matters of public policy, the library is similar in purpose and scope to the United States Library of Congress. The National Diet Library consists of two facilities in Tokyo and Kyoto, and several other branch libraries throughout Japan. The Diets power in prewar Japan was limited, and its need for information was correspondingly small, the original Diet libraries never developed either the collections or the services which might have made them vital adjuncts of genuinely responsible legislative activity. Until Japans defeat, moreover, the executive had controlled all political documents, depriving the people and the Diet of access to vital information. The U. S. occupation forces under General Douglas MacArthur deemed reform of the Diet library system to be an important part of the democratization of Japan after its defeat in World War II. In 1946, each house of the Diet formed its own National Diet Library Standing Committee, hani Gorō, a Marxist historian who had been imprisoned during the war for thought crimes and had been elected to the House of Councillors after the war, spearheaded the reform efforts. Hani envisioned the new body as both a citadel of popular sovereignty, and the means of realizing a peaceful revolution, the National Diet Library opened in June 1948 in the present-day State Guest-House with an initial collection of 100,000 volumes. The first Librarian of the Diet Library was the politician Tokujirō Kanamori, the philosopher Masakazu Nakai served as the first Vice Librarian. In 1949, the NDL merged with the National Library and became the national library in Japan. At this time the collection gained a million volumes previously housed in the former National Library in Ueno. In 1961, the NDL opened at its present location in Nagatachō, in 1986, the NDLs Annex was completed to accommodate a combined total of 12 million books and periodicals. The Kansai-kan, which opened in October 2002 in the Kansai Science City, has a collection of 6 million items, in May 2002, the NDL opened a new branch, the International Library of Childrens Literature, in the former building of the Imperial Library in Ueno. This branch contains some 400,000 items of literature from around the world. Though the NDLs original mandate was to be a library for the National Diet. In the fiscal year ending March 2004, for example, the library reported more than 250,000 reference inquiries, in contrast, as Japans national library, the NDL collects copies of all publications published in Japan. The NDL has an extensive collection of some 30 million pages of documents relating to the Occupation of Japan after World War II. This collection include the documents prepared by General Headquarters and the Supreme Commander of the Allied Powers, the Far Eastern Commission, the NDL maintains a collection of some 530,000 books and booklets and 2 million microform titles relating to the sciences
9.
Delta Upsilon
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Delta Upsilon is the sixth oldest extant, all-male, college Greek-letter organization in North America. Founded on November 4,1834, at Williams College in Williamstown, Massachusetts, it is popularly and informally known as Delta U or DU, though historically set at New England private universities, as of 2012 it had 76 chapters across the United States and Canada. A number of its buildings are listed on the National Register of Historic Places, in 2013, Business Insider named Delta Upsilon one of the 17 Fraternities with Top Wall Street Alumni. Notable members include president of the United States James A. Garfield, president of Colombia Juan Manuel Santos, pearson, Linus Pauling, Joseph P. Kennedy, Lou Holtz, Kurt Vonnegut, Jr. Charles Evans Hughes, Les Aspin, and others. The move was in response to the establishment of Kappa Alpha and Sigma Phi at the college and, unlike those fraternities, growth of the Social Fraternity was exponential. By 1838 two-thirds of all students at Williams belonged to the society engaged in militant agitation against the other two fraternities. One particularly violent incident occurred in 1839 when Oudens assaulted the Kappa Alpha house, more refined conflict took the form of pamphlets and debate. An 1855 debate proposed by Kappa Alpha against the Oudens was called-off after the Social Fraternity appointed James Garfield, in November 1847 Williams Social Fraternity met with similar societies that had recently been formed at Union College, Hamilton College, and Amherst College and formed the Anti-Secret Confederation. A second meeting of the Anti-Secret Confederation in 1852 saw fraternities from Wesleyan University, Case Western Reserve University, Colby College, and the University of Vermont join. At the 1862 convention, the mother chapter, Williams, declared the purposes of the fraternity had been corrupted and, over the objections of the other chapters. Two years later it dissolved itself, a chapter would eventually be restored. However, Williams being the first chapter and, therefore, self-chartering and it was permanently erased when Williams College banned all fraternities in 1962. In 1879, Delta Upsilon formally disavowed its policy of anti-secrecy and this explanation has been more skeptically received by some, with one period observer caustically noting that Delta Upsilon reveals very little more of what it does than the latter. Others commented that chapter meetings were closed to all but initiated members, therefore, it was proffered, the description of the fraternity as a private society rather than a non-secret one might be more accurate. At the turn of the century the fraternitys growth plateaued due, in part, in 1898, Delta Upsilon joined the recent trend of fraternity expansion into Canada by chartering a chapter at McGill University in Montreal. However, most expansion in this came in the form of the annexation of established local fraternities. Zeta Chi at Baker University was one local which unsuccessfully petitioned for annexation by Delta Upsilon, in 1909, Charles Evans Hughes led the incorporation of the fraternity. By 1920 the fraternity had grown to 44 chapters, gen. Clark became the first Canadian to hold the Delta Upsilon presidency
10.
Japanese name
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Japanese names in modern times usually consist of a family name, followed by a given name. More than one name is not generally used. Japanese names are written in kanji, which are characters usually Chinese in origin. The kanji for a name may have a variety of possible Japanese pronunciations, Names written in hiragana or katakana are phonetic renderings, and so lack the visual meaning of names expressed in the logographic kanji. Japanese family names are extremely varied, according to estimates, there are over 100,000 different surnames in use today in Japan, the three most common family names in Japan are Satō, Suzuki, and Takahashi. Many Japanese family names derive from features of the landscape, for example, Ishikawa means stone river, Yamamoto means the base of the mountain. While family names follow relatively consistent rules, given names are more diverse in pronunciation. Unusual pronunciations have especially become common, with this trend having increased significantly since the 1990s, male names often end in -rō or -ta, or contain ichi, kazu, ji, or dai while female names often end in -ko or -mi. Other popular endings for female names include -ka and -na, the majority of Japanese people have one surname and one given name with no other names, except for the Japanese imperial family, whose members bear no surname. The family name – myōji, uji or sei – precedes the given name, the given name may be referred to as the lower name because, in vertically written Japanese, the given name appears under the family name. People with mixed Japanese and foreign parentage may have middle names, historically, myōji, uji and sei had different meanings. Sei was originally the patrilineal surname which is why up till now it has granted only by the emperor as a title of male rank. The lower form of the name sei being tei which is a name in Japanese men. Although there was an ancestor in ancient Japan from whom the name Sei originally came. There were relatively few sei, and most of the noble clans trace their lineage either directly to these sei or to the courtiers of these sei. Uji was another name used to designate patrilineal descent, but later merged with myōji around the same time, myōji was, simply, what a family chooses to call itself, as opposed to the sei granted by the emperor. While it was passed on patrilineally in male ancestors including in male ancestors called haku, multiple Japanese characters have the same pronunciations, so several Japanese names have multiple meanings. A particular kanji itself can have multiple meanings and pronunciations, in some names, Japanese characters phonetically spell a name and have no intended meaning behind them
