From Edo Culture: Daily Life and Diversions in Urban Japan, 1600–1868, by Nishiyama Matsunosuke, trans. and ed. by Gerald Groemer (U. Hawai‘i Press, 1997), pp. 13-14:
There is yet another reason why Edo-period culture has not been properly appreciated: the influence of Chinese culture has not yet been properly understood. During the Edo period Chinese culture was highly venerated. Its deep and lasting influence was important, not just for Japanese Confucianism and Confucian scholarship, but for a whole range of other pursuits as well. The effect of Chinese poetry and literature, or of Ming and Qing dynasty art and scholarship, can hardly be overestimated. For example, the book Tianxia yitong zhi (Records of All the World) greatly influenced the fudoki (gazetteers) produced throughout Japan. This volume was published as Dai Min ittō-shi (Records of the Ming Dynasty) at the beginning of the Genroku era (1688–1704) by a warrior from the Wakayama domain. Similarly, the volumes Gai yu congkao (Gaiyō sōkō in Japanese) by ZhaoYi (1727–1814) were also profoundly influential. The respect for things Chinese lasted until the Sino-Japanese War (1894–1895), but thereafter the fact that Chinese culture had once been of great importance faded from memory.
Similarly, “Dutch learning” (that is, Western learning, rangaku) was also highly important during the Edo period. Over one hundred times throughout the Edo period, the chief of the Dutch settlement at Dejima in Nagasaki came to Edo to receive an audience and present gifts to the shogun. For some twenty or thirty days during the spring, the chief and his retinue stayed at the Nagasaki-ya, a lodge at Hongoku-chō. From around the middle of the Edo period, a number of cultured individuals made use of these few weeks to engage in unfettered cultural exchange widi the Dutch. Japanese were strictly forbidden to enter the Dutch outpost of Dejima in Nagasaki, but within Edo much free activity was possible. After the Meiji Restoration, however, the diplomatic relations maintained by the Tokugawa bakufu with the Dutch were overshadowed by the Meiji government’s policy of strengthening ties with England, France, Germany, and the United States. In turn, much that concerned rangaku was forgotten. Although cultural exchange with the Dutch was once of great significance, its conditions and historical role have only recently begun to receive scholarly attention. Such examples show that Edo-period culture demands reevaluation. The type of historical perspective suggested here should begin to make a correct appraisal possible.
From Edo Culture: Daily Life and Diversions in Urban Japan, 1600–1868, by Nishiyama Matsunosuke, trans. and ed. by Gerald Groemer (U. Hawai‘i Press, 1997), pp. 8-9:
The strength of Edo-period culture is not to be found in extant artifacts of the era. Rather, its strength lies chiefly in its spectacular breadth and diversity. This was a period of unprecedented cultural prosperity. Even the general public took part in leisure pursuits and played an active role in the creation of new cultural forms. The average commoner read books or visited the theater; some even wrote haiku verses and senryū (seventeen-syllable comic verse) or performed musical genres such as gidayū, kato bushi, shinnai, or nagauta. Others went on pilgrimages sponsored by religious associations (kō) and toured distant places. The Edo period saw a rise in the quality of culinary fare that commoners consumed; clothing and housing too showed marked improvement. Even the poor managed occasionally to indulge in the luxury of purchasing a “custom-made” comb or an ornamental hairpin. The demand for such cultural items fostered the development of a highly refined handicraft industry. Never before had there been such an extraordinary variety of hand-made cultural artifacts in Japan.
Even in remote areas in the countryside or on distant, isolated islands, inhabitants cultivated rare varieties of flowers and trees and marketed unusual rocks or curiosities. As Suzuki Bokushi (1770-1842) noted in his Akiyama kikō (Autumn Mountain Travelogue, 1831), people in every corner of the land were busy manufacturing local specialties. Such articles were being produced, one by one, by thirty million people. By the late Edo period this activity had stimulated an unprecedented development of the transportation network. Mountain roads, waterways, and sea routes were extended in all directions to every nook and cranny of the country. Indeed, the construction of footpaths during the late Edo period can be seen as a kind of symbol of this golden age of handicraft culture.
No doubt, Japan today boasts a high level of culture. But the price has been high as well: severe environmental pollution and the wholesale destruction of nature. Until the end of the Edo period, red-crested cranes could still be seen soaring through the skies over the city; swans and geese flocked to Shinobazu Pond in Ueno Park. Foxes and badgers were found everywhere, and cuckoos (hototogisu) flourished in such numbers that their song was considered a nuisance. Even during the late Meiji period the water of the Sumida River was clean enough to be used for brewing tea while boating. Human activity imparted only minimal damage to nature. Viewed in this way, Edo-period culture seems almost ideal.
Certain elements of the Edo-period cultural heritage were vulgar, no doubt, but a more comprehensive view of the period reveals an almost infinite number of admirable qualities. Nevertheless, after the Meiji Restoration of 1868, governmental policies of modernization and westernization dictated a wholesale rejection of the preceding feudal era. Even the best elements of Edo-period culture were deemed outdated and vulgar and were thought to require prompt and thorough extirpation. That the true value of Edo-period culture could not yet be properly assessed had much to do with the lack of any inquiry into its origins and actual conditions. Recent research, however, has shown that Edo-period culture was outstanding in its own way and not at all inferior to the culture of earlier or later periods.