viii5 Unfortunately, the authors do not provide bibliographical information for the quotation, and we are unable to specify the original paper or book authored by Henri Edouard Naville.6 See, for example, the illustration on p. 57 and compare with the note on p. 28.Henri Edouard Naville5 (1844-1926), a Swiss Egyptologist. These additions are obviously intended to enhance the credibility of the book. Whereas the main body of the text remains largely unchanged, with only several corrections of minor typographic and factual errors, there are thirteen new illustrations added to the second edition. Furthermore, some existing illustrations have been relocated to other sections of the book and even expanded for more dramatic effect.6 This last point underscores Hasegawa’s outstanding editorial direction. The second reason for reprinting the first edition stems more from an aesthetic per-spective. Namely, while Hasegawa’s books were not produced on a mass scale, as mentioned above, the woodblocks used for printing inevitably wore out over time. This is where the beauty and value of the first edition lie. When closely compared with those in the second edition (such as the aforementioned digital book in the Tokyo Woman’s Christian Universi-ty collection), the woodblock prints in our copy still retain the delicate lines of brush strokes by the original painter. Although the name of the artist is not credited in either edition, researchers have speculatively attributed the illustrations to Kason Suzuki (Sharf 1994: 68, Ishizawa 2004: 141). Here, we follow these previous studies in attributing the illustrations to Suzuki. Indeed, it is Suzuki’s illustrations rather than the story itself that are of particular interest to us. From today’s perspective, the Bowleses’ text reflects nothing more than a typ-ical Western Orientalist gaze in the Saidean sense, that is, seeing the Orient to construe the exotic, disorganized, and backward Other in the mirror-image of the self (Said 1978). Their narrative reveals as much about themselves and to whom they’re writing as it does about the people and places they describe. Conversely, the artist faced a huge challenge of depicting entirely unfamiliar places and people he had never seen himself. Certainly, Suzuki must have been provided with materials for reference, such as the black and white collotypes on the title page and p. 45. But traces of the artist’s struggle become evident in details that had to be supplemented by his own imagination. See, for example, the hand gesture during the prostration (sujūd) of Muslim prayer on p. 29 or the garment designs on p. 39 and p. 46. One can point out here the recurrent hallmark of the relationship between Japan and the Middle East in the late-nineteenth and early-twentieth centuries (which persists to some extent today); namely, that knowledge about the other is essentially imported from the West
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