1 10 88 Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map Layer Physical Dimensions The actual physical size of the original image Original Map: 440 x 320 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Pink (Terra Australis) Subject The topic of the resource Sekai bankoku Nihon yori kaijō risu kokuin ōjō jinbutsuzu (世界萬國日本ヨリ海上里数国印王城人物図) Description An account of the resource What it is: The pink layer primarily captures the southern landmass that stretches horizontally across the bottom of the map. The map is outlined in a uniform solid black line and presumably traces the coastline/border of the southern landmass. It borders the “Southwest Sea,” Big South Sea” and “Southeast Sea.” It also has clusters of islands off its coast, one of which is labelled “White People Island.” The landmass is cut off on the bottom at a specific latitude, and the landmass is covered by various texts and pictorial depictions of foreigners. Also, the pink pigment is light, which allows various other colors to be stamped on top of it. For instance, there are six blue mountain ranges, labels/texts, and squares with a hollow center (presumably cities/settlements) that are located on top of the pink area. Why it is important: This is one of three modes of depicting Terra Australis (Akeroyd 2016: 257), which illustrates the partial permeability of Japan’s "sankoku" system through its trading post in Nagasaki (Bolitho 2005: 22). The map displays Japanese cognizance of foreign lands, primarily conveyed in European maps, which support the idea of an important trading post like Nagasaki allowing for the continuous flow of knowledge in and out of Japan. However, the idea of Terra Australis was largely outmoded by 1850. The Dutch began to explore Australia in 1606, from its foothold in the Spice Islands and had explored much of the Australian coastline within half a century. Considering this in tandem the map’s resemblance Matteo Ricci’s "Kunyu Wanguo Quantu (坤輿萬國全圖)" published in 1602, there were cartographic advances that the 1850 map did not consider (Ricci 1602). It was more interested in portraying foreign and exotic elements like “White People Island” or the “Ghost countries” in the north. Hence, the 1850 map was probably reproduced without thorough considerations for cartographic veracity, supporting its function as similar to that of a Nagasaki-e postcard, extending ideas of foreign lands and exoticism. Citations: Akeroyd, Catherine. "Depicting 'Terra Australis': An Analysis of the Imagery on the Unknown Southern Continent on Renaissance World Maps, 1520s-1620s." Imago Mundi 68, no. 2, 257. 2016. Bolitho, Harold. “The Edo Period: 1603-1868.” In The Hotei Encyclopedia of Japanese Woodblock Prints, edited by Amy Reigle Newland and Julie Nelson Davis, 17-35. Amsterdam: Hotei Publishing, 2005. Ricci, Matteo. "Kunyu Wanguo Quantu (坤輿萬國全圖) ." Map. Beijing, China: Matteo Ricci, 1602. Accessed September 23, 2017. https://www.wdl.org/en/item/4136/#q=Ricci&qla=en. Creator An entity primarily responsible for making the resource Al Lim Source A related resource from which the described resource is derived http://id.lib.harvard.edu/aleph/012316889/catalog Date A point or period of time associated with an event in the lifecycle of the resource 1850? Language A language of the resource Japanese Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map Layer Physical Dimensions The actual physical size of the original image Original Map: 440 x 320 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 2: Yellow (Europe) Subject The topic of the resource Sekai bankoku Nihon yori kaijō risu kokuin ōjō jinbutsuzu (世界萬國日本ヨリ海上里数国印王城人物図) Description An account of the resource What it is: The yellow layer depicts the landmass of the European continent, as well as the base color for Japan, the compass in the middle, mountain ranges in Europe and South America, and various labels around the map. The yellow color also includes islands off the coast of Europe, presumably the UK and perhaps even Iceland/Greenland though they are not labelled. The European continent seems to include the Middle East as well, separated from the African continent by the “West Red Sea,” presumably the modern day “Red Sea.” Yellow is also the base color for the label Asia and the southern landmass (Terra Australis), whereas Europe’s and Africa’s labels are in red. The color is also used in part for the fictitious characters’ garbs. Why it is important: The color hierarchy for labelling seems to be a bit inconsistent. If red-labelled Japan should be the center of the map and most important, then red should be the most important base color for labelling. Further, North America, Europe and Libya (Africa) have also been labelled in red. The labels for Europe and Terra Australia are yellow and South America seems to be uncolored. Using this information to create a hierarchy based on color, Japan on par with North America, Europe and Libya/Africa. This category would also be more important than Europe, Terra Australis and South America. This hierarchy does not compute with Japan being most important, relative to the other landmasses, and I cannot identify a pattern in this organization of color categorization for labels. The topographic coloration also seems to place the mountain ranges in (1) Japan (though the Japanese one has more detailed etches), Europe and South America in a separate category from (2) Asia, Terra Australis and North America. I’m not sure what the distinguishing feature between these two types of mountain ranges are, as they are classified by continent, not within them (which might suggest differentiation based on elevation). Again, these inconsistencies towards in colored hierarchy, both for landmass labelling and mountain ranges, suggest that veracity might not have been the primary objective for this map. Creator An entity primarily responsible for making the resource Al Lim Source A related resource from which the described resource is derived http://id.lib.harvard.edu/aleph/012316889/catalog Date A point or period of time associated with an event in the lifecycle of the resource 1850? Language A language of the resource Japanese Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map Layer Physical Dimensions The actual physical size of the original image Original Map: 440 x 320 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 3: Red (Asia) Subject The topic of the resource Sekai bankoku Nihon yori kaijō risu kokuin ōjō jinbutsuzu (世界萬國日本ヨリ海上里数国印王城人物図) Description An account of the resource What it is: The red layer includes the Asian landmass, the outline of Japan, the sun, the northern star, two rivers, several base colors for labels and colorings on the characters. There are several island groups, in what might be the East/South China Seas (the seas are not labelled), that are colored in red. Some of these islands extend beyond the equator or the horizontal dividing line in the middle of the map. Why it is important: Here, the idea of Japan in accordance with the “omphalos syndrome,” as the center of the world is depicted (Harley 2001: 66). The red outline differentiates it from the other countries or landmasses. Further, the red color is the same one used to color the “sun,” which reflects Japan’s importance as the land of the rising sun (日本 directly translates as sun’s origin). The project of nationalism is thus, to some extent, portrayed through this map. There is an interesting sense of (Cartesian-influenced?) dualism on this map portrayed with the reflection of the East and West Red Seas. The Red Sea in Asia is reflected in its counterpart in North America, which is presumably the Gulf of Mexico. This trope is also conveyed in the North/South stars, Southwest and Southeast Seas, where the whole map is centered on a compass with cardinal directions represented. Also, the red colors the garb of the picture of figures for the “Women Country” towards the top left of the map. This might have been imported from Ricci’s map, who notes that there is a Land of Women in the Caucasus that puts to death any male if there are too many (a possible reference to the Amazons) (Ricci and Giles 1918: 378). This goes in conjunction with other creatures like dwarves, giants and monocular peoples (which brings to mind Herodotus’ Histories). Nevertheless, it is interesting that red is the primary color for the women as opposed to blue for the monocular figure. Citations: Harley, J. B. The New Nature of Maps: Essays in the History of Cartography. Johns Hopkins paperbacks ed. Baltimore, Md: Johns Hopkins University Press, 2001. Ricci, Matteo, and Lionel Giles. "Translations from the Chinese World Map of Father Ricci." The Geographical Journal 52, no. 6, 367-85. 1918. Creator An entity primarily responsible for making the resource Al Lim Source A related resource from which the described resource is derived http://id.lib.harvard.edu/aleph/012316889/catalog Date A point or period of time associated with an event in the lifecycle of the resource 1850? Language A language of the resource Japanese Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map Layer Physical Dimensions The actual physical size of the original image Original Map: 440 x 320 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 4: Blue (Americas and Africa) Subject The topic of the resource Sekai bankoku Nihon yori kaijō risu kokuin ōjō jinbutsuzu (世界萬國日本ヨリ海上里数国印王城人物図) Description An account of the resource What it is: Both the Americas and what might be construed as Africa (Libya) are portrayed by the blue layer. This colored layer also includes mountain ranges in Asia and Terra Australis. I am most intrigued by one particular mountain range that seems to be located in a black landmass area in the north, near what is called “Ghost Country.” Blue is also the most frequently used color for the various figures around the map, which includes the garb of the monocular people. Interestingly, it is not the color of the seas/water bodies. It also seems to be the darkest color, other than the black that is overlaid on top. Why it is important: I have commented on the other layers regarding the potential for color hierarchies in illustrating mountain ranges. Here, both the Americas are depicted in a uniform blue, which resembles the African continent. This might be a function of distance, relative to the central Japanese landmass. Creator An entity primarily responsible for making the resource Al Lim Source A related resource from which the described resource is derived http://id.lib.harvard.edu/aleph/012316889/catalog Date A point or period of time associated with an event in the lifecycle of the resource 1850? Language A language of the resource Japanese Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Color Description An account of the resource Because my map is in German, there is much about it that I still don't understand. That's frustrating on some level, but it has also allowed me to employ the map-studying technique of ignoring text to focus on the visual components of the map and the ways in which they work together. One of the most striking such elements are the blocks of pale color used to subdivide the city. For my first layer, I wanted to capture these pastel zones and think about how they might be interacting with the rest of the map. Carrying this out made me more aware of several things: the way the river has been mastered to flow around and through the central city's defense walls, the abundance of zoned "green space" in the suburbs of the city (which mysteriously does not encompass all tree-heavy areas, signifying some distinction between different kinds of park areas), and the ongoing mystery of the pink sections. From a purely visual perspective, these pale complimentary colors are part of what makes this map so pleasing to me. From an information perspective, they are a bold and effective way of dividing space—but I still don't fully understand their implications. Creator An entity primarily responsible for making the resource Emma Talkoff Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 2: Walls Description An account of the resource One of the things that stood out most immediately to me about this map—again, both visually and interpretively—was the abundance of fortifications and walls of different types on display. Visually, the darkly rendered lines of the walls give them a boldness that overshadows other kinds of information on the map. I do not believe this map has a military or even strongly political purpose (because of its decorative qualities and emphasis on points of interest in the lower etching) but the choice to meticulously and darkly render so many different kinds of walls in the city to me sends a clear message about Berlin's robust infrastructure and defense. The kinds of walls included are so intricate and varied: countryside fences, imposing arched perimeter walls, fences demarcating property boundaries, city walls dividing streets and bridges, and of course the impressive intricacies of the inner star-shaped fortifications. What are these walls telling us? Is Berlin an unwelcoming place? Again, I don't think so. Instead, this seems to be a map of a city proud of its well-designed fortifications and distinctly organized suburbs. To reflect all of this, I traced the map's walls with a thick brush pen, both to emulate the look of the dark walls on the map and also to emphasize the way in which those walls seem to be a bold and intentionally abundant feature. Creator An entity primarily responsible for making the resource Emma Talkoff Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 3: Cultivated Nature Description An account of the resource Creating this layer probably made me most aware of the choices and labor involved in creating this map. When I set out to create a layer that would illustrate inclusion of trees and what appears to be cultivated land on the map, my eye had primarily been drawn to the cross-hatched sections around the border and the more darkly wooded zone on the right. As I settled into the task of tracing, however, the abundance of these sections became increasingly apparent. The the walls of the city had grabbed my eye as imposing and varied structures comprising the bulk of the city plan, I now realized that trees were just as multiplicitous and raised some even more interesting questions. First of all, the decision to include so many meticulously rendered trees could not have been casual. The trees are depicted in extensive and microscopic detail, varying in size and to some extent design depending where they appear on the map. The trees are arranged in incredibly neat patterns throughout the suburbs, leading me to a) conclude that this kind of natural cultivation was important to the city's graphic presentation of itself, and b) intensely wonder if the trees depicted here actually reflect real locations of trees, or are meant as more of a suggestion towards a kind of land. I am fascinated by both possibilities. Another interesting facet is the fact that there is a noticeable hole in the center of this layer—there are not trees within the fortified center of the city, where buildings are more dense. This combined with the fortifications and the color zoning hint at the fact that life might have looked pretty different in the city center compared to the outer city beyond the central fortifications. Also on this layer are the manicured park spaces dotted around the suburbs, which like the well-ordered lines of trees suggest to me an interest in cultivating nature; and the broader areas of farmland at the periphery which suggest a different kind of cultivation. Creator An entity primarily responsible for making the resource Emma Talkoff Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 4: Symbols and Markings Description An account of the resource In some ways, this layer is least important visually, but it also holds a key to my map's purpose and the interesting way that it blends genres. This layer contains a couple of graphic design elements—compass rose and arrows indicating the river direction—that are clearly somewhat derived from navigation but here seem to be more decorative; and a series of large bold letters scattered throughout the city that correspond to a key in an upper panel describing points of interest on the map. These elements are interesting to me for several reasons. First of all, I think they nicely blend decorative and informative goals, adding a distinct element of design to the map while still maintaining a function. Second, they reinforce the map's status as a map for tourists, or those interested in Berlin, or, put more broadly, a map that belies pride in a well-fortified, green city full of points of interest. All of that being said, I have to be careful not to jump to too many conclusions drawn from this layer, because the text remains unreadable to me. One note is that in this larger image, it is easy to see the lower lithograph and the map itself as too distinct, discreet elements without overlapping design or purpose. But this layer shows that that is a mistake—the inclusion of letters and a descriptive key provides a design bridge between the halves, as it is employed as an informative strategy by both; and it suggest a unity of purpose for the entire image that is simply approached in two different mediums or genres of drawing. Creator An entity primarily responsible for making the resource Emma Talkoff Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map layer Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Cultural Depictions Description An account of the resource This layer includes the 12 illustrations of people from different cultures in the map. The images are grouped by region and labeled with Japanese characters. I believe these depictions represent the desire of the mapmaker to make sense of the differing cultures that populate the globe. This map is attributed to the year 1850, a period during which Japan was beginning to make contact with the rest of the world. The different characterizations of cultures in the images, ranging from sophisticated to combat-focused, reflect the mapmaker's general understanding of the different ethnicities depicted. Creator An entity primarily responsible for making the resource Esther Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 2: Land Masses Description An account of the resource This layer features colored depictions of the continents included in the map. I chose this layer to focus on the Japanese perspective of the globe, which includes very basic depictions of the continents. I noticed nearly every land mass, including even the smallest islands, has a label in Japanese. I hypothesized that perhaps this is connected to the fact that Japan itself is an island, located near even smaller islands and thus the mapmaker was accustomed to paying close attention to even the smallest of lands. The only topographical depictions included are mountains, what appears to be a small body of water, and an illustration I interpret to be Mount Fuji. The ocean is left uncolored, while all the land is filled in. Creator An entity primarily responsible for making the resource Esther