Modern Tokyo Times » Culture

Japanese Art and Culture: Tattoo Sleeves Instant Kabuki

whiteleejay1 — Tue, 18 Jun 2013 12:51:04 +0000

Tattoo Sleeves Instant Kabuki

The adjacent photograph shows a relatively new trend for very cheap, disposable tattoo sleeves… to what end, I’m not sure. I thought I’d try one on in the interests of researching the fashion in the kabuki theatre for representing heroes and villains illustrated in ukiyo-e prints and later imitated by huge numbers of men in Edo thereafter.

The fashion for (https://twitter.com/Toshidama) elaborate full body tattoos starts with the great print artist Kuniyoshi in the late 1820’s with his momentous series depicting the Heroes of the Suikoden (Water Margin). Most experts agree that the designs for his fully inked heroes were invented by Kuniyoshi and had not existed before his illustrations were published in 1827. This of course makes him hugely important, especially given the international trend for elaborate tattoos that we see all around us today. The history of Japanese tattoos is well attested, and I have written on the subject elsewhere. I want to look here at the solution the kabuki theatre arrived at to represent these tattooed characters – hence the current experiment.

I never quite believed that stretched painted silk body suits would be entirely convincing. I was mistaken – the $3 novelty item actually worked very well, given that the colour and design were very crude. Oddly, the wearing of it created a minor transformation – I am ashamed to say that this included the flexing of muscles and posing in front of a mirror. I can well believe that a more elaborate and better designed suit of tattoos would bring about a powerful ‘in character’ transformation on stage. The above print commemorates a memorable event in kabuki theatre. A danmari is a slow, tense and highly stylised dance. In this case, the choreographed performance between two superstars of the kabuki theatre acting out the role of two heroes of the Suikoden, (water margin) a popular compendium of stories relating the activities of a gang of good hearted bandits in ancient China. The performances were a highlight of the 1886 season at the Shintomiza theatre in Tokyo, partly because of the extraordinary quality of the dance and also because of the dramatic staging and the lavish tattoos that covered the bared bodies of both performers. Danjuro on the left has dragons whilst Sadanji has cherry blossoms.

Kyumonryu Shishin is also called the nine dragoned (hence the tattoos), Kaosho Rochisin was a former military captain turned monk. In the dance and the print, the two super-heroes are fighting in the snow. It is a very fine and memorable print. Kunichika must have been very taken with the performance since he created several versions of the piece each nearly identical.

It seems as though these silk suits were also used to enhance other bodily attributes. The print on the left shows Ichikawa Danjuro as Arajishi Otokonosuke wrestling with the magician Nikki Danjo – here transformed into a rat. It is clear that Danjuro’s naturally slight frame has been beefed up with tattoo sleeves painted with exaggerated musculature, the bottom edge of the costume visible at the ankles.

Also illustrated here are very fetching versions for the contemporary disco available for women as well as men. For a few dollars it is now possible to transform anyone into a hero of the Suikoden, if only for one night.

Toshidama Gallery is showing prints of kabuki actors throughout July. All prints are for sale and if you join our monthly newsletter you can take advantage of generous discounts on all our prints.

More Information about TOSHIDAMA GALLERY

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Please visit http://toshidama.wordpress.com and http://toshidama.blogspot.jp/ for more articles and information.

Please visit http://toshidama-japanese-prints.com/ - On our site you will see a wonderful selection of Japanese woodblock prints for sale. Ukiyo-e (the Japanese name for woodblock prints of the 18th and 19th centuries) are beautiful, collectible and a sound financial investment.

http://toshidama.wordpress.com/2013/06/13/tattoo-sleeves-instant-kabuki/

Kuniyoshi and Japanese Art: Tranquility During a Period of Rapid Change

whiteleejay1 — Sat, 15 Jun 2013 04:19:30 +0000

Kuniyoshi and Japanese Art: Tranquility During a Period of Rapid Change

Lee Jay Walker

Modern Tokyo Times

Utagawa Kuniyoshi like many ukiyo-e artists tackled the usual themes of the “floating world.” However, Kuniyoshi really came alive when focusing on mystical tales and Japanese folklore. Yet this article is based on glimpses of tranquility and the other Kuniyoshi which is often neglected. After all, Kuniyoshi is associated with his rich art depicting monsters and other highly suggestive images.

Ando Hiroshige and Katsushika Hokusai spring to mind internationally in the world of ukiyo-e but Utagawa Kunisada outshone all ukiyo-e artists in Japan during his lifetime. This applies to being the most commercially successful artist. However, you can never judge art by commercial values. Also, ukiyo-e artists are very varied and individuals will have their own particular favorite and certainly many people revere the rich imagination of Kuniyoshi.

Another reality belonging to ukiyo-e is that great attention is focused on pre-Meiji artists. Yet this hides the real beauty of ukiyo-e because Meiji artists brought a new dimension to this amazing art form. After all, the changing world, new technological advancements and other art forms influenced them. They also had to compete with new artistic forces shaping Japan along with areas like photography which altered the artistic landscape. Not surprisingly, this brought about new freedom, ideas, styles and also fear.

The window of a new Japan was emerging despite Kuniyoshi dying before the revolutionary period of the Meiji Restoration. However, despite the changing world and all the turmoil that this would create irrespective if positive or negative. Alongside Kuniyoshi’s focus on strong images based on Japanese folklore, mystical tales and samurai warriors. He also depicts a tranquil Japan based on his amazing landscapes that he produced.

Therefore, if individuals don’t know much about Kuniyoshi his tranquil art is a nice introduction and images of landscape are very soothing on the eye. Indeed, in many ways it could be argued that while Kuniyoshi’s rich imagination focused on a world of mystical tales, Japanese folklore and powerful images of monsters – which may appear to be based on more myth than his landscape art. It could be stated that the tranquil nature of his landscape was more of a myth because life was very hard in Japan for many people.

This is the beauty of art because one reflection to one individual may show a world that they want to see and envisage. However, to another individual it will be partly mythical or deemed beyond the realm of reality. However, this is the mystery of art in all its manifestations.

Also, human nature is complex and the outside persona and internal reality is often very different. Therefore, by providing a glimpse into the natural aspect of Kuniyoshi’s art I hope to highlight a rich aspect of this unique artist who had such a rich imagination.

Kuniyoshi was a truly amazing artist and he also responded to the political changes surrounding him in the 1840′s. However, in a world of chaos and rapid change then his tranquil art appeals to individuals who seek nostalgia and a world based on blissful tranquility.

The Islamic revolution in Iran was originally based on a mythical past and in time many revolutionaries would regret. Similarly, the Russian Revolution was based on a new society and communist art depicted many images of unity and modernity based on equality.

It could well be that Kuniyoshi’s landscape images were more mythical than his images of monsters. However, that depends on the history that the individual wants to believe. Irrespective of the real reality of Japan during the lifetime of Kuniyoshi it is clear that his tranquil art is very soothing and this angle shows the richness of his art.

http://www.kuniyoshiproject.com/ – Fantastic website and just click onto the section you are interested in.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Japanese Culture and Art in Full Bloom: Isoda Koryusai

whiteleejay1 — Sun, 09 Jun 2013 06:09:49 +0000

Japanese Culture and Art in Full Bloom: Isoda Koryusai

Lee Jay Walker

Modern Tokyo Times

Isoda Koryusai (1735-1790) produced many stunning pieces of art related to culture, females, norms within high culture, and other important areas. Unlike most ukiyo-e artists, Isoda Koryusai was born into an elite samurai household and this aspect certainly influenced his approach to art. This applies to the subject matter and the refinement of his stunning art. In saying that, he also did shunga (erotic art) because of the commercial aspect of this type of art but the cultural context of shunga isn’t always understood outside of Japan. However, it is the cultural aspect of the art of Isoda Koryusai which stands out within the ukiyo-e art movement.

In a sense it could be stated that the unique backgrounds of individuals like Isoda Koryusai and Nishikawa Sukenobu freed them from many natural aspects of ukiyo-e. Nishikawa Sukenobu was based in Kyoto and this was rare for mainstream ukiyo-e artists and when viewing his most stunning pieces of art, it is clear that he focused on a world which was common to him. Also, Nishikawa Sukenobu was intrigued by certain cultural features related to Kyoto and for this reason his work also stands out within the ukiyo-e art world.

Therefore, the unique background of Isoda Koryusai meant that he could express a different Japan which belonged to a world that he knew. This meant that he had artistic freedom and he wasn’t concerned about “fitting in” within important themes of ukiyo-e. Instead, he focused on art which was related to him directly and the style of his art is blessed with individuality and a stunning freshness.

Aspects of the life of Isoda Koryusai remain vague because it wasn’t until the 1760s that he begins to make an impression in the field of art. Much speculation is stated about his early life and why he entered the art world. However, the jigsaw remains unfulfilled and for individuals who adore the art of Isoda Koryusai this is very mysterious and intriguing. Therefore, just like his art you have “a mysterious spirit about this amazing artist.”

If you adore traditional Japanese culture and are fascinated by the beauty of “old Japan” then Isoda Koryusai and Nishikawa Sukenobu will enlighten individuals in many areas. From this point alone, both artists have blessed Japanese art because they provide unique angles and perspectives within the world of ukiyo-e. The cultural aspect is very powerful and clearly the refined art of both artists is a wonder to behold. Also, when you view the ukiyo-e art movement it is clear that both went against the grain during their lifetime and for this reason both artists are highly valued.

Despite all the natural refinement of many pieces of art by Isoda Koryusai he doesn’t rank along with the most famous ukiyo-e artists when it applies to popularity and familiarity. This is a little surprising because Isoda Koryusai not only blesses Japanese art but he also enriches the ukiyo-e art movement. After all, he highlights the diversity of this amazing art movement which was so powerful in the Edo and early Meiji period.

In an earlier article about Isoda Koryusai and which was touched on briefly in this article, I comment that “The reason why Koryusai entered the ukiyo-e art world is still debatable because some experts claim that it was based on his love of art. Others, however, point to the fact that financial difficulties must have impacted on him or that both forces were pulling away at his artistic soul. Yet, this is speculation and unless fresh evidence appears then it is best to remain neutral on this fact about his life.”

Isoda Koryusai was brought up in a world where the Confucian worldview was extremely powerful within the Samurai code of ethics. This world stayed within him however something clearly dramatic happened in his life in either the late 1750s or in the very early 1760s. Therefore, while the jigsaw remains unfulfilled the same doesn’t apply to the art he produced because he highlights aspects of the world he knew. However, the stratification of his upbringing and late development of his art does create an enormous amount of mystery.

If you adore Japanese art and the ukiyo-e art movement then a glimpse into the world of Isoda Koryusai is extremely rewarding. Not all of his art was focused on culture because he also had to survive the harsh reality of the times that he lived. However, when he was free from commercial constraints then the world he adored shone brightly within his art.

http://www.artelino.com/articles/isoda-koryusai.asp　

http://www.robynbuntin.com/ukiyo-e/MorebyArtist.asp?ArtistID=353　

leejay@moderntokyotimes.com　

http://moderntokyotimes.com

Japanese Art and Culture: Okubi-e Portraits

whiteleejay1 — Fri, 07 Jun 2013 16:36:50 +0000

Okubi-e Portraits

By toshidama

Okubi-e refers to the distinctive large head to frame ratio of certain ukiyo-e (Japanese woodblock print) portraits from eighteenth and nineteenth century Japan. There’s no strict definition here as to what constitutes a portrait as separate to an okubi-e, although there perhaps should be. Much of Japanese woodblock print production was essentially a kind of fan art – either actors or military heroes and certainly after the 1890’s these genres tend to dominate the artistic scene.

As a consequence, portrait busts became common and a lucrative source of income for artists and publishers. I shall try here to narrow down a stricter definition of the okubi-e. I think to qualify, the okubi-e can have only one figure – there are many close framed prints of two figures in near proximity – fighter or lovers. This single, framed head and shoulder should I think occupy the greater proportion of the print with little else imposing on the image in the way of scenery, buildings, stage props etc. In terms of focus, the frame should ideally be above the breast bone – there are many portraits where the figure is represented from the midriff and classified as okubi-e but these really become conventional portraiture and only slide in by virtue of being single figures. More difficult is the intention of the piece. In a true okubi-e, everything is directed at the features of the actor… that immensely plastic triangle formed by the brows, the nose and the chin. It is in this arena that the very gifted draughtsman, (and especially printmaker with his limited repertoire of marks and tones) has to concentrate his efforts in order to startle the viewer with the range of emotion and depth of character required to animate the sitter. This is a subtle and endlessly challenging activity – the means at the artist’s disposal are very small – a line, a shadow, a proportion, an angle.

These tools in the hands of the skilled ukiyo-e artist were immensely flexible and there is a distinct echo of the French Post-impressionist Georges Seurat and his application of Charles Henry’s theories concerning the expressive values of line and colours, principally that warm colours and upward moving lines had a ‘dynamogenic’ or uplifting effect while cool colours and descending lines were ‘inhibitory’. Seurat eschewed conventional expression and representation in favour of theoretical effects to evoke mood based on Henry’s models. In the case of say, Kunichika’s Nakamura Shikan IV as Kato Kiyomasa, we see the bright, dynamic colours and the repetition of the insistent upwardly curved lines that convey his powerful and dynamic character. Comparing it to his portrait of Onoe Kikugoro V as Kakogawa Seijuro, a more thoughtful character, we see none of the brilliant exuberance of line or colour… in this portrait the head tilts downwards, as does the topknot, the shoulders, the chin, the mouth and the line of the eyes. The colours here are sombre and thoughtful. These two prints exactly exemplify Henry’s theories and what Seurat in his later work was trying to ascribe a general theory of expression to. There was no comparably scientific methodology to the ukiyo-e artists’ working practice – although the founder of the Utagawa School had published a treatise on Nigao (true likeness) which included similar annotations to Seurat’s on the dynamics of facial expression. It is worth lingering on French scientific aesthetic here: Seurat’s painting Le Chahut was an illustration of the theories also propounded by Humbert de Superville. Superville contended that lines like colours have a direct relationship to emotions. Line controls expression (clearly in the schematic language of the okubi-e), therefore linear direction affects emotion and feeling; horizontals for calmness, expansive lines for sexuality and voluptuousness, downward lines for sadness and so on. More subtly, in Kunisada’s Ichikawa Danjuro VI as Kakogawa Honzo (below), the colours conform to Seurat’s own rules that those in the violet and blue spectrum (cool colours) invoke melancholy, reinforced by the generally downward sloping lines of the whole print. This is a portrait of a man who is facing imminent death.

These okubi-e of the mid to late nineteenth century are sophisticated art, exuberant and lavish in their production and as a form reserved mainly for deluxe editions, making them hugely collectible. What of the history of the genre though? Katsukawa Shunko (1743 – 1812) is usually credited with creating the first okubi-e. His astonishing portrait of kabuki actor Matsumoto Kōshirō IV as Tsurunosuke (left) conforms with our rules sketched out above. The portrait really fills the frame, is without other figures or scenery, is from the upper chest only and uses the schema of the drawing to focus attention on the drama of the face which is schematic, expressive and economical whilst conveying great feeling. Indeed much of the drawing conforms exactly to later, French ideas about form, line and emotion. Other ukiyo-e artists followed Shunko: certain of Sharuko’s caricature heads fit the form, and some but not many by Utamaro I. In 1800, the shogunate authorities banned okubi-e because they reviled the licentiousness that surrounded the kabuki scene and the adulation of the actors. The genre remained dormant for ten years or so but rarely surfaces in its true form. Actor portraits are common but they fail the criteria that I think qualifies them as true okubi-e. – I’m thinking here of the many warrior and actor portraits and bijin subjects of the Utagawa artists but in reality these are half length portraits often mis-titled by galleries for commercial reasons.

It is in Osaka and the great kabuki tradition there that we have to look to see the revival of the form in its true state. Even in Osaka with its obsessive worship of local actors and its fanatical cliques of devotees, the genre does not reappear until around 1840, although Hokushu produced some near okubi-e in the early 1820’s. In 1840 Sadamasu started to make true okubi-e portraits in the smaller chuban format in deluxe editions, limited in number and made with the finest papers, block cutters, inks and metals available. This started a revival of the form that dominated Osaka printmaking for several decades. Sadamasu’s Kataoka Ichizo as Mitsuhide Akechi of 1841 is a masterpiece of the new style and these prints were to hold sway in Osaka for several decades, notably in the work of the great genius of Japanese portraiture Konishi Hirosada. This enigmatic and tragically under valued artist produced some of the best and most innovative portraits of the nineteenth century, anywhere in the world. Working initially in the manner of Sadamasu, Hirosada developed a style of true okubi-e in chuban format that dominated almost all of his total output. The Tempo Reforms, (moral corrective legislation) of the early 1840’s banned actor portraits and decimated the

publishers and artists of Osaka. Hirosada had worked in oban format and half length portraits before this date and after a brief respite returned to the genre with okubi-e chuban prints (they were perhaps more discreet) of actors thinly disguised as illustrations of moral lessons or historic figures. These limited edition short run prints were lavishly produced for private circulation and were usually unsigned and un-annotated. The reforms eased by 1847 but the style of print remained, enthusiastically picked up by other artists in Osaka. Despite their mysterious and particular style, their brevity, beauty and quality, these prints are strangely undervalued by academics and collectors. Notable artists of the period that produced great work include Enjaku, Yoshitoyo and Yoshimine.

Kunisada’s great series of okubi-e heads made in Edo from 1860 are undoubtedly, in my mind, influenced directly by the artists of Osaka. Hirosada and several Osaka artists were intermittent pupils at Kunisada’s studio and actors would travel between cities, no doubt with recent portraits of themselves. In his old age, Kunisada planned what would be the crowning achievement of his career. John Fiorillo writes:

The set was originally scheduled to include 150 works by the leading designer of actor prints, Utagawa Kunisada unfortunately, it was never completed. Only 72 published designs are known, with 12 by Yoshitora, plus two proof prints and two preparatory drawings, for a total of 76 known compositions. Yoshitora joined the project in 1862 for unconfirmed reasons (possibly to assist an overworked or ailing Kunisada). The series was intended to be the crowning achievement in Kunisada’s career, with no effort or expense spared in its size or production… In terms of their quality (beautifully executed block cutting, exceptional colors, embossing, and burnishing), the prints from this series are reminiscent of the deluxe limited editions produced in the smaller chûban format in Osaka during the mid-nineteenth century (most familiar among them are the prints of Hirosada).

These fabulous prints conform precisely to our definition of the true okubi-e, and it is only really Kunichika in 1873 who revived the genre with a similar series of great performances in an identical genre. These are some of the finest and the most sought after of Kunichika’s prints. They are astonishing pieces of work, stretching the art of portraiture to the limit – the features seem almost but not quite in need of rearrangement, and yet Kunichika avoids slipping into caricature as Sharaku had at the end of the previous century. With Kunichika the art of the okubi-e more or less dies out. The style is not suitable for conventional portraiture and the kabuki theatre itself was sliding into decline by the 1890’s. We are left then with an historic genre – a niche lasting just one hundred years with only a handful of practitioners; starting with Shunko at the end of the eighteenth century, dying out a few years later, only to be revived by the fanatics of the Osaka School and revived again in Edo by Kunisada and lastly as the swan-song of popular kabuki by Kunichika a century after its inception.

It is curious how a genre of drawing something as innocuous as a portrait should have been beset by legislation, censorship and edict. This perhaps says something about the strange power that these mysterious, abstracted images contain despite their brevity and economy of line and their distortion of the image. The ability of the classic okubi-e to communicate directly with the viewer, bears out perhaps, Charles Henry’s dictum that line equals emotion.

Posted by Alex Faulkner

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Please visit http://toshidama.wordpress.com and http://toshidama.blogspot.jp/ for more articles and information.

Please note that Modern Tokyo Times highlights new and older articles by Toshidama because of their importance in the area of ukiyo-e, Japanese art, culture, history and other powerful areas.

http://toshidama.blogspot.jp/2013/06/okubi-e-portraits.html

South Korean Fashion in Japan: Mixxo in the Footsteps of Forever 21, H&M and Zara

whiteleejay1 — Fri, 07 Jun 2013 05:30:08 +0000

South Korean Fashion in Japan: Mixxo in the Footsteps of Forever 21, H&M and Zara

Ri Kuk-Chol and Sarah Deschamps

Modern Tokyo Times

Throughout Japan major fashion brands like Forever 21, H&M and Zara continue to attract much attention because all three companies are highly desired by hip fashion lovers. The above three brands provide a lovely edge to fashion and in many surveys done by Modern Tokyo Times in Tokyo they were well represented when it came to popularity. Also, their respective price mechanisms alongside providing adorable products, is a real winner and the same applies to churning out new goods based on short cycles.

Mixxo (E. Land Group) from South Korea entered the Japanese market in late March 2013. Production and sales are closely woven by adopting a powerful in-house system which is extremely comprehensive. Flexibility is also essential based on changing trends and the different climatic seasons. Therefore, Mixxo, Forever 21, H&M and Zara focus heavily on responding quickly and producing an abundant flow of new fashion products in order to maintain their respective rich vitality.

The power of fast-fashion in Tokyo can be seen by H&M and others entering the crème de la crème of fashion districts in this high octane city. Ginza in the past was firmly connected to exclusive boutiques and exquisite products. However, fast-fashion companies like H&M have entered the market of Ginza easily because of the nature of this company and its mass appeal. Of course, Ginza and the Yurakucho area are still known for exclusive brands but now the fast-fashion angle is altering the dynamics of Ginza. Likewise, H&M also responds naturally to the environment that it is located. In this sense, the changing dynamics also impacts on the styles and products of this powerful brand.

Forever 21, H&M and Zara can be found throughout Japan because each company can relate to the internal dynamics of international nations. This enables all three brands to strengthen new concepts internally – while being open to respective market conditions and designs – which appeal to their respective client base. Mixxo is a latecomer to the Japanese fashion market and while this company will have its own way of thinking and provide fresh new ideas; it is also true to say that they can learn much from Forever 21, H&M and Zara.

Mixxo opened its first outlet in late March 2013 in Yokohama and clearly the K-pop wave meant that a nice touch was provided by After School (Afterschool). This applies to the original opening day on March 22 in the Sogo Department Store in vibrant Yokohama, whereby group members became saleswomen during the start of this new venture for Mixxo in Japan.

It is hoped that Mixxo will gradually expand in Japan because the South Korean fashion angle is powerful from the fashion angle by itself whereby a new freshness emerges. Also, from a cultural point of view, it is essential that Japanese and Korean nationals among the younger generation feel the strong cultures of both nations in the areas of fashion, music, movies, dramas, anime – and a host of other areas – in order to breakdown the political barriers.

Lee Jay Walker gave support to both main writers

https://www.facebook.com/MIXXO.KR Mixxo on Facebook

Modern Tokyo Times images related to street fashion in Tokyo

After School (Afterschool) image by ACROFAN

leejay@moderntokyotimes.com

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Art, Industrial Landscapes and France: L.S. Lowry, Oka Shikanosuke and Henri Rousseau

whiteleejay1 — Wed, 05 Jun 2013 14:59:04 +0000

Art, Industrial Landscapes and France: L.S. Lowry, Oka Shikanosuke and Henri Rousseau

Lee Jay Walker

Modern Tokyo Times

The British artist L.S. Lowry (1887-1976) and Oka Shikanosuke (1898-1978) from Japan belong to the same period of history but both artists were influenced by different individuals. Also, the internal situations in both nations, religious differences, development stages, and a host of other factors; meant that the social, religious and political gulf was enormous. Despite this, in the world of art, and in areas of industrial landscapes, then both Lowry and Shikanosuke shared much despite never meeting in the flesh.

Another powerful common denominator which links Lowry and Shikanosuke is that both artists admired French art and many thought patterns which emanate from this nation which is rich in culture. Lowry was taught by Pierre Adolphe Valette in the United Kingdom and clearly he learnt much from this highly acclaimed individual. Likewise, Shikanosuke moved to France in 1924 and he would not return fully to Japan until 1939. Therefore, the power of France and the rich culture of this nation would impact on both artists.

Lowry respected Pierre Adolphe Valette greatly because this French Impressionist artist would open up many new artistic horizons for Lowry. The passion that Lowry felt towards his teacher can be seen by his comment whereby he states that “I cannot over-estimate the effect on me of the coming into this drab city of Adolphe Valette, full of French impressionists, aware of everything that was going on in Paris.” In time it would be the “drab city” of his everyday life which would open up the world of art for Lowry because his industrial landscapes remain powerful today. Lowry, of course, focused on many other themes but his industrial landscapes really stand out while admiring many other angles to this talented artist.

Shikanosuke wasn’t limited to industrial and modern landscapes just like Lowry but despite this he does leave a lovely legacy which meets within the art world of Lowry and Henri Rousseau. Indeed, for Shikanosuke he deeply admired the art work of Rousseau and this can be seen by aspects of his art.

In another article I state that “Another common area is that Shikanosuke admired Rousseau and other artists like Odilon Redon. While a major commonality exists between Rousseau and Lowry because both had many skeptics who looked down on both artists respectively. This notably applies to both artists being deemed “naïve” or “part-time” artists which Lowry and Rousseau would refute. Similarly, for many artists who respected both Rousseau and Lowry it is clear that they weren’t “naïve” or “part-time.” On the contrary, Rousseau and Lowry have left a rich legacy.”

“Shikanosuke would also clearly disagree because he deeply admired Rousseau and this can be seen clearly in many of his art pieces. Rousseau and Lowry also understood the art world around them but despite this they both remained firmly independent. This means that the individualism of their respective art is deeply rewarding. Therefore, Shikanosuke reflects and highlights the majesty of Rousseau in many pieces of his art. At the same time, Shikanosuke is showing the world that he was blessed with many skills and this is reflected in the diversity of his art and writing.”

Lowry responded to negative and derogatory terminologies towards his art and this especially applies to the term “Sunday painter” which was thrown at him. He responded to such negativity in typical northern English ways by rebuking his detractors in the best way. For Lowry retorted back by stating that “If people call me a Sunday painter I’m a Sunday painter who paints every day of the week!”

Lowry and Rousseau didn’t seek a compromise because both artists focused on their respective styles and themes which appealed to them. Therefore, Lowry and Rousseau were not afraid to go against the grain nor did negativity infringe upon them and put them in a straightjacket. On the contrary, both artists focused on their respective strengths and for Lowry many people don’t understand the richness of his diversity. Of course, his industrial landscapes are a treasure to behold but Lowry had many angles to his art.

Rossetti and Ford Madox Brown also impacted on Lowry but despite this he still remained loyal to producing amazing themes based on his individualism. Rousseau in time would become welcomed within powerful circles within the art scene in Paris. However, just like Lowry, Rousseau wasn’t sucked into different art movements which didn’t move him personally. Therefore, it is to the credit of Shikanosuke that he followed the career of Rousseau greatly because in Japan Rousseau wasn’t a major figure during his lifetime. However, not only did Shikanosuke focus on areas of Rousseau’s art but he also tried his best to introduce this artist to the people of Japan.

Lowry fell into the world of industrial landscapes by accident because the familiarity of his environment didn’t inspire during the early stages of his life. Yet Lowry comments that “One day I missed a train from Pendlebury – (a place) I had ignored for seven years – and as I left the station I saw the Acme Spinning Company’s mill … The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out… I watched this scene – which I’d looked at many times without seeing – with rapture…”

I state in another article that “Rousseau (1844-1910) unlike Lowry and Shikanosuke belongs to a different world because his life was nearing the end when both Lowry and Shikanosuke were young. However, with Rousseau being born in northern France and being “a free spirit” when it came to art; then clearly all three artists meet because of the influence of France and their respective inner-strengths and approaches to art. Of course their respective personalities will have been very different and the same applies to other powerful areas. Yet, in saying that, it is clear that Rousseau, Lowry, and Shikanosuke, share many common themes.”

“The industrial theme is much less of a powerful theme to both Henri Rousseau and Shikanosuke when compared to Lowry. However, the natural modern world and industry was a natural theme in some of the work by Rousseau and Shikanosuke. Irrespective of the varying degrees of power and importance, it is clear that all three artists could create beautiful pieces of art despite the landscape not being particularly beautiful. This is a very powerful skill and binds all three artists together.”

All three amazing artists produced many adorable art pieces which were well outside the world of industrial landscapes and painting natural modern themes. Lowry of course provides a very distinctive image of people within the industrial world that they belonged. Yet all three artists could create beauty from the mundane and what people take for granted. Therefore, Lowry, Rousseau, and Shikanosuke, are admired for their simplicity and relating common themes which people can relate to easily. Also, despite the diversity of their respective upbringings the world of France would impact on all artists irrespective of their natural birth and cultural rights.

L.S.Lowry image 1, 4, and 7

Henri Rousseau image 2 and 5

Oka Shikanosuke image 3 and 6

http://www.thelowry.com/gifts-and-souvenirs/prints-and-limited-editions

http://www.thelowry.com/ls-lowry/the-ls-lowry-collection/

http://www.clark-art.co.uk/

http://www.lowry.co.uk/

http://www.polamuseum.or.jp/english/exhibition/03_17.html

http://www.artelino.com/articles/henri_rousseau.asp

http://www.worldgallery.co.uk/gallery/LS-Lowry-1.html

leejay@moderntokyotimes.com　

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Japanese God of Fortune and Ainu Kindness: Ebisu the Disabled Child Defeated Adversity

whiteleejay1 — Mon, 03 Jun 2013 14:55:46 +0000

Japanese God of Fortune and Ainu Kindness: Ebisu the Disabled Child Defeated Adversity

Tomoko Hara

Modern Tokyo Times

Ebisu in old Japan was known by the name of Hiruko which means “leech child” and it is clear that during his early childhood he faced many severe problems. According to Japanese mythology Ebisu came into the world without having a clearly defined skeletal structure. Despite the disability of Ebisu he managed to overcome many hardships related to his health.

In time Ebisu would become a guiding god for fisherman, workingmen and for children blighted by ill health. Ebisu would also become associated with luck because despite suffering from many negative adverse conditions he somehow overcame everything. The linkage with being a guardian for children is very natural because this God of Fortune could relate to their suffering.

Lee Jay Walker from Modern Tokyo Times comments that “Ebisu is unique within the Seven Gods of Fortune because this God of Fortune originates in Japan. This means that a special affection is bestowed on Ebisu because people can connect and be proud of the origins of this God of Fortune. Therefore, the power of Ebisu fuses with the intriguing nature of Japanese culture.”

“Indeed, the nature of Ebisu also relates with the Ainu people because they cared for him according to legend. It is stated that Ebisu was the first child of Izanagi and Izanami and that he was born without bones. In other stories about Ebisu it is stated that he was born without arms and legs therefore it is clear that Ebisu suffered greatly in the early part of his life.”

Of course, while Japanese mythology is laden with many stories which sometimes relate with others, while on other occasions the original start and end becomes very different. It is true to say that the God of Fortune named Ebisu remains a charming figure because at all times he is related to positive thought patterns and energy. Ebisu after all was born into a world where it appeared that he had little hope. However, Ebisu would overcome his disability and the fact that he was abandoned when a very small child.

It is stated according to Japanese mythology that Ebisu was cast into the sea before his third birthday. Despite being abandoned, he wasn’t killed openly by his family because he was placed into a boat made of reeds. Of course, it may have been that his family believed that he would die because of the severity of the situation. Yet, if you think about all the baby girls killed in modern day China and India based on their sex; then his family did not kill Ebisu and maybe they trusted to the fortune of the gods? We will never know for sure but luckily for Ebisu he was rescued by the Ainu and cared for.

Lee Jay Walker states that “Ebisu therefore appeared to be on the brink of death but according to legend the mystery of life spared him because of the kindness of the Ainu. This is why Ebisu is connected with luck and being a guardian of children who suffer from negative health….After overcoming severe disabilities and the hardship of life it is stated that his legs began to grow and obviously the same will apply to the skeletal structure of Ebisu. From this time Ebisu became associated with the Gods of Fortune. Irrespective of many pieces of the missing jigsaw it is clear that Ebisu overcame everything and the love that was bestowed on him by the Ainu – he in turn bestowed the same care and love towards others.”

Ebisu therefore understood the feeling of being abandoned and the pain of suffering from such disability. Yet despite all the negatives in life that were thrown at Ebisu this God of Fortune only saw the beauty of this world. Ebisu also connects well with the Ainu because he learnt many new things from this ethnic group which just wanted to be free in order to maintain their traditional way of life.

Overall, the story of Ebisu is a reminder that the alienated and marginalized can overcome everything providing love stays within the heart. It also highlights that Ebisu was a person of great wisdom because he cared for the world he knew. Therefore, Ebisu is a fitting God of Fortune.

http://www.toshidama-japanese-prints.com/item_300/Eizan-Children-at-Play-as-the-Seven-Gods-of-Fortune–A-Boy-Disguised-as-Ebisu.htm

leejay@moderntokyotimes.com

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Japanese Art and European Modernism: Kamisaka Sekka and Beauty within Simplicity

whiteleejay1 — Sun, 02 Jun 2013 11:18:26 +0000

Japanese Art and European Modernism: Kamisaka Sekka and Beauty within Simplicity

Lee Jay Walker

Modern Tokyo Times

The Japanese artist Kamisaka Sekka (1866-1942) lived in a very fascinating period of history in Japan and likewise his art encompasses much about the inner-struggles of this nation. He was only two years old when the Meiji Restoration of 1868 happened but during his teenage years many changes were occurring in this revolutionary period. However, irrespective of the “forces of light” or “forces of darkness” which engulfed vast parts of the world; from an artistic point of view Sekka lived in a period of new horizons. Therefore, he was free to fuse many aspects of traditional art and mix this with new ideas from outside of Japan.

Sekka was born in Kyoto therefore the power of this part of Japan must have influenced him greatly. From a young age it was clear that Sekka had been blessed with many talents in the field of art and design. His artistic path in the early period was firmly based on the traditions of Rimpa. Despite this, he was open to new styles and in time modernism would shape many aspect of his thinking.

In 1910 the Japanese government sent Sekka to the United Kingdom and while he stayed in Glasgow the Art Nouveau style would impress greatly on this creative individual. Sekka was also fascinated by Japonisme because this providing the other side of the coin. Therefore, he wanted to understand the attraction of Japanese art in the West and which areas appealed the most. In general, his studies in Glasgow enlightened him in many areas because Sekka was always open to new ideas and different artistic angles.

Also, the trip to Glasgow in 1910 further cemented his deep admiration of aspects of European art. His earlier trip to Europe in 1901 had impacted greatly on Sekka because the Paris International Exposition opened up his eyes to new fresh ideas and concepts.

The combination of studying the masters of Rimpa in the eighteenth and nineteenth centuries alongside the trends of the West in the early twentieth century; meant that a new creative spark was being ignited within his artistic soul. Sekka also embraced the traditional dimensions of Rimpa and this applies to a broad array of areas. The upshot of this was that Sekka focused on hanging scrolls and painted screens, lacquers, ceramics, books based on woodblock-prints, and textiles.

The Art Institute of Chicago states that “Sekka was born when Japan was emerging on the world stage and redefining itself in the face of the West. Centuries-old schools of art, such as the decorative Rimpa style with its quintessential Japanese literary and seasonal themes, had become unfashionable. To help keep the country’s unique artistic culture afloat, the government established a policy to upgrade the status of traditional artists that encouraged them to infuse their craft with a dose of modernism. Consequently, in 1910 Sekka was sent abroad to Glasgow, where he was heavily influenced by Art Nouveau. He came home to teach at the newly opened Kyoto Municipal School of Arts and Crafts. Thanks to Sekka, the Rimpa tradition remains a signature of Kyoto design to this day.”

La Chambre Des Reines also pays a rich compliment to Sekka because it is stated that “Kamisaka Sekka is considered one of the greatest Japanese artists of the first half of the twentieth century. He was the final master of a historic Japanese artistic tradition known as Rimpa, founded in the early seventeenth century, and through his collaborative work in many media and as a proponent of the development of modern crafts, he is known as the father of modern design in Japan.”

The legacy of Sekka is extremely rich and when viewing his artwork it is more than apparent that he had a special gift in many areas. Sekka was indeed “the father of modern design in Japan.”

http://www.vlinder-01.dds.nl/cdr/other%20art/sekka.htm

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leejay@moderntokyotimes.com

Japanese Fashion and Vogue: Young and Thin Model Changes 1 Year Later in July 2013

whiteleejay1 — Fri, 31 May 2013 13:06:30 +0000

Japanese Fashion and Vogue: Young and Over Thin Model Changes 1 Year Later in July 2013

Tomoko Hara and Sarah Deschamps

Modern Tokyo Times

In the middle of 2012 last year Vogue issued new guidelines whereby over thin models would no longer fit the bill. The other major guideline which stood out was that girls younger than 16 would also be prevented from representing this highly esteemed company based on stricter guidelines. It is well known that the fashion sector in the high end market is extremely demanding and in the past a very slim body was over emphasized. Of course, this didn’t always apply but by and large this image was deemed to denote beauty, sophistication, elegance and the perfect image related to stylish clothes. Therefore, it will be very interesting to see if Vogue releases information about these changes one year later in July 2013.

Vogue Japan is firmly established because the Vogue name is internationally famous therefore even non-fashion lovers know this exquisite company. Last year in 2012 Vogue was published in nineteen different nations throughout the world. Historical wise, Vogue is also very rich because this company can be traced back to 1892 when this publication was founded by Arthur Turnure. He was followed by Conde Montrose Nast after Arthur Turnure passed away in 1909. Ever since this period the power of American lifestyle and fashion made the headlines both internally and internationally.

However, issues related to anorexia, some models taking drugs because of lifestyle issues and enormous pressure – alongside areas of personal weakness – means that you have many dark sides to international fashion. Also, in recent years younger models are increasingly being used whereby the “boundaries” are becoming blurred between children and adults. On top of this, you have enormous cultural differences and because of these factors, and others; Vogue desires to take a responsible attitude to the dark side of fashion.

In Japan the age issue applies much more than over thin models because beauty and youth is very powerful within the culture. Indeed, images of young ladies of a very young age in established magazines may surprise people from outside of Japan. Therefore, for Vogue Japan the issue of over thin models will be secondary given the natural shape of many young ladies in this country, whereby the body frame in general is thinner than compared with many ladies in America. Of course, generalization is always dangerous but in general this applies despite dietary changes in Japan creeping into the social fabric.

In a past article by Modern Tokyo Times it was stated that “On the whole the fashion industry in general normally uses models’ which fit the “perceived image of beauty.” This notably applies to being tall, thin, stylish, and extremely attractive. Vogue is no different because the same applies to internationally famous boutiques which desire to highlight their new designs on the above type of fashion models. Of course, from time to time you do get periods which break the chain and the same applies to individual fashion magazines and boutiques which go against the grain. Yet the crème de la crème of fashion and lifestyle magazines focus on a “perceived image of beauty.”

Vogue commented last year that “…editors around the world want the magazines to reflect their commitment to the health of the models who appear on the pages and the well-being of their readers.”

It will be interesting to see if Vogue issues information about their changed policies last year because some individuals were cynical about the new directives. For example, Audrey Brashich knows the sector very well because she was a teenage model. Audrey Brashich therefore comments that “The cynic in me feels like they are simply grandstanding while really just throwing a bone to an audience that is getting ever more savvy and tired of the tricks of the trade.”

Others point the finger in the other direction because they believe that conservatives are trying to stifle the creativity of fashion. Thereby, some individuals worry about infringing on freedom. In truth, Vogue can’t please everyone but many doubters which are cynical will be silenced if this company releases information about how these changes have impacted on models. Therefore, with the guidelines being implemented approximately one year ago it is hoped that Vogue will give further details in July 2013.

Lee Jay Walker gave support to both main writers

Modern Tokyo Times Images

http://www.vogue.co.jp/

http://www.vogue.com

leejay@moderntokyotimes.com

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Japanese Art and Yamamoto Shoun: Adorable Artist Born in Kochi (1870-1965)

whiteleejay1 — Thu, 30 May 2013 14:56:07 +0000

Japanese Art and Yamamoto Shoun: Adorable Artist Born in Kochi (1870-1965)

Lee Jay Walker

Modern Tokyo Times

The Meiji, Taisho and Showa periods of Japanese history were extremely dynamic and chaotic because you have many bright periods followed by dark moments in history. However, just like the phoenix rises, then in the final years of Yamamoto Shoun he witnessed the start of new innovations and increasing economic prosperity. Therefore, Japan came full circle during the lifespan of the artist Yamamoto Shoun (1870-1965).

After all, the Meiji period promised much and one can imagine the youthful hopes and dreams of Yamamoto Shoun being met by the final years of his life whereby a fresh start was altering the economic landscape. It is known that Yamamoto Shoun was particularly active during the period of the last decade of the nineteenth century up until 1920. His illustration skills of magazines became widely known and in the field of art Yamamoto Shoun produced many stunning pieces of art.

Yamamoto Shoun was born in the prefecture of Kochi but during his teenage years he moved to Tokyo. His move to the capital of Japan also witnessed him studying the art form called Nanga. One can only imagine how the environment of Tokyo impacted upon his art. Likewise, the gentle pace of Kochi compared with the political intrigues of the capital city must have opened-up his eyes irrespective if positively or negatively.

The Artelino website (www.artelino.com) comments that Yamamoto Shoun “…exhibited his works regularly in the official Bunten and Teiten juried art shows. He created (a) series of bijin (beautiful women), kacho (birds and flowers) and landscape prints, which were published by Matsuki Heikichi. Best known is the bijin series ‘Fashions of Today’ published in 1906.”

Given the delightful nature of the skills of Yamamoto Shoun then it is surprising that he didn’t hit greater heights both internally and externally. Likewise, you have to dig deep in order to find a great deal of information about this cultured artist. Despite this, the quality of his art speaks for itself.

During a Special Exhibition Collection of the Museum of Art, Kochi (2006), it was stated about Yamamoto Shoun that “…the popular painter of life and manners in daily life and scenes in towns of four seasons, depicted front covers and illustrations of “Fuzoku Gaho”, the best-seller magazine of the Meiji and Taisho eras. At the end of the Meiji era, he made wood-block prints “Imasugata,”“Kodomo-asobi,”and “Shiki no nagame” – the series of beautiful women” also focused on “the nostalgia for the Edo era and lively children playing.”

This article is meant to introduce Yamamoto Shoun to individuals with no knowledge about this delightful artist in the hope that his art will entice the viewer to delve more deeply.

http://www.ukiyoe-ota-muse.jp/dis060304eng.html

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Asai Chu and Japanese Art: Impact of Western Art and Great Teacher

whiteleejay1 — Sun, 26 May 2013 11:36:14 +0000

Asai Chu and Japanese Art: Impact of Western Art and Great Teacher

Lee Jay Walker

Modern Tokyo Times

Asai Chu (1856-1907) was a young boy when the Meiji Restoration of 1868 began and just like this period of Japanese history he also was curious about the outside world. Times were changing rapidly and the familiarity of the Edo period was now being challenged by new forces. Therefore, when Asai Chu was a young adult he felt this new vibrancy and many doors soon opened up for this talented individual.

In 1873 he moved to Tokyo to study English but the pull of art gained further momentum and after enrolling under Kunisawa Shinkuro a new world would unravel for Asai Chu. At the same time, the Meiji leaders were keen to focus on many aspects of Western nations and this applies to the arts, science, modernization, industrialization, law and many other important areas. This turned to be a rich blessing for Asai Chu because while studying at the Kobubijutsu Gakko in the mid-1870s he studied under Antonio Fontanesi.

The Meiji government hired Antonio Fontanesi in order that he would introduce oil painting from Europe and clearly Asai Chu learnt much because his passion and sophistication grew. When Asai Chu was in his forties he resigned from being a professor in Tokyo and moved to France for two years. This decision was wise because by studying at an impressionist art school he managed to enhance his artistic skill and techniques.

Also, the cultural aspect of studying in France meant that new styles of thinking and artistic creativity would further enrich his rich talents. This decision also shows that Asai Chu was still searching . Therefore, despite the relative comfort of being a professor in Tokyo he was willing to take risks in order to pursue his love of art.

He stayed in France for two years and on his return to Japan he became a professor at the Kyoto College of Arts and Crafts. Like before, Asai Chu became involved in various clubs and he founded the Kansai Arts Institute in the early twentieth century. This aspect of Asai Chu blessed the art world of Japan because he influenced many aspiring artists and traditional artists.

In Kansai he taught Yasui Sotaro, Suda Kunitaro, Umehara Ryuzaburo, and many other artists, who were blessed with abundant skills in the field of art. From being born in Sakura in Kanto to moving to Tokyo, France, and Kansai; the same energy was maintained throughout his life. Therefore, Asai Chu influenced many individuals and laid the foundation for many important institutions.

Katrina Neumann comments about the stunning artwork by Asai Chu called “Harvest” that “Asai Chu, one of Japan’s most prominent painters in adhering to the Westernization trend, paints his distinguished painting titled Harvest. This piece is remarkable in the fact that it demonstrates the figures of the painting, from an Asian background, dominating the picture plane and owns the land or is manhandling the land; in a way that is far less harmonious than Eitoku’s Rakuchu Rakugai Zu from 1590 or the struggle that is visible in Hokusai’s The Great Wave of Kanagawa from 1832. The subject is no longer about the figure being congruent with nature, but the figure owning nature within the industrial revolution context and environment.”

Meiji political leaders impacted on art in this period and introduced new art forms from outside of Japan. However, at the same time political leaders were concerned about preserving the richness of Japanese art and culture. This minefield wasn’t easy and conservatives and liberals understood what was at stake but for individuals like Asai Chu the issue was “art” and not politics or cultural engineering.

Asai Chu was “a clear son of the positive aspects of the Meiji spirit.”

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Ancient Tales and Folklore of Japan by Richard Gordon Smith (1858-1918)

whiteleejay1 — Mon, 20 May 2013 14:52:03 +0000

Ancient Tales and Folklore of Japan by Richard Gordon Smith (1858-1918)

Tomoko Hara and Sarah Deschamps

Modern Tokyo Times

Richard Gordon Smith was born in 1858 and died in 1918 and during his lifetime he wrote a delightful book called the Ancient Tales and Folklore of Japan. He was known for being a very keen sportsman, traveler and naturalist and apparently from a well-to-do family but near the end of his life poverty appears to have set in. In terms of Japanese folklore, then Smith was fascinated by this area whereby he adored local folklore, myths and traditions. Therefore, he combined his knowledge by travelling extensively throughout Japan and this can be witnessed by his intriguing book titled Ancient Tales and Folklore of Japan.

It is easy in the modern world to be constrained by political correctness and to lose the real imagination of the old world. However, the world that Smith knew was based on imperialism, superstition, religion, major class divisions and so forth. Yet in the realm of folklore and religion then the mind collectively was on another dimension compared with the modern world whereby science and modernity seeks to crush the intrigues of the old world. Of course, folklore to Harry Potter can impinge strongly on young children in the modern world before the reality of life crushes many dreams of the magical world. Despite this, the Japan that Smith witnessed will have been on a very different spiritual level and the same applies to the power of mythology and folklore.

The Sacred Text website (http://www.sacred-texts.com/shi/atfj/) highlights the beauty of the book written by Smith. It also becomes apparent that many local mythologies are widely imbued within his book. Therefore, for people who adore mythology and the splendid reality of the richness of Japanese culture, then clearly this book will enrich the reader greatly. Likewise, for many Japanese individuals they will see a new world that may appear distant today in modern Japan. However, if you scratch beneath the surface then somehow many old ways still survive irrespective of how the stories are changed in order to suit modern sensibilities.

Indeed, the beauty of the Ancient Tales and Folklore of Japan is that it was written over one hundred years ago. This reality means that the writer and people which provided deep knowledge for Smith belonged to a world of mystery. Thereby, the setting of each folklore story is shaped by the living connection of the day.

Japanese animation also keeps alive many aspects of Japanese folklore and ghost stories within many themes. Indeed, if you watch classics like Spirited Away by Hayao Miyazaki then you can feel the power of Shintoism and Japanese folklore within many angles of this adorable animation film. In this sense, the old world is speaking to a new generation through a different medium whereby the world of dreams and mythology are still powerful. Only the connection is missing in relationship to the real power of the world of Smith – whereby many aspects of Japanese mythology played a powerful role within the mysteries of the spirit world – and other important areas.

Therefore, by reading Ancient Tales and Folklore of Japan you can enrich your knowledge of Japanese folklore, while entering a passage into the world of Meiji Japan (1868-1912). Smith wrote from the heart and without any constraints therefore the language of the book is also enriched by this reality.

Lee Jay Walker gave guidance to both main writers

http://www.amazon.com/Ancient-Tales-Folklore-Richard-Gordon/dp/0946495785 Ancient Tales and Folklore of Japan by Richard Gordon Smith

http://www.sacred-texts.com/shi/atfj/ Ancient Tales and Folklore of Japan by Richard Gordon Smith

http://books.google.co.jp/books/about/Ancient_tales_and_folklore_of_Japan.html?id=HlAqAAAAYAAJ&redir_esc=y Ancient Tales and Folklore of Japan by Richard Gordon Smith

leejay@moderntokyotimes.com

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