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

http://moderntokyotimes.com

Hiroshi Saito and Lee Jay Walker 

Modern Tokyo Times

It appears that aspects of the media in Japan are beset by Western “gilt trips” and the trappings of “multi-cultural apologetics.” This certainly applies to the English speaking media on a whole in Japan. However, Prime Minister Shinzo Abe is highlighting a growing confidence within the body politic of Japan. Therefore, if nationalism follows this within the Japanese framework then this should help the nation emerge from several decades of self-defeatism.

China, India and other nations in Asia are continuing to focus on military modernization. At the same time, the United States is faced with a growing debt issue and military cutbacks. Indeed, the wars in Afghanistan and Iraq highlight the limited power of America on the ground even when many nations supported the policies of Washington. The Libya debacle was prompted by France and the United Kingdom and increasingly it looks like America relies on many players in order to approach serious foreign policy issues. This reality means that Japan needs to focus on exporting both soft power and in the long-term being able to provide hard power during times of crisis.

America and the European Union don’t have a mighty China in their respective backyard but for Japan the nation of China is a reality. It is therefore essential that political elites in Tokyo focus on building greater bridges with Beijing but not from weakness – but from being equals. If China did lock-on to Japanese vessels in the disputed Senkaku (Diaoyu) area then no country can tolerate such provocations indefinitely. After all, if China is so concerned about the rights and wrongs of disputed areas then surely this nation should focus on the Tibetan issue and other areas of this country.

It is not in the interest of China and Japan to be at loggerheads because both nations need to focus on stability and strengthening past cultural realities. In history scholars from China and Japan visited each other in order to obtain greater knowledge and understanding. Nobody doubts the influence of Confucianism, Daoism and other ideas emanating from China which influenced Japanese culture. Similarly, Buddhism entered China and the Korean peninsula first before penetrating Japan. Therefore, regional nations need to move on in order to create a powerful economic bloc in Northeast Asia which is based on favorable trade agreements.

Nationalist tendencies within the Abe government don’t have to be destructive. On the contrary, it means that Japan is joining the club because nobody doubts the nationalistic tendencies of China, North Korea, South Korea and Taiwan within Northeast Asia. Indeed, for far too many decades the nation of Japan remained hidden by the American umbrella and the constraints of the constitution. However, America now needs greater input from allies because of internal economic weakness and because of past military debacles. Nobody can claim that America’s military defeated Vietnam in the distant past and more recently Afghanistan, Iraq and Libya have led to even greater instability after the intrigues of Washington. Afghanistan and Iraq are now blighted by terrorism, Islamist militancy, sectarianism and other negative forces. Likewise, Libya is now a failed state and all these realities highlight the limitedness of America and other major powers like France and the United Kingdom. This reality means that Japan needs to share the burden of America in Northeast Asia by playing a more active geopolitical and military role because the power of Washington is on the wane. Of course, America is still blessed with many aces but clearly the Cold War era is dead and regional players throughout the globe have their own geopolitical agendas therefore greater mutual understanding is needed between powerful nations in the modern world.

Kumi Yokoe, a senior visiting fellow of the Heritage Foundation, comments that “With amazing consistency, U.S. media have portrayed Abe as a fringe character — typically, as a “hawk” unsuited to pacifist Japan. Yet this supposedly “out-of-step” politician won an electoral landslide in December and enjoys a 71 percent approval rating today.”

Kumi Yokoe continues by stating that “Abe’s views differ sharply from those of the earlier generation. He wants to strengthen the U.S.-Japan alliance and enhance his country’s military capabilities. This arises not from “hawkishness,” but from the great sense of confidence that characterizes the generation of Japanese forty – and fifty somethings now taking the reins of power.”

“…Prime Minister Abe is the voice of this generation. That is why he so roundly condemned the successful nuclear test by North Korea last week. That is why he insisted that China apologize for locking weapons-targeting radar on a Japanese warship and promise that it would not do so again. Politicians of the Dankai generation would have eschewed such responses as too “hawkish.” But for Abe’s generation, confrontation is not synonymous with belligerence. Rather, it is a sign of confidence and realism.”

Abe is also progressive when it comes to the Trans-Pacific Partnership which the current leader in Washington supports. The growing power of China is a reality and the Russian Federation can play many strings in Central Asia, the Caucasus, Eastern Europe, the Middle East and Northeast Asia. Therefore, it is time for Japan to play a more constructive role and broaden relations with all regional powers based on “normality” and not being “subservient” to the whims of any one single nation. Indeed, with the Obama administration implementing defense cutbacks then it makes sense for Japan to play a more powerful role within the geopolitical interest of both Washington and Tokyo. At the same time, Abe and future Japanese governments need to make increasing overtures to China and the Russian Federation based on mutual interests.

http://www.heritage.org/research/commentary/2013/2/shinzo-abe-voice-of-a-new-generation

leejay@moderntokyotimes.com

http://moderntokyotimes.com

By toshidama

There is a long tradition of puppetry in Japan that stretches back to the seventeenth century. Puppet theatre predates kabuki theatre and informed much of the style, dramas and conventions that kabukiadopted and made its own. Not only does puppet theatre (bunraku) have an important place in Japanese culture but so do its close relatives: the extraordinary lifelike tableaux of life size dolls, called Iki-Ningyo, that were the craze in Edo Japan in the nineteenth century. These staggeringly naturalistic creations are pictured in woodblock prints by Kuniyoshi and other ukiyo artists, although in most cases there is little way of telling that the figures acting out popular melodramas are in fact not human.

Traditional Japanese puppetry requires three active participants: the puppeteers, dressed in black robes identifiable on ukiyo prints by the mysterious black veils over their faces; the storytellers who narrated stories of modern melodrama and tragedy or else legends of heroic samurai; and the shamisen players – the shamisen being a plucked, stringed instrument like a long double bass. Bunraku reached its peak of sophistication in the coming together of these elements and the technological advances of the puppets themselves. These became larger in the eighteenth century and required three puppeteers to operate them. The heads were exquisitely and realistically carved, often with moveable features, elaborate costumes and articulated fingers and thumbs. Typically the stage of a bunraku performance is wide and narrow with the puppeteers quite visible; as in the kabuki theatre, there would be costume and scene changes and also head changes to some puppets to show aging or dramatic changes in expression. The puppeteers were highly skilled taking up to ten years to master the complex and lifelike movements. The bunraku plays really got going under the writing skills of the great playwright Chikamatsu  (1653 – 1724). His domestic dramas that brilliantly captured the loves, lives and often suicides of contemporary Edo people tended to be more popular than the conventional epic dramas and so began the long tradition of scripts passing back and forth between the puppet theatre and the kabuki theatre. Inevitably with the phenomenal rise of kabuki  in the nineteenth century, bunraku was marginalised and finally found a specialist home in Osaka.

The figures were modelled with absolute attention to character and realism, from clothing to artefacts, as in these wrestling men to the left.  The performances proved so massively popular that they were quickly followed by outlandish tableaux of exotic figures (pictured above by Kuniyoshi) which showed what people of other countries might look like -  incidentally, this gives a good idea of how insular and isolated the Japanese were at this time. Perhaps more common were lifelike representations of popular heroes and men and women of courage, disaster, suicide and thwarted love. The print below by Kunisada shows the housewife Mayazumi who contributed to the disaster relief fund of one of Edo’s many natural disasters. These figures with their glass eyes and individually set human hairs of ordinary people living their lives were not only popular in Japan; they were widely exported to the big international exhibitions all over the world. Iki-ningyo became one of the early means for which Europe and America viewed the newly opened Japan. Sadly not many of these delicate sculptures survive but there is an interesting account of the ongoing restoration of one of them at the Victoria & Albert Museum London here.

Like kabuki, the bunraku puppet theatre and the iki-ningyo died out during the period of Meiji modernisation in the late nineteenth century. Advanced technologies including film and photography became more popular and these extraordinary art forms died out. Japanese fascination for mimesis and technical excellence has continued however. The video below shows a contemporary automaton maker from Japan, continuing his family’s traditions of making extraordinary working models of people shooting arrows or drawing calligraphy for example. The incredible expertise that is used is in a direct tradition from the tableaux of Edo Japan in the previous two centuries.

To bring this tradition right up to date there are of course the contemporary Japanese sex dolls and companion dolls which although bleaker in their intended use, nevertheless retain the same demanding skills of realism and likeness that has been a Japanese obsession for so long. If you get the chance, look out for Hirokazu Kore-Eda’s 2009 film Air-Doll which tells the story of a man falling in love with his living doll and the doll subsequently coming to life. Using silicone and miniaturized motors instead of gofun and papier-mache, current Japanese robot and doll technology remains outstanding and continues to push the limits of art’s ability to mimic nature.

More Information about TOSHIDAMA GALLERY 

https://twitter.com/Toshidama

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/2012/05/15/mimesis-bunraku-puppets-and-living-dolls/

Lee Jay Walker

Modern Tokyo Times

Henri de Toulouse-Lautrec (1864-1901) adored Japanese ukiyo-e and many famous international artists also fell in love with this art form. Toulouse-Lautrec and his lifestyle would certainly have fit in well with the environment of Yoshiwara in Tokyo, which is famous for prostitution. Indeed, several ukiyo-e artists depicted scenes in this famous district including Hiroshige and Utamaro. Therefore, Toulouse-Lautrec would have felt like being “home from home” because Yoshiwara and Montmartre shared many common features in the past.

Rene Princeteau gave art lessons to Toulouse-Lautrec when he was young and the background of his family is one of wealth. Indeed, he was born into an aristocratic family but tragedy impinged on Toulouse-Lautrec when he was a teenager because he broke both legs. The severity of the accidents meant that his legs stopped growing and this created “many internal demons.” This is based on the fact that his body continued to develop like normal therefore throughout his short life he could never fully come to terms with this situation.

The artistic turning point for Toulouse-Lautrec came in 1882 because he went to Paris in order to study conventional art. He soon met important artists like Vincent Van Gogh and the art of Edgar Degas inspired him greatly in this period. Therefore, the lore of Impressionist art enticed him greatly and because of this he gave up his studies in conventional art.

Toulouse-Lautrec who was born in the south of France now found himself in Montmartre in Paris. The environment was completely different because this area had a buzzing nightlife across the whole spectrum. This applies to cabarets, restaurants, dancing clubs with sexual connotations, cafes, brothels, and other areas of life.

The trappings of this new environment enticed Toulouse-Lautrec because he soon joined the bohemian community. During the evening period he would drink and natter with friends. However, despite enjoying himself Toulouse-Lautrec would also draw sketches and then work on altering these by turning them into lithographs and paintings. This became most rewarding for Toulouse-Lautrec because the environment created passion, innovation, and ideas, which were then expressed through his artwork.

Dieter Wanczura, www.artelino.com, comments that “The lithographs of Lautrec show the famous personalities of the French Belle Epoque. Lautrec knew them all personally- singers and dancers like Yvette Guilbert, May Belfort, Jane Avril or the poet Aristide Bruant. Many of these lithographs were commissioned by these artists for posters or theater billboards or as illustrations for magazines.”

Dieter Wanczura further comments that “The impressionists saw Ukiyo-e art (Japanese woodblock prints) and were impressed. And like so many other artists of the late nineteenth century, Lautrec had started collecting Japanese art. At that time, everything Japanese was en vogue – very fashionable.”

“Japanese printmaking had a very pervasive influence on his style. For Toulouse Lautrec movement and forms were important. His compositions, unusual perspectives and the use of large areas of flat color are undoubtedly inspired by Japanese woodblock prints.”

Western art impacted on Japanese art in the same period and likewise the Paris scene was awash with ukiyo-e prints. Therefore, new ideas were going in both directions but cultural differences meant that aspects of the cultural settings were very different. Also, individual artists, irrespective of nationality, had unique aspects which applied to their respective thought patterns and upbringings.

Artists like Van Gogh, Claude Monet, Paul Gauguin, Toulouse-Lautrec, Edgar Degas, and many others, were influenced by Japonisme (Japonism). However, Japonisme was based on the eye and not the concept or rich traditions which had evolved in Japan. Also, ukiyo-e is extremely broad when it comes to subjects that were covered and individual artists had their own unique styles and ways. Yet despite this, Japonisme certainly inspired many artists and for Toulouse-Lautrec ukiyo-e was like Montmartre. This applies to opening-up a new world of art and thought patterns which would enhance his creativity and style.

If you visit that Van Gogh (www.vangoghgallery.com) Gallery website it is stated that “Japanese art, especially Japanese woodcuts, became a great influence on Van Gogh. When Van Gogh moved to Paris in 1886 he was introduced to impressionism and also explored Japonism. Van Gogh admired the bold designs, intense colors, and flat areas of pure color and he also appreciated the elegant and simple lines.”

It is abundantly clear that Toulouse-Lautrec would fully understand the words of Van Gogh because he was also transformed in Paris. In another article I wrote about Japanese art I comment that “Ukiyo-e and western art went in both directions but the initial contact period will have been based on a mirror which can’t fully show the complexion of the individual because of all the steam. Irrespective of this, it is clear that both traditions led to new creativity.”

Sadly, for Toulouse-Lautrec, the lifestyle that altered his artistic path in Paris also became self destructive. Therefore, alcohol abuse and other negative areas all climaxed in his early death at the age of 36. In many ways Toulouse-Lautrec always had “two worlds which were pulling in opposite directions.” The first world applies to coming from a wealthy family but having poor health for the majority of his life. While the second world applies to being extremely creative because of the environment of Paris but the same environment led to his early death based on alcohol abuse and other factors.

Irrespective of everything, Toulouse-Lautrec leaves a lasting legacy because of the richness of his art and he also opens up the world of Montmartre.

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

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Michel Lebon

Modern Tokyo Times

Tokyo tourism provides an abundance of options because this highly developed city caters for so many tastes. This applies to amazing Japanese gardens, stunning art galleries, high octane fashion districts, a paradise for gamers, the beautiful Tenno palace, the beach of Odaiba and Rainbow Bridge, Meiji Shrine, mountain range of Takao, and so much more. Therefore, tourists who visit Tokyo are spoilt for choice in this amazing city.

However, in this article the emphasis is on Asakusa because this lovely district is famous for the stunning Buddhist temple called Senso-ji. This notable landmark in Tokyo is dedicated to the revered bodhisattva Kannon. Also, you have other beautiful temples in Asakusa and throughout the year you have various festivals which highlight the richness of Japanese culture.

The first temple on this site was built in 645 but prior to this the year of 628 is essential because of what happened according to legend. This applies to two fishermen who were fishing in the Sumida River when they suddenly found a statue of the revered Kannon (Goddess of Mercy). Hajino Nakamoto fully understood the importance of the statue and in time a temple was built honoring Kannon in Asakusa.

Sadly, during World War Two the vast majority of this temple was destroyed during carpet bombings. However, the rebirth of this temple mirrored the rebirth of Tokyo and Japan. Therefore, throughout the centuries this fascinating Buddhist temple played an important role in the history of Tokyo and political leaders throughout the ages respected the sanctity of this stunning place.

The Shinto shrine of Nishinomiya Inari Shrine is also located in the same part of Asakusa and this highlights the fusion of both faiths. Therefore, the Sanja Matsuri (Three Shrine Festival) incorporates this shared religious environment each year when approximately 1.5 million to 2 million individuals visit this festival. This highlights that while Tokyo is ultra-modern, it is also clear that the “old world” still survives during powerful festivals like the Sanja Matsuri.

During the golden period of Asakusa in the first five to six decades of the twentieth century, this district was famous for traditional Japanese theater, the highly regarded Denkikan cinema, and other forms of entertainment. Asakusa is also the oldest geisha district in Tokyo and you still have working geisha in modern times. You also have many traditional ryokan (guest houses) homes in this district and this further creates the cultural aspect of Asakusa.

The Kappabashi-dori is another intriguing place to visit because of the many Japanese kitchenware stores to be found. Many Tokyoites visit because of this factor and clearly Asakusa is a million miles away from the area of Shibuya which is famous for young fashion lovers. However, it is the richness of this diversity which makes Tokyo such a fascinating place to visit.

The Japan National Tourist Organization comments that “Numerous shops along Nakamise-dori Street, which runs along the approach way to Senso-ji Temple, carry a variety of small articles made of Japanese-style paper and other traditional goods such as folding fans. It is a lovely shopping street that attracts many foreign visitors.”

Overall, if you want to feel the richness of Buddhism and Shintoism in Tokyo then Asakusa enables this. At the same time, you can feel “old Tokyo” and envisage the power of the Buddhist faith, the Shinto faith, ukiyo-e, traditional Japanese theatre, geisha, and other powerful cultural traditions. Therefore, if you are going to visit Tokyo in the near future this part of Tokyo is highly recommended.

Lee Jay Walker gave support to both writers

http://www.jnto.go.jp/eng/location/regional/tokyo/asakusa.html

http://moderntokyotimes.com

By toshidama

In this case not necessarily the physical body – I’m thinking here of the cultural body and how that relates to the people. When we look at the extraordinary corpus of Japanese woodblock prints from the nineteenth century we are struck firstly by its hermeticism. This is a sealed culture (literally, until the 1850’s), and one where there existed a complete set of cultural values, mythologies and beliefs further into the modern age than with any other comparable modern culture. This floating world, balanced for so many decades on the cusp of magic and technology reveals the visible disintegration of the body (as culture) and the mind (the feelings) of the people.

The unique isolation of Japan in the early modern world allows us an insight into the disjuncture between life and spirit in western cultures. Japan’s intrinsic culture and belief – like Roman and pre-christian beliefs in the west was pantheistic. The Japanese believed that all things – objects, the natural world, buildings, villages – were invested with kami. Kami is a complex idea, the word is both noun and adjective and as a noun means a powerful being like a god or deity. As an adjective, kami might translate as holy or mystical – mysterious or otherworldly. For some people the term might just mean magic or magical. This mysterious phenomenon underpins every aspect of Japanese culture and explains many of the ritualistic practices of the Japanese way of life, but also the untrammelled superstition that runs through every myth, folktale and unofficial history of people and events in Japanese history. Without an understanding of kami, the meaning of ukiyo prints, of kabuki plays and of the iconography of Japanese art is lost or hidden. There is not the space here to begin to classify the orders of kami let alone their countless manifestations. Because the beliefs of Japanese religion – both Shinto and to a lesser extent Buddhist – are evolved rather than revealed (that is, revealed by a prophet, as in Christianity or Islam), the classification of hierarchies can be confusing and conflicting. Deities may for example have less kami, (and therefore influence) than mortals who have achieved mythological status over time or through the influence of sects, shrines, folktales or Imperial influence.

A good example of this is the Empress Jingo. Jingo (Jingu) is certainly a real historical figure but is imbued with the attributes of a goddess and famed for her conquest of parts of Korea in the 3rd century. Having fallen pregnant, she is said to have tied a girdle of stones to her waist and delayed the birth of her son by three years. In the case of Jingo we can see how fact and mythology become contained within the same myth. These fantastical stories, common to nearly every well known historical figure have become woven into the fabric of myth and magic, creating inseparable distinctions between fact and fiction. Less outlandish might be the very real and well documented, 12th century samurai warrior Minamoto no Yoshitsune. Yoshitsune has parallels with the English Folk hero Robin Hood; and his is a tragic and very famous story in Japan. His father was persecuted by the rival Taira Clan and Yoshitsune was brought up in a monastery. Legend has it that he was then taught the secrets of fighting by Tengu(mythical forest creatures) before taking up rebellion against his father’s old enemies. Yoshitsune is usually pictured fighting the warrior monk Benkei at Gojo Bridge. Benkei, known as a phenomenally strong man and warrior, has secured the bridge with the intention of relieving 1000 samurai of their swords. Yoshitsune is his 1000th victim. Yoshitsune, though slight, defeats the giant man using Tengu fighting skills. Benkei becomes his loyal protector and between them they lead an armed rebellion against the Taira, establishing Yoshitsune’s brother as the first national Shogun.

In Yoshitsune’s legend there is historical fact, well attested by contemporary accounts; tremendous exaggeration – his famous eight boat leap, his fight with Benkei; and outright mythology – his education with the mythical forest creatures the tengu. Yoshitsune’s story is typical of the fabric of Japanese folk history and one that would have been very familiar with ordinary, superstitious Japanese. Ukiyo prints further embellished and reinforced the more colourful episodes of these histories with often lurid and miraculous scenes of fights with gigantic spiders, winged tengu, disembodied and gigantic heads of demons and terrifying monsters of the sea and forest. The religious belief in ghosts, demons and goblins has its roots in Chinese Daoism. The Japanese co-opted many of the characteristics of Daoist superstition into their own creation myths and to fill otherwise dull episodes in the lives of important figures. Hence there are numerous accounts of warrior heroes fighting with tengu (forest goblins), oni(wild demons) and kappa (water devils) – these Chinese characters easily combining with the indigenous Shinto beliefs. As memories of the ancient past diminished, the popular superstition of more recent possessions and hauntings came to dominate popular culture and entered into the mainstream of woodblock prints and kabuki theatre.

It was not only heroes and magicians that preoccupied the Japanese populace: perhaps more immediate and more pressing were the kami associated with animals, place and objects, a powerful superstition that penetrates right to the modern age. Nearly every indigenous animal (and some that are not native) is associated with magical powers, either directly or indirectly. The most powerful are also associated with the Chinese zodiac. Special superstitions surround the fox, the hare and the badger. The most confusing of these is the fox, often seen in Japanese woodblock prints and on its own associated with magic, good, evil, deceit and shape shifting. The fox appears in some of the great art of Japan, as in Hiroshige’s haunting and masterful New Year’s Eve Foxfires at the Changing Tree, Oji – here associated with marsh gas fires thought to presage magical events. The fox in Japanese mythology can be immensely wise, acquiring nine tails by the end of its long life but also assuming the shape of travellers on the road and of beautiful and seductive women.

If all this were not enough to worry about, objects could also take on malevolent and mysterious lives to harass the innocent or the unwary. In Japanese prints vengeful spirits can occupy hanging lanterns or appear as great skulls in the snowy landscape. Even umbrellas  were invested with their own soul at a certain age. These Tsukumogami, (Kami of tool) included any object of use that was more than 100 years old. This 10th century folk myth was given greater credence after it was co-opted by the proselytising sect of Shingon Buddhism and persists to this day in popular culture and quaint ceremonies carried out to console lost or damaged household objects.

Belief in Kami, in magic, in the supernatural has animated Japanese art for centuries. In the work of Kuniyoshi for example, his outstanding imaginative use of these myths contributed to his phenomenal success and the richness and vibrancy of his most arresting images (see top of page). So too in the work of his most gifted pupil Yoshitoshi. The print illustrated left of Hakamadare Yasasuke and Kidomaru Fighting with Magic from 1887 is one of the finest of Yoshitoshi’s magical subjects. Conforming to the tradition of mortals with exceptional Kami, it illustrates a follower of the 10th century warlord Minamoto no Yorimitsu, fighting with what might be another aspect of himself by use of supernatural means: the upper figure transforming into a gigantic snake, the lower meanwhile invoking a cloud of  tengu through incantation. The print has everything required of a folk history – magical creatures, sorcerers, historic characters, demons, terror and kami. This print was made twenty years after the great Japanese leap into the modern world, yet it would have been clearly understood by the large audience that it was designed for. Japanese culture was embedded in the natural world, in natural magic. This animism was also embedded in its official and Imperial history and in the official religions of Buddhism and Shinto. The distinctions that we habitually make between the real and the imagined simply did not exist in nineteenth century Japan. Thought, action and phenomena were intimately connected with the individual, and with their conscience and their contract with culture and society. Commerce, capitalism and communications severed this bond between town and country, between art (in its broadest sense) and life. What replaced this evolved belief system appears to be panic, alienation and industrialisation. Happily, these myths linger on in attenuated form. Casual research of Japanese mythology will these days lead to any number of manga and anime sites where the hybrid descendants of Yoshitsune, Benkei, Hideyoshi and Kidomaru are still wreaking magic and evil in the settings of junior high school and downtown Tokyo.

More Information about TOSHIDAMA GALLERY 

https://twitter.com/Toshidama

Please visit http://toshidama.wordpress.com 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/2013/05/08/magic-in-japan-the-body-of-the-people/

Tomoko Hara and Sarah Deschamps

Modern Tokyo Times

Ron Herman just increased its clout in Japan further by opening two new stores in two trendy areas in Tokyo and Osaka. The Grand Front Osaka was bound to hit a chord with exquisite companies and clearly Ron Herman didn’t want to pass such a golden opportunity. Therefore, Ron Herman’s first venture into the fashion scene of Osaka is based in this amazing new concept which is located in the heart of this amazing city. Meanwhile, in Tokyo a new Ron Herman store opened in Tokyo Midtown in the Roppongi area.

These two new stores opened in late April 2013 and this brings the number to eight stores in trendy Japan for Ron Herman. This delightful company is run by Sazaby League, Ltd. Therefore, while venturing into the Roppongi fashion scene is interesting by itself, it more significant that this brand is now open to the public in Osaka.

Osaka fashion and style is amazing because you have ample fashion districts in this ultra modern part of Japan. Indeed, if fashion companies are intent on developing throughout Japan then clearly Tokyo and Osaka are the prime cities because of their collective economic power and ample fashion districts. It is hoped that the venture into Grand Front Osaka will be the start of something fresh in this part of Japan.

Zara Home also opened a new store in Grand Front Osaka because of the prestigious nature of this new concept in the heart of this flourishing city. This company is firmly established in Europe, Middle East, North America and South America and they also have a major presence in China and Japan. The international nature of Zara Home is abundantly clear because they have so many stores open throughout the world.

A PR representative of this company stated that “Grand Front is a favorable location with attractive Umeda clientele. One ‘home’ can be completed with ZARA HOME items.” For individuals who have never visited Umeda and the surrounding fashion districts then clearly this area must be put high on your list if you have the opportunity to visit this part of Japan. The buzzing vibes of Shinsaibashi, Namba and Umeda are truly exuberant because of exquisite fashion which runs throughout many fashion districts in vibrant Osaka.

Zara Home also opened a new store in LaLaport Yokohama in order to enhance their growing influence within the Japanese market. Lifestyle lovers will certainly enjoy this new store because of the quality products on sale and the array of imagination which goes into their respective stores.

Lee Jay Walker gave guidance to both main writers

http://www.zarahome.com/ Zara Home

http://www.ronherman.com/ Ron Herman

http://en.fashion-headline.com/ Fashion Headline for the latest Tokyo and Japan vibes

http://en.fashion-headline.com/article/2013/05/07/868.html Fashion Headline and Zara Home

leejay@moderntokyotimes.com

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Lee Jay Walker

Modern Tokyo Times 

Claude Monet was very important within French Impressionism and despite new artistic movements like Cubism and Fauvism altering the artistic landscape, he remained firmly committed to Impressionist art. Another major art theme which would shape Claude Monet was Japanese ukiyo-e because he was smitten by this art form when he witnessed it with his own eyes. Therefore, Claude Monet utilized these two powerful art movements and the upshot of this was stunning fresh art pieces which remain etched within the memory.

The Impressionist art movement altered the artistic world dramatically because this art form created a new energy. However, for Claude Monet, and others, Impressionism was also a philosophy which embedded new ideas and how the world was viewed from different perspectives.

Claude Monet was born in 1840 in Paris and died in 1926. Throughout his long life he created extremely stunning art pieces and Claude Monet is also internationally admired. From an early age Claude Monet adored art and in the early period he took lessons from Jacques-Francois Ochard. However, his early mentor who taught him about using oil paints was Eugene Boudin, a fellow artist, whom he met when still a teenager. Claude Monet and Eugene Boudin also benefited from the influence of Johan Barthold Jongkind.

The year 1857 was very dramatic and full of sadness for Claude Monet because his mother passed away. From this period to the early 1860′s he witnessed many highs and lows because other family members were opposed to his strong focus on art. In the early 1860′s he served in the French army in Algeria and was meant to have stayed for seven years. However, after suffering from typhoid fever he was allowed to leave after two years because of the actions of his aunt and the reported prompting of Johan Barthold Jongkind.

Claude Monet in 1862 could once more fully concentrate on art but he wasn’t interested in following traditional art. He now became a student under Charles Gleyre in the dynamic city of Paris. In time he would meet powerful artists like Alfred Sisley, Pierre-Auguste Renoir and Frederic Bazille. These artists were focused on new approaches to art and in time the Impressionist movement would radically alter the artistic landscape. Therefore, because of these individuals and others who were dedicated to new artistic concepts, a rich flow of art would galvanize the art world which remains vibrant today.

The 1870′s was a  period of change for the people of France because the Franco-Prussian war of 1870-1871 and the revolutionary fervor which gripped Paris, led to many upheavals. During the same period Claude Monet was touched by Japanese print making called ukiyo-e. This love affair would stay with him for the rest of his life. However, the death of his wife from tuberculosis in 1879 after several years of illness shattered Claude Monet because he doted on Camille Doncieux.

Turning back to the impact of Japanese art on Claude Monet the writer Don Morrison, Time Magazine, comments in his article (Monet’s Love Affair with Japanese Art) that “One day in 1871, legend has it, a French artist named Claude Monet walked into a food shop in Amsterdam, where he had gone to escape the Prussian siege of Paris. There he spotted some Japanese prints being used as wrapping paper. He was so taken by the engravings that he bought one on the spot. The purchase changed his life — and the history of Western art.”

“Monet went on to collect 231 Japanese prints, which greatly influenced his work and that of other practitioners of Impressionism, the movement he helped create. Under the new Meiji Emperor, Japan in the 1870s was just opening to the outside world after centuries of isolation. Japanese handicrafts were flooding into European department stores and art galleries. Japonisme, a fascination with all things Japanese, was soon the rage among French intellectuals and artists, among them Vincent van Gogh, Edouard Manet, Camille Pissarro and the young Monet. Perhaps for that reason Impressionism caught on early in Japan and remains ferociously popular there.”

While it is known that Claude Monet adored ukiyo-e you still have major debates about how Japanese prints influenced him personally. This topic is still up in the air because many art experts have wide differences of opinions related to this issue.

On the following website (http://www.intermonet.com/japan/) it is stated that “Art historians do not agree about this point: was Monet really under Japanese influence, or did he seek confirmations of his own research in Eastern art?”

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“However, an attentive eye can establish interesting connections. The influence of the prints on Monet’s art can be noted in the subjects he chose, in the composition, in light……But Monet knew how to be inspired without borrowing. His paintings diverge, from the prints by many aspects. The Japanese artists liked to feature the anecdotic or dramatic moments, Monet concentrated on light, which was the very subject of the canvas – the object was no more than (a) medium to convey the plays of light.”

Art historians can either play up or play down the influence of ukiyo-e within the art of Claude Monet. However, he was clearly charmed by the ukiyo-e of individuals like Hokusai, Hiroshige, and Utamaro. This isn’t open to debate because not only did Claude Monet buy vast amounts of ukiyo-e art prints but he also created a Japanese garden in his cherished home. He and many other important Impressionists were clearly inspired by many aspects of ukiyo-e.

Despite this the cultural dimension could never be bridged because of different thought patterns and factors behind both respective art movements. However, the richness of ukiyo-e and the freshness of this style did reinvigorate many artists in Europe and North America. Therefore, while the degree of influence may vary to respective artists who adored ukiyo-e, it is clear that new artistic concepts within ukiyo-e did inspire new thinking within many Impressionists.

Don Morrison comments that “Perhaps the greatest gift Japan gave Monet, and Impressionism, was an incandescent obsession with getting the play of light and shadow, the balance of colors and the curve of a line, just right — not the way it is in reality, but the way it looks in the artist’s imagination. “I have slowly learned about the pattern of the grass, the trees, the structure of birds and other animals like insects and fish, so that when I am 80, I hope to be better,” Hokusai wrote 16 years before his death at age 89. “At 90, I hope to have caught the very essence of things, so that at 100 I will have reached heavenly mysteries. At 110, every point and line will be living.” Monet spent the last decades of his life painting his water lilies, and then painting them again, until he lost his sight in quest of an elusive, transcendent perfection that might best be called Japanese.”

The love affair that Claude Monet found with Japan in his lifetime remains powerful in modern Japan. After all, without a shadow of a doubt Claude Monet is one of the most popular artists in this country. Therefore, the “love affair” worked both ways and this “spark” remains extremely “bright” today in the land of the rising sun.

http://www.time.com/time/magazine/article/0,9171,1573943,00.html#ixzz1uXJiJOmX

http://www.intermonet.com/japan/

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

The boy Emperor Antoku tragically perished before reaching seven years of age because of the political convulsions of the late twelfth century in Japan. His death and that of loyalists within the Taira says much about the cultural mindset which would remain embedded within Japan long after the fatal year of 1185. Likewise, the innocence of Emperor Antoku means that within the historical annuls of Japan the boy Emperor remains within the psyche of individuals who adore the history and culture of Japan.

Sadly, the treacherous betrayal of the Taira general is also a permanent reminder that often the bigger enemy is closer to home. Indeed, while the Crusades is often seen in a warlike clash between Christianity and Islam this negates the ample treachery which took place on both sides of the fence. After all, many a Christian and Muslim leader double-crossed the so-called noble cause and other branches of both faiths were treated with equal disdain within their respective faiths.

Emperor Antoku was born in late 1178 but sadly for this young child it was a period of major animosity between the warring clans of Minamoto and Taira (Heike). The ill-winds of war and the tragic fate which awaited Emperor Antoku meant that everything was outside his scope. Instead, he relied heavily on close guardians and the fluctuating military scene. Therefore, his life was one of duty and learning the ways of refinement while being a figurehead without any power because of his age and the reality of the day.

In another article about Emperor Antoku I state that “The Taira had collapsed because of various factors. This applies to enormous discontent, power control mechanisms being challenged by traditional elites, new forces within the Minamoto powerbase, ill-fortune based on the effects of nature, the loss of a powerful leader within the Taira clan and a whole host of other factors. All this culminated in the battle of Dan-no-ura and the ending of the life of the child Emperor Antoku.”

Before the battle of Dan-no-ura the writing was on the wall for the Taira clan because the Minamoto clan had been reinvigorated internally. Equally important, the Taira reign created many enemies because of the power mechanisms employed.

Britannica states that the Taira “…were defeated in two successive battles…one at Ichinotani, west of the city of Kōbe in Settsu Province, and the other at Yashima Island, along the Inland Sea in Sanuki Province (present Kagawa Prefecture). Forced to flee further west, the Taira family was finally completely destroyed in 1185 in the great sea battle of Dannoura, which occurred off the eastern end of the strait that separates Kyushu from Honshu. In this battle the emperor Antoku drowned, taking with him the great sword that was one of the Imperial Treasures of Japan…”

The ill-fated battle happened in the Shimonoseki Strait on April 25 in the year of 1185 whereby Emperor Antoku would perish. Treachery was at hand because a Taira general notified the Minamoto clan about which ship Emperor Antoku was based. Once this knowledge was passed over, then the Minamoto clan set about targeting this ship.

Toshidama Gallery states that “…the Minamoto were led by the legendary warrior Minamoto no Yoshitsune. The turning point in the ferocious battle came when a senior Taira general defected to the Minamoto and identified the ship containing the child Emperor Antoku and his family. The Minamoto archers turned their arrows on the flagship, sending it out of control. As the battle turned against them, sensing defeat, Antoku and his grandmother jumped to their deaths saying, “In the depths of the ocean we have a capital;” followed shortly by their loyal Taira samurai. The Taira threw the crown jewels overboard with them. The royal sword was never recovered. At the close of the engagement, the warrior Taira Norimori placed a heavy anchor on his armour and followed the rest into the sea…”

Different versions exist about what really happened because other historians focus on the death of his grandfather which enforced his grandmother to do desperate things. Alongside this his grandmother fully understood that the Taira would become supplanted by the Minamoto clan. Therefore, it seems most likely that Emperor Antoku even had his death controlled by a family member who believed that she had no other option.

It is ironic that while the Taira clan employed brutal methods during their period of power they ironically did not kill Minamoto Yoritomo in 1159 because of his young age. However, the Minamoto had no qualms in attacking the ship of Emperor Antoku. This reality meant that “an act of compassion” would come back to haunt the Taira clan.

Some historians state the age of death at six, seven and eight given the distance in time.

http://www.toshidama-japanese-prints.com/item_510/Kuniyoshi-The-Ghosts-of-the-Taira-Clan-Attacking-Yoshitsunes-Ship-in-Daimotsu-Bay-in-1185.htm

http://www.britannica.com/EBchecked/topic/580849/Taira-Family

leejay@moderntokyotimes.com

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Michel Lebon and Tomoko Hara

Modern Tokyo Times

Lolita fashion began to sprout up in Japan in the late 1970s to early 1980s and over time you have had many offshoots within the “Lolita fashion style.” The clothing image and aesthetics relate to France and the United Kingdom within the realm of all the positives of the Rococo and Victorian periods. Irrespective if the vibe of today hides the real reality of the Victorian period and Rococo period, the role of fashion is to transcend this and to create an image of cuteness, positivity and pure class.

Since the early period which evolved around a small number of individuals this fashion style continues to develop and grow. Therefore, despite this fashion style being relatively obscure in the initial period and being extremely minor in the field of everyday fashion in Tokyo, Osaka, Kobe, and other cities, this style is increasingly popular worldwide. Also, you have special areas in Tokyo, Osaka, and other major cities in Japan which cater and are influenced by Lolita fashion.

Lolita fashion unlike kawaii culture, the punk period, and various other trends, is relatively constrained within certain boundaries. However, despite this you have various styles within the Lolita fashion style. Also, like all fashion trends, it is clear that the natural beauty of many Lolita outfits is being utilized by other fashion styles when it comes to creativity.

Kansai was the initial bedrock of Lolita fashion in Japan but in time areas and companies would adopt this style in parts of Tokyo. Early boutiques which began this movement many decades ago applies to Milk and Pretty (known as Angelic Pretty in time), Pink House, The Stars Shine Bright, and Metamorphose temps de fille.

In time music groups who liked the Lolita image would help this fashion status and Lolita went from obscure shops and a small client base to major powerful stores today in Japan. Most notable, would be Marui One in Shinjuku where you will find beautiful boutiques selling Lolita fashion, kawaii fashion, and other trends emanating from Japan.

Despite the name Lolita having sexual connotations in Western culture this fashion scene is not about looking sexy. Lolita is about elegance and cuteness and sometimes you may see images of Lolita style fashion with ladies in long boots and so forth, but this is outside of the Lolita image and style. Therefore, Lolita on the whole expresses the beauty of the fashion designs and cuteness of both the design and the individual (some Lolita styles are not based on this) who feels special in elegant clothes.

Just like other fashion trends some people will just love the special feel of wearing sophisticated clothes and looking different. However, for others, they will also like the lifestyle associated with Lolita and this applies to philosophy and living in a world based on beauty and other aspects of this movement.

Of special appeal to both writers of this article is Classic Lolita because unlike Sweet Lolita and other areas of this fashion, Classic Lolita suits a wider age group and connects more strongly with aspects of Victorian fashion. This applies to floral patterns and looking classy rather than being focused on cuteness and bold colors.

In contrast to Classic Lolita you have Sweet Lolita which certainly suits the younger generation because this style is based on more expressive styles and is more “child-like” in the positive sense. Therefore, outfits relating to Sweet Lolita are very popular in the colors pink, white, and powder blue. Also, light make-up and a natural approach suits the style of clothing and often you will see hairstyles with lovely bouncy curls and stylish pony tails.

Kuro Lolita (Black Lolita) is a fascinating style based on the co-ordinates of black and the style of this fashion looks very elegant. Also, if an individual is new to Lolita fashion then Kuro Lolita is a great starter because this style isn’t so complex. Despite this, the Kuro Lolita and the Classic Lolita look are extremely classy and both styles suit the images of the Victorian period.

Most intriguing from a Japanese cultural point of view is Wa Lolita because this fuses the culture where Lolita fashion took off. Therefore, you have a fusion of Lolita with the styles of yukata and kimono outfits and when this style works it really looks exquisite and graceful.

Also, just like the special fabrics used for a lovely kimono you also have flower prints with great detail and other aspects of the kimono and yukata style. Kanzashi hairclip styles based on flowers also works beautifully and creates a lovely Japanese style within the Lolita fashion range.

Overall, Lolita fashion keeps on evolving and for the puritans it isn’t all positive because Ero Lolita and Cosplay Lolita are going in the wrong direction and have little to do with the real fashion image. Other styles of Lolita apply to Gothic, Casual, Country, Shiro, Hime, Punk, Kodona, Aristocrat, Sailor, and several others.

The website http://www.lolitafashion.org/ Lolita Fashion is very good for information about the different styles. Also, the Lolita Fashion website shows many beautiful images and if you prefer other styles of Lolita than mentioned in this article, then please check the images and information from this website.

Lolita is very varied and the elegant nature of the vast majority of these different styles means that many fashion designers will borrow from the creativity of Lolita fashion.

Lee Jay Walker gave support to both main writers

http://www.lolitafashion.org/

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Hiroshi Saito and Lee Jay Walker

Modern Tokyo Times

Yoshihide Kiryu appears to be a future 100 meters star in the making because at such a tender young age he just clocked 10.01 seconds to equal the World Junior Record. Kiryu is only 17 years old and clearly he is blessed with enormous talent. Therefore, with other promising young sprinters in Japan like Ryota Yamagata who is only 20 years old; then suddenly Japan is looking like a nation which will impact on the blue ribbon event.

It is abundantly clear that the strong area for Kiryu is his amazing pick-up around the 50 to 60 meters mark. Once he reaches this area then he enters a new dimension which is rarely seen in someone so young.

Of course, it is essential to nurture Kiryu and other athletes like Yamagata because clearly both talented youngsters have enormous potential. Hopefully, these two athletes will not only spur each other on but also other up and coming young Japanese 100 meter sprinters.

Kiryu became the fastest ever 17 year old in world history when he clocked 10.01 but in many ways it was the next race which was more telling. After all, Kiryu achieved 10.01 in the heats but in the final he knew he would meet Yamagata who reached the Olympic semi-finals in London. Therefore, with all the great expectations building up on Kiryu then people wanted to know how this prodigious young athlete would cope with another amazing young sprinting star from Japan.

He certainly didn’t disappoint because despite being pushed all the way to the line by Yamagata he emerged victorious. Clearly, both athletes will be looking forward to future meetings whereby they can pit their amazing skills. Yamagata clocked a wind assisted 10.04 to Kiryu who just won in 10.03. This single race proved the tenaciousness of both athletes and clearly the experience gained by Yamagata at the Olympics didn’t impinge on the young teenage Kiryu. If anything, it appeared to highlight the need to move on into the next realm.

Kiryu first hit the headlines last year when just 16 because he twice broke the World Youth 100 meters best. He first clocked 10.21 and this was followed by 10.19 near the end of 2012. Clearly, since this period he continues to show rapid development which can be seen by his 10.01 clocking and then beating Yamagata in a wind assisted 10.03.

The young sensation stated “Thank you for cheering me in today’s race…It was a great performance, way beyond my expectation. I won’t be satisfied with this performance and I will continue to work hard for even better performance.”

It is hoped that Kiryu and Yamagata will ignite the athletics sprinting scene for many years to come and that both athletes will inspire other young talents in Japan. Of course, it is always dangerous to expect too much from gifted young individuals because pressure and other factors can change quickly. Despite this, the example of Yamagata in reaching the semi-finals of the Olympics at such a tender age and now with Kiryu emerging; then the omens do look very positive for Japanese sprinting.

Indeed, with only a modicum of improvement then both athletes should be in the mix when it comes to reaching major international events. However, it is hoped that both athletes will improve by more than a modicum in order to shake up the Jamaican and American stranglehold on international sprinting. Of course, the road will not be easy but clocking 10.01 at 17 years of age is a world’s first therefore it is a possible dream.

http://www.youtube.com/watch?v=-oCe6_ocbeg 10.01 World Junior Record

http://www.youtube.com/watch?v=q8stErvnAoU Kiryu and Yamagata 

leejay@moderntokyotimes.com

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