Lee Jay Walker

Modern Tokyo Times

John Constable and Ito Shinsui lived in vastly different societies and the time period between both is enormous. However, both artists provide an image of “the national spirit” within tranquility, beauty, nature, and a world which some people still yearn for. It matters not if their art is “a mirror” which is not showing the complete reality because perfection is impossible.

After all, often historical archeology is about power, covering up reality and hiding the real underbelly of society. Today people visit Egypt to take photos of ancient Egypt but behind each major pyramid is the reality of slavery and mass suffering in building these endearing monuments. Similarly, high places of learning like Oxford and Cambridge were the opposite in “being bastions of learning.” Instead they maintained the power bases of the elites and alienated the vast majority of society who were deemed “un-pure” because of poverty and other social factors related to the class system.

However, the power of imagery, propaganda, distortions and so forth remains strong. The Holy Mosque of Mecca highlights the purity of monotheism but it is built on the foundations of Paganism, whereby the same black stone is the center of gravity. Indeed, the cradle of Christianity and Islam owes so much to Pagan Greece, Rome and Persia because learning was so advanced. Therefore, when viewing the art of John Constable and Ito Shinsui it is easy to escape all realities and dream about a magical world handed down in stunning art.

John Constable (1776-1837) painted adorable landscapes which often seem timeless because of the stunning reality of nature. He was an artist blessed with an ability to create amazing landscapes which focus on the perfection of nature. Constable did this without the need to focus on sentiment because the only “sentiment” attached is that of the viewer. The great “Englishman of art” ironically was adored in France and his paintings sold more in this country than they did in England. Once more, “the mirror of reality” is very different from the imagination when viewing the majestic art of John Constable.

Ito Shinsui (1898-1972) created beautiful images of women which highlighted elegance, style, culture, mystery and the continuity of Japanese beauty within tradition. He also produced fabulous landscapes whereby imagery is powerful. Ito Shinsui came to prominence during the Taisho and Showa period in Japan. Therefore, with the onset of modernity, nationalism, industrialization and the growing power of Western art within Japan; the art of Ito Shinsui clings to the past while maintaining innovation but within essential “Japanese themes.”

John Constable stated that “I should paint my own places best….painting is but another word for feeling.” His art work titled Dedham Vale and The Hay Wain are etched into the memory of most British nationals who adore art. Indeed, while individuals will view art differently it is hard to get away from the tranquil nature of life and how society seemed to be at peace. Of course, the reality is never that simple because of terrible diseases like tuberculosis and other powerful killers which meant life was fragile for the majority. However, in a world which is untouched by “impurity” and the “pains of the real world.” Then Dedham Vale and The Hay Wain take you to a world which is unspolit by modernization, political mechanisms, materialism and other negative forces based on exploitation.

The turning point in the life of Ito Shinsui was the bankruptcy of his father after he made rash investments. This forced Ito Shinsui to become an apprentice in a printing shop and to leave elementary school. His apprenticeship began in 1911 and this opportunity enabled Ito Shinsui to obtain important skills in printing and following on from this the arts in general.

Watanabe Shozaburo was a famous publisher and because of him the Shin Hanga movement and Ito Shinsui had a powerful patron. The relationship between Watanabe Shozaburo and Ito Shinsui would last many decades and both individuals would gain from this powerful relationship. Of course, the Japanese art world also gained from this partnership and in time international art would benefit because of the amazing art work of Ito Shinsui.

Most notable pieces of work by Ito Shinsui includes the Eight Views of Lake Biwa (Omi), Twelve Figures of New Beauties, Collection of Modern Beauties, Twelve Views of Oshima, Three Views of Mount Fuji and Ten Views of Shinano. Kawase Hasui was deeply impressed by the Eight Views of Lake Biwa (Omi) because this amazing collection inspired him and many others who witnessed the majesty of Ito Shinsui.

In an earlier article about Ito Shinsui I comment that “Another stunning piece of work done by Ito Shinsui before he was 19 years of age is “Young Girl Washing.”The composition and passion of this stunning masterpiece is extremely striking. This applies to the sophisticated composition for such a young individual and the innocence that the image portrays.”

The Shin Hanga movement left a very rich legacy because of the stunning art which was produced in this adorable art movement. Artelino website which highlights Japanese art states that “The Shin Hanga movement integrated Western elements without giving up the old values of Japanese, traditional woodblock prints. Instead of blindly imitating Western art styles, the new movement concentrated on traditional subjects like landscapes, beautiful women and actor portraits. Inspired by European Impressionism the artists introduced the effects of light and the expression of individual moods. The result was a technically superb and compelling new style of Japanese prints.”

Constable’s most famous art takes people to a world of “if only.” The reality was very different because he struggled to survive on the art work he produced irrespective of his background. Indeed, in England he only sold twenty paintings in his entire life and clearly he could have survived more easily in France because his art was viewed most favorably. However, Constable stated “I would rather be a poor man [in England] than a rich man abroad.”

The death of his partner Maria left a deep wound which never healed within the heart of Constable. She died within a relatively short time after giving birth to her seventh child. Constable was now left to bring up the seven children by himself but he was finding life very hard. He stated to his brother that “hourly do I feel the loss of my departed Angel—God only knows how my children will be brought up…the face of the World is totally changed to me.”

Artistic wise both John Constable and Ito Shinsui have left lasting legacies in the field of art. They both provide magical images which can be easily connected with the world they belonged to. However, the world of John Constable was often at odds with his reality because he initially struggled to enter the art world. After this, the personal tragedy of losing his beloved Maria hit him hard. Ito Shinsui however resembles a life based on more firm ground after a difficult period during his early childhood.

Both artists represent aspects of England and Japan through the art they produced. It matters not if the representations are based on what the eye can see – while glossing over the reality of the art being depicted – in art, like in life, you have no absolute truth. However, when viewing the art of John Constable and Ito Shinsui, they can take you to a realm which provides “comfort” in a world which often provides so much pain. This in itself is remarkable and clearly the “national spirit” is strong within both artists.

http://www.john-constable.org/

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

http://www.hanga.com/bio.cfm?ID=36

http://frclarke.com/shinhanga/shinsui/shinsui.html

http://www.hanga.com/series.cfm?ID=29

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

Ogata Gekko was a very individualistic artist who had a rich style which was based on his upbringing.  This applies to mainly being self-taught but this can be over-played because his free spirit was from within. Also, times were changing very quickly during his lifetime therefore Ogata Gekko needed to transform himself in order to meet the changing nature of Japanese society and culture.  This article however is mainly focused on the images of Japanese women by Ogata Gekko during a rapidly changing Japan.  After all, Ogata Gekko witnessed the changing nature of Japan because he was born in 1859 and died in 1920.  Therefore, this amazing Japanese artist was only a small child during the final years of the Edo period and this reality means that he belongs to the dynamic period of Meiji (1868 to 1912) and the early liberal years of the Taisho era which began in 1912.

Without a shadow of a doubt Ogata Gekko and other artists were influenced by the inward changes taking place throughout Japan irrespective if they supported modernity or were traditionalists. Alongside this was new technology which also impacted greatly on the world of ukiyo-e. Therefore, elements of rigidity during the Edo period would soon be on the wane during his childhood. However, while this led to freedom for many, it also led to chaos for other Japanese nationals because of internal convulsions. These internal issues also led to conflicts throughout Northeast Asia and it must be remembered that geography is complex when describing this region.

After all, while Japan is deemed to be firmly in Asia it must be remembered that Japan’s closest neighbor is the Russian Federation which is often seen outside of Asia and belonging to a “European home.” In many ways, Japan’s political elite and dress sense in the Meiji and Taisho periods resemble a Western imperial power. Given this reality, the “sleeping Japan” of the Edo period was now an expanding power and China – which had been the backbone of Japanese cultural influence – was now seen negatively and open to exploitation. Therefore, China now viewed Japan to be hostile because this nation was one of many imperial powers which had designs on China’s wealth. The other nations being European powers and while America may not belong to the traditional imperial club, it is true to say that America also desired a foothold in China.

Artists were also caught between tradition and modernization alongside rapidly changing cultural influences from Europe.  The interaction was not one way because Japanese artists also influenced European artists. However, for artists like Ogata Gekko they were bound to be influenced by all this confusion and mayhem.

Natsume Kinnosuke, who lived between 1867 and 1916, sums up the cultural reality of Japan during this period of Japanese history. This applies to the fact that this important Japanese novelist was a composer of haiku, Chinese-style poetry and a deep scholar of British literature.

Kobayashi Kiyochika who was born in 1847 was firmly within the traditional ukiyo-e orbit but this individual who died in 1915 changed alongside the changing nature of Japan.  He, like Ogata Gekko, understood the need to adapt while still preserving the best of Japanese traditions.

Richard Lane stated in Images from the Floating World, The Japanese Print, on page 193, that Kobayashi Kiyochika was “…the last important ukiyo-e master and the first noteworthy print artist of modern Japan… [or, perhaps] an anachronistic survival from an earlier age, a minor hero whose best efforts to adapt ukiyo-e to the new world of Meiji Japan were not quite enough.”

Ogata Gekko was part of this changing world and he would express this reality through his art.  Therefore, Ogata Gekko provides a glimpse into the cultural changes that were taking place in Japan during his lifetime.

In his images of Japanese women related to this article it is clear that you get a sense of ambition, identity and continuity alongside cultural changes.  The images show Japanese women looking elegant, refined and clearly the embroidery and color schemes show a stunning richness. Of course these images will mean different things to each individual and my own interpretation is that it shows a confident Japan and women coming out from the shadows.

The onrushing of change is clearly happening but at the same time the exquisite nature of the past is being preserved.  Ogata Gekko is therefore expressing the richness of design, fashion and embroidery during this period in Japan. Also, the females in his images show confidence and a real zest for life within a natural simplicity despite all the social upheavals caused by modernization. Therefore, the real power in these images, I believe, applies to simplicity and how space, time, cultural richness and modern Japanese women were being portrayed. Indeed, the ideal image in a sense can still be seen in modern Japan when ladies dress in traditional styles. This can be seen clearly because a lot of thought, high quality materials, color schemes and other important areas are connecting with the images which Ogata Gekko is showing.

Of course the cultural context is very different alongside the huge time difference. Also, despite these images not focusing on the political and working reality of Japan during the Meiji and Taisho period; they do highlight a culture which is confident, stylish but within the traditions of Japan. This reality means that you can sense a political angle if you look hard enough despite this being distant and hidden by the natural feel of the images produced by Ogata Gekko.

If you think about Coming of Age Day for Japanese ladies in modern Japan then all the symbolic images of tradition can be seen by stunning clothes which show the richness of Japanese tradition.  Therefore, just like the images by Ogata Gekko, you can see an ideal beauty within the Japanese psyche and while this form of dress is preserved for special occasions in modern Japan, you can still feel the connection of the past and how tradition is important.

Ogata Gekko expresses this elegantly and with a passion.

http://www.ogatagekko.net/

http://www.ogatagekko.net/BMA.html – Stunning images from this website

http://www.ogatagekko.net/FFZ.html – Fantastic set of images which show the grace of Ogata Gekko

http://shogungallery.com/index.php?cPath=21_24_153

http://woodblockprint.com.au/44.html

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

Yumeji Takehisa produced many stunning pieces of art but just like Shusui Kotoku, the revolutionary anarchist, and friend, he was caught up in the world of political intrigues and clashes of culture. His friendship with Shusui Kotoku meant that “within the shadows of the state” he was a complex figure. The deepness of his political youthfulness and early adult life will have been checked by the events of 1911, when Shusui Kotoku was executed by the state apparatus of the day.

Shusui Kotoku and Yumeji Takehisa were friends and clearly certain aspects of the thinking of Shusui Kotoku were shared by this wonderful artist. However, how entrenched remains open to speculation because the revolutionary period of the time meant that you had varying degrees of radicalism, within many political camps.

The Meiji Restoration of 1868 is very complex because on the one hand Japan modernized rapidly, just like the Stalin period of the Soviet Union, but many dark forces were unleashed based on internal fears. It is easy to judge what is right and wrong but history is never so simple. Therefore, irrespective of what people think about Stalin, he was correct about NAZI Germany being a threat to the Soviet Union and world peace.

However, Stalin understood that the Soviet Union didn’t have time to modernize slowly therefore real revolutionary changes were implemented in order to protect the system and to protect the state from NAZI aggression. Irrespective of what respective history books state, the irony is that it was the Soviet Union which saved Europe and the world from NAZI tyranny because tens of millions of Soviets died fighting NAZISM. On the contrary, the numbers of British, Americans, and French, dying in Europe between 1941 and 1944 was small, when compared with the suffering and sacrifice of the Soviet Union.

This isn’t meant to downplay the role of other nations between the crucial years of 1941 and 1944 but without the Soviet Union then NAZI Germany would have maintained its firm control over areas that had been conquered. Nor is it meant to exonerate the deaths of millions of people during the Stalinist period in the Soviet Union based on rapid modernization in order to survive. The complexity of the time however is what also faced Japan.

During the Edo period Japan had been mainly isolated because of internal policies despite some windows which remained open. However, for Meiji leaders and individuals in Taisho and Showa periods of history in Japan – then, a glance at the world meant Western hegemony over vast parts of the world. Japan’s options were to enter the “socialist-Marxist” camp, join the Western colonial club, or like America this nation could seek to dominate trade by unequal treaties with nations that hadn’t fully developed. However, remaining neutral didn’t appear like an option because of Western colonialism and economic domination.

This was the world of Yumeji Takehisa and the anarchist Shusui Kotoku but while one individual focused on art, the other desired political change. Yet both worlds came together through their friendship and open debates about Japanese and world politics.

Shusui Kotoku was against the war with the Russian Empire and for this he was jailed. However, during his time in jail he changed dramatically, Shusui Kotoku comments that “I had gone [to jail] as a Marxian Socialist and returned as a radical Anarchist.”

Turning back to Yumeji Takehisa I commented in another article that “It is difficult to understand why he didn’t make a breakthrough internationally. After all, his art is visually very beautiful and you can feel the passion and creativity of this sublime artist. Not only this, when viewing his most notable art pieces, it is clear that his unique style and sophistication hits the heart immediately.”

“Also, this energy and passion comes alive in his art work. Therefore, the lows in his life and lack of international recognition must have hurt him deeply because many lesser artists were received with much more attention.”

Despite this, how much did the events of 1911 and the hanging of Shusui Kotoku effect Yumeji Takehisa? Also, while he became a notable writer and poet – did the events of 1911 infringe on his own radicalism, writing, and art?  After all, when the state apparatus can hang individuals on far-from clear evidence then this must have impacted on Yumeji Takehisa.

Also, while his art and other skills were widely popular in Japan the same can’t be stated about the academic circles during his lifetime. This is mystifying and may hint at political meddling from the state apparatus which never fully trusted him – but this is speculative and is open to interpretation.

The “Taisho romanticism” of Yumeji Takehisa may appear to open a key to Shelley and utopianism in his early life. The most sublime of his bijin-ga images could be seen to be an ideal vision of a world which is untainted by politics. Once more this is speculative and clearly you had economic motives behind his art and other factors – but the beautiful harmony of his art in the eyes of Shusui Kotoku could be seen to be utopian.

In an earlier article I stated that “Sadly, Shusui Kotoku also died very young after being executed for “alleged treason.” Given the “Taisho romanticism” of his work and adorable bijin-ga pieces of art, it is easy to believe that the “romanticism” of his friend impacted on his art work. Indeed, the liberalism of his lifestyle may also indicate that despite his friend being executed in 1911 – his “shadow” remained with the heart of Yumeji Takehisa.”

“The final period on this earth was very traumatic and difficult for Yumeji Takehisa but the spirit of Shusui Kotoku and himself remains long after their respective deaths. After all, despite both dying young their passion will always stay within the legacies they left and created within their respective work.”

In modern Japan, the Russian Federation, China, Germany, and so forth, it is difficult to imagine the momentous events of the late nineteenth century and the radicalism of the 1930s and 1940s. Indeed, for China it is difficult to connect the modern Communist Party of China with the Cultural Revolution. However, these were the times of Yumeji Takehisa and Shusui Kotoku.

http://www.artelino.com/articles/yumeji-takehisa.asp　

http://www.culturalnews.com/?p=539　

leejay@moderntokyotimes.com　

http://moderntokyotimes.com　

By toshidama

The superstar is no new phenomenon nor is the intimate relationship between entertainer and publicist a product only of modern mass media. I’m interested here in Kunichika and his close relationship with two very famous kabuki actors of the late nineteenth century; and how similar that is to Pop artist Andy Warhol’s relationship with the American entertainment business of the 1960’s.

It’s easy to forget that (https://twitter.com/Toshidama) Tokyo was a massive city in the 1880’s, the most populous in the world at the time. It was a city of “townsmen” – a new merchant class who were educated and sophisticated… people who took their entertainment seriously. The Yoshiwara (red light district) and the Theatre scene were to them what Hollywood was to savvy consumers of the late twentieth century. Two actors perhaps more outstanding than any others strode this stage at that time: Ichikawa Danjuro the IX and Onoe Kikiguro V. Theatrical performances were anticipated and widely attended, particularly great performances commemorated in long editions of woodblock prints; and as the twin stars of ukiyo-e and kabuki started to fade in the 1880’s, the kabuki theatre’s leading illustrator and artist produced two entire one-hundred-sheet commemorative series devoted to the theatre’s two greatest performers. This focus was quite unprecedented.

Toyohara Kunichika was born in 1835; he was fifty-eight when he started work on the great Danjuro series in 1893 and already the leading print artist of the Meiji restoration, although not wealthy and notoriously difficult to work with.  Rumours exist about the fraught relationship between him and his subject, Ichikawa Danjuro IX. Kunichika was by this time a famous artist, although often penniless. Danjuro was well off and respected and always in need of publicity, seeing the flattering or heroic woodblock prints as essential to his career and to maintaining his huge popularity. There existed between the two however, a passionate regard for kabuki and a a certainty that the rituals and traditions of the theatre would be swept away by the tide of change that was gripping every part of Japanese life.

Ichikawa Danjuro IX elevated the kabuki theatre from the low form of artisan entertainment of the mid-century to a level of respectability so great that by the 1880’s the Emperor and his family numbered amongst its audience. Danjuro achieved this transformation, and salvation, through the revival of strong fact-based drama and a new realism in the staging and the performances. It was this great series of roles that Kunichika was to celebrate in his famous series and in many other prints. Kunichika designed a new form of woodblock print to stage these modern, realist dramas – the single figure, half-length portrait triptych. These striking designs were some of the most innovative ukiyo prints of the period and helped to keep Danjuro’s image in the public eye.

The publicist-artist that Kunichika had become did not stop with Danjuro. Another popular kabuki actor – Onoe Kikugoro V, whose nickname was Baiko – was the subject of a further one-hundred-sheet series in 1893. These two big series were landmarks in ukiyo-e and in Kunichika’s career. They were produced in deluxe editions – for the purpose of collecting  rather than as advertising or promotion. This emphasis on quality – thick paper, embossing, sprinkled mica powder and so on, was a clear shift in emphasis on the meaning of the object. In so doing the publishers were promoting Danjuro, Baiko and Kunichika as high art rather than commercial or proletarian entertainment, which is an important departure.

Over one hundred years later and a continent apart, we see similar relationships unravel between popular entertainers, a populist medium and an artist, passionate about star performers, fame and celebrity. Of course, I’m thinking here of Andy Warhol, the American pop artist and his relationship to movie stars like Liz Taylor and Marlon Brando or Elvis. Like Kunichika, Warhol chose a popular print medium (in his case, screenprinting) and a similar subject: popular entertainers. There’s an argument here that Warhol revived the sinking careers of many of his superstars by using their image, making them famous as both object and subject, making them into something new. Outside of the narrow specialism of kabuki, it is unlikely that the names of Danjuro or Kikugoro would be remembered – these actors have achieved, (like Edie Sedgewick) a kind of immortality in art greater than their legacy in entertainment. The transformational capacity of art is evident in the work of both artists… that rendering something transient into something fixed and visual can under certain circumstances transform the subject itself into something persistent and greater than just representation. In the works illustrated here – Kunichika’s Danjuro and Warhol’s Taylor – there’s a kind of departure from the subject… a widescreen rendering where the ‘landscape’ of the picture – its drama, subsumes the validity of portraiture and makes it something else entirely… something truly epic.

More Information about TOSHIDAMA GALLERY

https://twitter.com/Toshidama　- Toshidama on twitter

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.blogspot.com/) 

http://toshidama.wordpress.com/2011/07/19/kunichika-warhol-seeing-stars/

Modern Tokyo Times focuses heavily on Japanese art and culture and the Toshidama Gallery kindly allows us to publish their articles. Sometimes, we may publish a older article because of the uniqueness of the Toshidama Gallery and because of the appropriate article being a real gem. 

Lee Jay Walker

Modern Tokyo Times

The artist Ito Shinsui (1898-1972) left a lasting legacy because he produced many stunning works of art. His art work came to the fore during the Taisho and Showa period in Japan and he became famous for stunning images of beautiful women. However, Ito Shinsui also produced many amazing landscape paintings and he and a few other major artists maintained the rich tradition of Japanese art during this difficult and dramatic time in Japanese history.

He was born in Tokyo and because of his father becoming bankrupt after making rash investments it was clear that he couldn’t remain at elementary school. This event would become a blessing in disguise because Ito Shinsui became a live-in apprentice and soon it would become apparent that he had been blessed with many artistic talents.

Ito Shinsui’s apprenticeship took place in a printing shop and this opened up a new world because now he could learn important printing techniques and study more about the arts. His apprenticeship started in 1911 under Kaburagi Kiyokata and within one year and at the tender age of 14, his paintings became known to the general public because Kaburagi Kiyokata entered them into exhibitions.

Therefore, by an early age it was clear that this young teenager was destined for a bright future. Ito Shinsui belonged to the Shin Hanga movement and the famous publisher, Watanabe Shozaburo, developed his reputation in the commercial area because of his many links and high motivation. This relationship would last many decades and both benefitted greatly.

The “Eight Views of Lake Biwa (Omi)” became highly acclaimed and Kawase Hasui was greatly inspired by this painting collection. Other famous collections by Ito Shinsui include “Twelve Figures of New Beauties,” “Collection of Modern Beauties,” “Twelve Views of Oshima,” “Three Views of Mount Fuji,” and “Ten Views of Shinano.” Also, what is remarkable is that the “Eight Views of Lake Biwa (Omi)” was completed in 1918 when Ito Shinsui was extremely young.

Another stunning piece of work done by Ito Shinsui before he was 19 years of age is “Young Girl Washing.”The composition and passion of this stunning masterpiece is extremely striking. This applies to the sophisticated composition for such a young individual and the innocence that the image portrays.

Dieter Wanczura comments that “Shunsui was a master of bijinga – images of beautiful women in a sensual, refined, technically perfect and appealing manner. The artist’s bijinga are marked by a frequent use of a light gray background and red or blue colors in the garment. Another favorite subject was landscape prints.”

The Shin Hanga movement which Ito Shinsui belonged to left a lasting legacy because of the art form it produced. The Artelino website states that “The shin hanga movement integrated Western elements without giving up the old values of Japanese, traditional woodblock prints. Instead of blindly imitating Western art styles, the new movement concentrated on traditional subjects like landscapes, beautiful women and actor portraits. Inspired by European Impressionism the artists introduced the effects of light and the expression of individual moods. The result was a technically superb and compelling new style of Japanese prints.”

Ito Shinsui left a remarkable legacy because from such an early age it was apparent that he was extremely gifted. Therefore, despite the turbulence of his early childhood when his father faced severe hardship, Ito Shinsui overcame this obstacle and graced the world of art.

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

http://www.hanga.com/bio.cfm?ID=36

http://frclarke.com/shinhanga/shinsui/shinsui.html

http://www.hanga.com/series.cfm?ID=29

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

In modern day Japan the fashion scene is electric in major cities like Kobe, Osaka, and Tokyo. This applies to crème de la crème fashion and independent styles and the fusion of Japanese fashion, European fashion, and North American fashion, is simply creating a new dynamic. Therefore, when you look at the stunning ukiyo-e art and the fashion angle of Yōshū Chikanobu (Chikanobu Toyohara), it is clear that the fusion of traditional styles and new styles from western nations must have led to new creativity.

Chikanobu was born in 1838 and died in 1912 and the changing nature of Japan can be seen by the magnificent art work of this talented individual. The Meiji Restoration of 1868 meant that more ideas from outside of Japan would enter this nation. This also applied to changing fashion trends and Chikanobu certainly highlights this.

In the first image in this article by Chikanobu you have a stylish piece of art focused on the Japanese tea ceremony. However, it is clear that the fashion angle appealed greatly to Chikanobu because he highlights this with stunning detail. Therefore, you have lovely color schemes, sophisticated patterns, the richness of the Japanese tea ceremony, and an amazing detail of each individual lady. This is set in magnificent tranquility whereby Japanese ethics, tradition, culture and society is blended naturally within the environment of nature.

Therefore, in this one image alone you can see the pride of Chikanobu who understands that international artists are now focusing more and more on Japanese art. Not only this, while some cultures desired to throw away the old styles this does not apply to the reasoning of Chikanobu. Instead, he is showing that Japan is rich in history and that modernity also belongs within the richness of Japanese traditions. Thereby, the only change which is highlighting modernity is the more daring designs and color schemes which express more freedom.

Chikanobu is also highlighting change but within Japanese sensibilities and which naturally flow with the onset of modernity in Japan in this period. This is important because the fashion angle of Chikanobu’s art shows the confidence of the old world alongside the new fashion styles of nations in Europe and North America.

In the last image in this article Chikanobu is focusing on fashion from Europe and North America but the backdrop is based on powerful Japanese imagery. This applies to the stunning color of leafs and a famous mountain in the distance which signifies that the two worlds blend naturally.

The fashionable style of all the ladies in this image shows confidence, elegance, crème de la crème fabrics and high society. This image could represent nineteenth century America, England, France, or other nations like Scotland, whereby high society is showing its grandness and the importance of exquisite fashion.

If we think about modern day Japan then perhaps the clothes would be bought in exclusive boutiques in Aoyama, Ginza, or made to measure, because of the exclusive nature of the image. Also, it is clear that these ladies adore fashion and you can imagine the care that they took in buying such stylish clothes. The same care also applies to the individual designer and boutique which is focused on exquisite fabrics, amazing color schemes, elegant patterns, and providing clothes of the highest quality.

Chikanobu blessed Japanese art in many ways because when it comes to fashion, culture, ethics, the fusion of the new world and confidence of the old world – it is difficult to surpass Chikanobu in these areas. Of course, other famous ukiyo-e artists belong to a different time periods and you can’t compare art work fairly based on so many factors. Yet Chikanobu combines the reality of the Edo period he was born into, the new demands of the Meiji era and the growing power and influence of Western ways in this period of history in a special way.

Chikanobu therefore certainly left a rich legacy when it comes to amazing fashion styles, color schemes and the changing nature of Japan. Given this reality, the elegance of his artwork is a wonder to behold. Also, equally important is the fact that both worlds blend naturally. Therefore, Chikanobu is highlighting the rich traditions of Japan and the positives of a new culture which began to impact on the fashion scene, areas of high society, politics, and modernization.

Yet at no time does Chikanobu focus on weakness within the rich traditions of Japanese fashion, style, ethics, and cultural norms. In this sense, this amazing artist is showing an image of the modern world which fits naturally within Japan but which is being “Japanized” within the ethics of this nation.

In an earlier article I wrote about Chikanobu I comment that “Ukiyo-e artists of the Meiji era have often been overlooked but times are changing and Chikanobu and Ogata Gekko, and others, are now being valued in their own right. Therefore, prints by Meiji artists are being studied more and not only based on the artistic merits but also for studying Japanese culture. After all, Meiji artists witnessed a rapidly changing Japan and visual images provide a glimpse into this changing world.”

“Chikanobu’s famous print series called “Chiyoda no Ooku” (Court Ladies of the Chiyoda Palace) and “Shin Bijin” (True Beauties) highlight stunning colors and show the complexity of this period. This applies to images which show Japanese ladies dressed in exquisite traditional clothes like the kimono and Chikanobu also depicts women in Western clothes.” 

Therefore, by looking at the sublime art of Chikanobu you can feel the imperial nature of the Meiji period and the fusion of ideas, whereby the outside world was gaining a bridge into Japan. However, the changes taking place doesn’t depict weakness or cultural inferiority. On the contrary, the work of Chikanobu is highlighting confidence, pride, a purpose, the richness of Japanese culture, and that Japan can fuse the best of both worlds, while maintaining its rich heritage and ethics.

http://www.depauw.edu/news/index.asp?id=20942

https://www.monika-schmidt.com/japan/ausstellungen_e.htm 

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Tomoko Hara

Modern Tokyo Times

The Ueno district in Tokyo is extremely diverse because aspects of “Old Tokyo” still survive alongside modernity within this vibrant part of Tokyo. Ueno provides many cultural places to visit. Therefore, Tokyoites and tourists flock to this area because of the many attractions provided. However, within Ueno you get a real mish-mash which flows from cultural attractions to social deprivation; from fashion to the sex trade which is powerful; and other contradictory factors in this famous entertainment district.

Tokyo lifestyle in Ueno and the surrounding area provides a plethora of different angles but unlike most major parts of Tokyo, it is a district which is either loved strongly or disliked. It normally isn’t a district where people sit in the middle because of the very nature of the area. This applies to Tokyoites who are going to pick a new place to reside or to enjoy the natural vibes of this district.

However, from a tourist point of view then Ueno is a must place to visit because you have so many cultural attractions and places to enjoy. Also, the natural raw energy of Ueno can be felt because this part of Tokyo is very distinctive when compared with other major districts. Therefore, tourists can enjoy the usual cultural spots to visit and at night the entertainment aspect of Ueno is extremely vibrant.

Ueno is also a gateway for people who reside in Chiba prefecture and Ibaraki prefecture. In saying this, Ueno is still firmly entrenched within Tokyo because within a short distance by train you have thriving districts like Ikebukuro and Akihabara. In between you have sleepy but beautiful areas like Komagome which is blessed with stunning gardens. Also, Nippori is extremely fascinating because if you visit the old area, then you have many stunning temples to visit – and providing your knowledge of the area is really good, then individuals can walk from old Nippori to Ueno.

The most notable cultural attractions apply to the Tokyo National Museum, National Museum of Western Art, National Museum of Nature and Science, Tokyo Metropolitan Art Museum, Tokyo Bunka Kaikan, National Museum of Eastern Art, Tokugawa Mausoleum, Shitamachi Museum, Sogakudo Concert Hall, University Art Museum (Tokyo University of the Arts), Tosho-gu-Shrine, Iwasaki Family House, Yushima Tenjin, the statue of Saigo Takamori, Ueno Park, Shinobazu Pond, and other attractions like Ueno Zoo. Therefore, from this extensive list, which could easily be added, it is clear that Tokyoites and tourists alike have much to enjoy in Ueno because the cultural factor is very important.

The diversity of Ueno can also be felt within the fashion angle because it is a real mixture of natural street fashion, top notch department stores, independent fashion, and other styles. Ueno isn’t like Aoyama, Ginza, Harajuku, Ikebukuro, Shibuya, Shinjuku, and Omotesando when it comes to fashion; but this doesn’t take away from the buzzing fashion angle of Ueno. This means that the multi-dimensional factor behind Ueno is catering for different fashion vibes alongside the choice of major stores.

In Marui department store you will find many amazing boutiques and stores to visit. Marui is one of the most highly respected department stores for fashion lovers which can be found throughout Tokyo, and in other parts of Japan like Osaka. Marui focuses on lovely boutiques for ladies and caters for male fashion. At all times this company understands the trends of Japan and for this reason it’s pulling power remains strong year after year.

Stores that can be found in Marui in Ueno applies to Sly, Moussy, Vence, Peyton Place, Rew de Rew, Mercury Duo, Jill Stuart, Swingle, Samantha Thavasa, Xmiss, Gap, Muji, Tsumori Chisato, Anna Sui, Earth Music & Ecology, Laisse Passe, Will Selection, Mary Quant, and too many others to mention. The choice on offer by Marui sums up this company very well because you have so many elegant boutiques to visit and other companies in this adorable store. Therefore, Marui in Ueno is a magnet for fashion and the same applies to all Marui stores which enhance the lifestyle of so many Tokyoites.

Matsuzakaya is the most famous major shopping landmark in Ueno because this company was established in this part of Tokyo a very long time ago. Indeed, the company itself can trace itself back to the early seventeenth century. Matsuzakaya sells a vast array of products and given its rich history then individuals should pay a visit. Also, you can buy scrumptious food and enjoy the dining provided within this department store.

Ueno vibes can be felt in places like the Ameyoko bazaar (Ameya-yokocho bazaar) and Takeya where both places provide their own unique angle. Indeed, the Ameyoko bazaar stands out in Tokyo because you have a rare buzzing market to visit which caters for different goods. Likewise, Takeya caters for an array of products and the independent vibe is most welcoming. Therefore, both places are well worth a visit for bargains and to feel a different atmosphere which is rare for Tokyo.

Overall, Ueno is certainly very individualistic and the options available are enormous. This fact means that Tokyoites and tourists continue to flock to this part of Tokyo. Not surprisingly, the cultural angle is a huge pulling power. However, within Ueno you also have an interesting fashion scene and clearly it is a bustling place to reside. In saying that, the beauty of Ueno is that you also have many Buddhist temples, Shinto shrines, and cultural places to visit. This means that Ueno caters for a broad array of individuals.

Lee Jay Walker gave support to both main writers

http://www.tokyoessentials.com/ueno.html  (about Ueno)

http://www.jnto.go.jp/eng/location/regional/tokyo/ueno.html   (info about Ueno)

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Kanako Itamae

Modern Tokyo Times

Tokyoites and tourists to this fabulous city should make the most of Kiyosumi Gardens because it is one of the most adorable places to visit in this ultra-modern city. At the same time the Fukugawa Edo Museum, Museum of Contemporary Art, Basho Museum, Morishita Culture Center and other places which are rich in culture, can be found within a short distance. Indeed, Koto-ku is blessed with a lovely mix of culture, natural lifestyle and is a nice break from the ultra-busy districts of Ginza, Ikebukuro, Harajuku, Shibuya, Shinjuku and Ueno.

In Koto-ku you can feel “old Tokyo” ticking and this applies to the laid back atmosphere, traditional family businesses and the more sedate pace of life, which suits people who want to escape from the madding crowds. Of course, the tourist attractions located in Koto-ku do attract people but this part of Tokyo is much more relaxed. Therefore, unlike the rich cultural reality of Ueno you have a more serene feel to this part of this mega city.

The Fukagawa Edo Museum isn’t a mega art center but you have a community feel within this museum that it is “alive” and represents Tokyo in all its natural reality. Exhibitions and cultural events change all year round therefore it is essential to check their website for further details. Also, you have special events whereby people can participate and learn about many angles of Japanese culture.

Therefore, if you are fascinated about Japanese calligraphy, shamisen, a traditional Edo setting and other aspects of culture, then a visit to this museum will enable you to feel the warmth of Tokyo. The permanent collection of the streets of Fukagawa-Saga Town of the Tempo Period (1830-1843) is also a real treat. Like previously stated, this museum is more of a “living museum” rather than a mega place of exquisite art. Despite this, the various attractions are extremely enticing and the cultural angle is a real gem.

If you adore the beauty of Japanese gardens then a visit to Kiyosumi Gardens is a must. The most convenient way to travel is by train and this applies to exiting at Kiyosumi Shirakawa station by using either the Toei Oedo Line or Hanzomon Line. Kiyosumi Gardens is in walking distance of Fukagawa Edo Museum and it is a perfect way to compliment your cultural experience in this part of Tokyo.

Kiyosumi Gardens is a real gem because the stunning beauty is matched by the adorable layout. The stepping stone aspect of Kiyosumi Gardens is extremely pleasurable and will appeal to children and adults alike. Indeed, for some adults you will feel “a glimpse of your childhood” if you partake in enjoying the stepping stone area which is called Iso-Wateri. Also, the pond is extremely well kept and the angles of the stunning views are a wonder to behold.

This splendid place can be enjoyed all year round therefore please check the website about further details regarding opening times. The gardens are also blessed with lovely architecture and this applies to the Ryotei building and Taisho Kinekan. Both buildings not only enhance the beauty of Kiyosumi Gardens but they provide a unique feel. Also, for people who adore photography then this garden provides a wealth of amazing opportunities to enhance your respective photo collection.

The famous Basho Haiku stone in Kiyosumi Gardens expresses the cultural angle to this lovely part of Tokyo. Also, if you have a full day to relax then a visit to the Basho Museum, Museum of Contemporary Art and the Morishita Culture Center is richly rewarding. Overall, Koto-ku provides a lovely refined angle to Tokyo because the cultural angle is extremely rich.

Lee Jay Walker gave support to both main writers

http://teien.tokyo-park.or.jp/en/kiyosumi/　  Kiyosumi Gardens

http://www.kcf.or.jp/fukagawa/event_list.html　  Koto City Fukagawa Edo Museum

http://www.kcf.or.jp/basyo/index.html　 Basho Museum

http://www.mot-art-museum.jp/eng/　 Museum of Contemporary Art

http://shintomin.com/xoops/modules/chapox2/content.php?lid=12　  Morishita Culture Center

Lee Jay Walker

Modern Tokyo Times

Ito Shinsui (1898-1972) is a “famous son” of Japanese art because his art is blessed with elegance, sophistication, and serenity. This is equally matched with natural simplicity and adorable color schemes when applied to his images of beautiful ladies and landscapes. Therefore, if you want to imagine the natural beauty of “the old world” and the stylish nature of traditional Japanese fashion styles for ladies, then Ito Shinsui does this with panache, amazing color schemes and elegant depictions of stunning ladies.

Indeed, the art work of Ito Shinsui is not only extremely beautiful and charming but the facial features of the ladies are very mysterious. This reality of the art work of Ito Shinsui is most striking. For he possesses a style which conjures up sublime beauty but within settings which are at one with nature and which don’t need to be sensationalized.

Also, the adorable color schemes highlight the exquisite beauty of traditional Japanese clothes for ladies. In terms of fashion, he enables the richness of Japanese culture to be seen through the majestic styles and color co-ordinations of traditional clothes, which just beg for admiration.

Therefore, in the modern world of fashion you will see many amazing boutiques which highlight the rich embroidery, creativity, and amazing fabrics, of modern day fashion. The same applies to visiting famous fashion shows in Paris, New York, Milan, Tokyo, London, and other high octane fashion exhibitions which highlight elegant models and various styles. However, the art of Ito Shinsui and the amazing styles he depicts would grace any modern fashion show. This applies to panache, grace, color schemes, rich fabrics, buzzing creativity, and other important factors.

On the website called Fujiland by B.C.Liddell it is stated that “Shinsui Ito was a central figure in Japan’s artistic identity crisis during the 20th century. As wave after wave of artistic ‘isms’ from overseas broke upon these shores, native artists felt compelled to either abandon their own rich artistic traditions or embrace them even more strongly. Ito … was one of those artists who chose the latter course, joining the Nihonga movement, which looked to Japan’s past for inspiration rather than the confusing plethora of ideas pouring in from abroad.”

“When he was 18, he joined Shinhanga Undo, a group which aimed to revive the methods and styles of ukiyo-e. This had a profound influence on the style and themes of his paintings which abound with the images of nature and feminine beauty found in traditional Japanese wood block prints. Joshin (Unsullied Morning) (1930), a beautiful picture depicting a group of naked women bathing in a natural hot spring combines both of these aesthetics. The color of the bathers is so softened by the steam and blended into the surrounding nature, that it is only the blackness of their hair that first alerts us to their presence.”

“Nihonga differs markedly from Western painting in the materials used. The emphasis, as with so much in Japanese culture, is on the use of entirely natural materials. Paper and silk, mounted on board, wall scrolls or on folding screens, are used instead of canvas.”

The most notable comment on this website about Ito Shinsui is that “Japanese art inspired by the imported artistic movements of the 20th century often looks derivative and dated, but the work of Shinsui Ito retains its sincere beauty and timeless appeal.”

Therefore, not only did Ito Shinsui maintain a connection with past Japanese art but his bijinga art is also timeless. This most certainly applies to his finest collection because you can connect the image with the most exquisite kimono during the Taisho and Showa period. However, because of the adorable color schemes and highlighting the stunning nature of traditional Japanese clothes – then, the fashion angle is equally rewarding because his powerful art isn’t out of place in the modern period.

Ito Shinsui truly belonged to the Shin Hanga artmovement and Watanabe Shozaburo, a famous publisher, must be credited with opening up many doors for this amazing artist. Their relationship would remain strong for many decades and both individuals benefited.

The beauty of Ito Shinsui is that he connects the old art world of Japan with the new world in a way which is natural. His gracefulness is a wonder to behold. Therefore, he is fondly remembered for the art he produced and the “timeless” nature of his art is truly remarkable.

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

http://www.hanga.com/bio.cfm?ID=36

http://www.vernegallery.com/japanese-prints/Ito-Shinsui/32

http://frclarke.com/shinhanga/shinsui/shinsui.html

http://www.hanga.com/series.cfm?ID=29 

http://fujiland-mag.blogspot.jp/2010/10/exhibition-shinsui-ito.html

leejay@moderntokyotimes.com　

http://moderntokyotimes.com

By toshidama

I guess it is to be both anticipated and regretted that the women of Japan who were once the great writers and poets and priestesses, not to say robbers and warriors of their culture, should have been reduced by the middle of the nineteenth century to the status of ornament and prostitute. They became ritualised and mimicked, exploited and feared, bound by convention… however, strong women – or at least the illusion of strong women – are still evident in the art of ukiyo-e; the Japanese woodblock prints of 18th and 19th century Japan.

More often than not, real women, powerful women, make an appearance in ukiyo-e art only as cautionary tales, or else as paragons of feminine virtue and piety. I’m thinking here of Kunichika’s series 36 Good and Evil Beauties… women to be revered as saints or feared as demons. But by far the most common depiction of women of the time is either in prints of the kabuki stage or as prostitutes… geisha or courtesans if you prefer. Both these models remain insincere. In the first instance because there were no kabuki roles for women and these prints, beautiful and seductive as they are, depict onnagata or female impersonators representing the female characters.

In the second case, the activities of the courtesans took place within the walled city of the Yoshiwara, a pleasure quarter not subject to the normal rules of society and living its own life, by its own clock and with often brutal consequences. The Yoshiwara, a sort of cross between the Vatican and the Reeperbahn had for centuries catered to the desires of men for mistresses, for theatre, for indulgence of any kind… it was only here and even then within strict codes of behaviour, that women could find leverage in an otherwise male society. In the art of ukiyo-e, as in so much Western art, real women are really only an illusion.

Illustrated here are Kunichika’s portrait of the “Evil Omatsu” from 36 Good and Evil Beauties; a woman who poisoned her wealthy husband. Below is Yoshitoshi’s “Thirty-Two Aspects of Customs and Manners: Looking itchy – The Appearance of a Kept Woman of the Kansei Era (1789-1801) Number 16.”

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.

Hiroshi Saito and Sarah Deschamps

Modern Tokyo Times

Throughout history it appears that the sex trade and other areas related to the seedy side of life is part and parcel of humanity. Nations may introduce laws to prevent certain aspects of the sex trade but little can stem the demand. However, in some cities the sex trade is much more noticeable and clearly in Tokyo you have many different angles to this thriving sector.

The most noticeable reality in Tokyo and throughout Japan is that you have many areas related to sexuality which does not shock the masses. For example, many manga images are extremely powerful including sexual images related to children but it appears natural within a certain side of manga. Likewise, on the streets of Shinjuku, Ikebukuro and Shibuya in Tokyo, you will often see beautiful young ladies being accosted in order to accept hostess jobs and photography assignments in certain areas.

Issues related to chikan (train gropping) and enjo kosai (compensated dating) are both realities in Tokyo and in other parts of Japan. Of course, both are very different issues because one is done without any consent (chikan); while the other (enjo kosai) is usually agreed upon irrespective if through an agency or done by mutual consent. It is also true that you will have a criminal aspect to enjo kosai but this area is very broad and depends greatly on the situation. Indeed, enjo kosai is extremely complex and this also applies to the usage which may be purely sexual or much more minor in scope.

Therefore, Nobuyoshi Araki, who is a famous photographer, focuses on the seedy side of Tokyo through his unique photography. Araki does part of this by fusing sexuality within the landscape of Tokyo. He also focuses on ladies who are tied-up but in a sexual and seductive way. Indeed, this is the beauty of Araki because his photography is both informative, based on the imagination, artistic, sexual and a host of other features.

In a sense, Araki is also highlighting that beyond all the imagination related to the entertainment districts of Tokyo; the stark reality is also “isolation,” “emptiness” and “coldness.” Of course, much will depend on each image and Araki also focuses on other subject matters. Yet Araki is internationally famous for his provocative sexual images which highlight a wealth of different emotions.

Araki scratches beneath the surface and shows both the sexual side of Tokyo and the sexual nature of individuals. He can connect easily because of his unique photography which says many things outside of a simple image. It is this artistic side of Araki and the cross cultural interaction which can be felt despite his emphasis being solely on Tokyo. Therefore, by viewing the seedy side of Araki’s photography one can also visualize “the hidden Tokyo” and the “sexual openness” of certain famous districts in this amazing city.

Kabukicho in Tokyo is now changing despite the sexual angle which still thrives. However, modern Tokyo is very different to the images of Araki’s Kabukicho which became famously known throughout the 1980s. This place is a small area within Shinjuku and Araki’s famous book “Tokyo Lucky Hole” highlights the reality of Tokyo in the flesh.

Andy Warhol in America is rightly remembered for his unique creativity which challenged many modern day conventions. Yet, in the photography of Araki everything seems more powerful because the images are not so distant from many desires. The reason for this is that Araki can take people to “the sexual edge” but within an angle which exists. He does this also be showing the beauty of sexuality to the coldness of the same theme depending on the image taken. Therefore, unlike Warhol who exists within “a world of art” and “enormous creativity;” the work of Araki highlights a humanity which exists and which can be touched by people who share the same thought patterns.

Araki also provides nostalgia. He comments that “People say photography should try to avoid being nostalgic, but I simply say photographs are nostalgic. The meaning of nostalgia for me is not sad memories or something that has disappeared; not just memories. For me nostalgia is like the warmth in a mother’s belly.”

In England when people think about the 1960s then images of the Beatles, the Rolling Stones, England winning the World Cup in 1966 and beautiful ladies in mini-skirts all springs to mind. Likewise, if you think about any modern photographer that highlights the sexual side of Tokyo, then Araki springs to mind before anyone else. Without a shadow of a doubt it is clear that Araki is a powerful individual within the culture of Tokyo because he brings to life a reality which exists.

leejay@moderntokyotimes.com

http://www.moderntokyotimes.com