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

Sarah Deschamps and Hiroshi Saito

Modern Tokyo Times

The different vibes of Tokyo fashion are always in heavy demand both internally and internationally therefore the Style Arena website is a must place to check continuously for latest images and news. Images on Style Arena highlight the “real Tokyo” and the interactive knowledge of the respective individuals being highlighted provides powerful information. This applies to the current trends and favorite boutiques of each respective individual. Therefore, Style Arena provides a stylish fresh approach with complete professionalism at all times.

Style Arena http://www.style-arena.jp is currently highlighting Japanese Punk vibes in the New Tribe sector. Once more, each image highlights the stunning and changing fashion vibes of a craze which is reaching the streets of Tokyo from an independent angle. This complements the mainstream reality of much of Style Arena which focuses on powerful fashion districts within buzzing Tokyo.

The five main fashion districts whereby photos are uploaded frequently apply to Daikanyama, Ginza, Harajuku, Omotesando and Shibuya. These five delightful districts provide a lovely ambience to Style Arena based on the distinctiveness of each fashion zone.

After all, the buzzing independence of Harajuku is internationally famous therefore vast numbers of fashion lovers all over the world are fascinated by the unique vibes emanating from this fashion district. Meanwhile, Shibuya is also recognized for being a vibrant youth district for fashion lovers and whereby “Shibuya girls” are known by their own special styles and delightful haircuts. Of course, in Harajuku and Shibuya you also have exquisite mainstream fashion and a plethora of boutiques catering for different styles.

Daikanyama is very different because this fashion district is quaint and off the beaten track for international fashion lovers who visit Tokyo for the first time. However, within Tokyo this lovely district is known for independent fashion styles, elegance and having a warm atmosphere. Also, the lifestyle of Daikanyama is highly desirable therefore this place is in high demand when it comes to a place to call home. Therefore, by providing images of individuals who adore the Daikanyama fashion scene, it is interesting to note the differences in favorite boutiques and trends among some of the people interviewed,

Ginza and Omotesando are two districts which are known for the crème de la crème of Japanese and international fashion. This reality means that you will find many adorable European and American boutiques which mix freely with exquisite Japanese boutiques. These two fashion districts are extremely wealthy and the architecture is also another lovely feature of Ginza and Omotesando. 

Tokyoites are fully aware that Harajuku, Omotesando and Shibuya naturally flow together alongside Aoyama which is another amazing fashion district. In the backstreets of Omotesando and Harajuku you will also find independent styles and the vibes of American street fashion can be felt heavily in the backstreets of Omotesando. Therefore, you have a lovely synergy to the entire area which links these fantastic fashion zones into one enormous fashion hub.

Daikanyama is not so far away from Shibuya by train therefore Ginza is the one fashion district which is highlighted by Style Arena which stands out by its location. Like already stated, Ginza and Omotesando share many similar themes when it comes to high fashion. However, with the interplay between Omotesando and Harajuku being so strong and the same applies to Shibuya in terms of distance; then the focus on Ginza does provide another lovely angle to Style Arena.

In another article by Modern Tokyo Times about Style Arena it was stated that “Style Arena is extremely easy on the eye and clearly all the appropriate information is provided. This applies to respective individuals who highlight their favorite fashion companies and other important areas. The photo images also highlight many different angles and clearly great care is being taken. However, it is the easy available information which provides the “in boutiques” which is a huge winner.”

Overall, Style Arena is a must place to visit for fashion lovers who adore the rich angle of this sector in Tokyo. At all times this website is updated with lovely images and latest news whereby other fashion districts are highlighted. The user friendly nature of Style Arena and the language angle which reaches out internationally sums up the entire professionalism of this exquisite website.

Lee Jay Walker gave guidance to both main writers.

http://www.style-arena.jp

http://www.style-arena.jp/street/individual/dt/5533

http://www.style-arena.jp/street/individual/dt/5541

Images in this article are not from Style Arena.  Please click on the Style Arena website to view the latest trends of Tokyo. These images belong to MODERN TOKYO TIMES

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Kanako Itamae

Modern Tokyo Times

Tokyo is an enormous city which attracts Japanese tourists, international tourists and business people all year round. This ultra-modern city means many things to different people because for some it is all about modernity but to others they want to dig deep and see the rich culture of Tokyo and Japan. Of course, for others it is a mixture of both and for busy business people it may just be a flying visit because of the nature of commerce.

However, irrespective of the reason why people visit Tokyo or if you are a Tokyoite, the gardens in Tokyo provide a place to relax, to look at sunning nature, to understand aspects of Japanese culture, and more important, to escape the “madding crowd.” Therefore, the gardens of Tokyo are not only therapeutic but the richness and style is a wonder to behold because you can feel continuity, a fusion of ideas, and feel the passion of Japanese gardeners who put everything into their work in order to create a different world

Rikugien Gardens and Kiyosumi Gardens are just two of the many gardens to visit in Tokyo and both provide a different ambience. Also, both gardens are located in quiet parts of Tokyo because Komagome and Kiyosumi Shirakawa are a million miles away from the fashion orientated districts of Shibuya and Shinjuku. This aspect makes a welcome change because the pace of life is much slower but you still have many quaint shops in Komagome which cater for handcrafts, antiques, and local goods.

Komagome is extremely close to Ikebukuro and Ueno by the Yamanote Train Line and in a way Rikugien Gardens is a perfect link. This applies to the bustling nature of fashion and commerce in Ikebukuro and the many museums located in Ueno. Also, in Ueno you will find the fashion scene in full flow and a major park which is the central theme to this lively and important part of Tokyo.

However, Komagome is a sleepy suburb but a great place to relax because of Rikugien Gardens and nearby is Kyu-Furukawa Gardens. Therefore, garden lovers have the opportunity to visit both stunning places because they are in close proximity.

All the main gardens in Tokyo are beautifully maintained and Rikugien is extremely spacious. This enables individuals to follow the main route around the exquisite pond or to walk around more natural parts of this garden by relaxing in quiet areas. The winter period, spring season, and late autumn are most relaxing because you have no dreaded mosquitoes bothering you unlike in the height of summer whereby you need mosquito spray.

Another lovely aspect of Rikugien Gardens is that you can rest and drink delicious traditional Japanese tea and eat a scrumptious small Japanese sweet. The location of the small resting place is located near to the pond and the scenery is truly stunning. Therefore, while drinking delicious Japanese tea you can feel the spirituality of Rikugien and this simplistic pleasure creates a lovely feeling for tourists who want to feel the old Japan.

Kiyosumi Gardens is equally beautiful and to reach Kiyosumi Shirakawa you need to take either the Toei Oedo Line or Hanzomon Line. Also, in Kiyosumi Shirakawa and the surrounding area you have many museums to visit and a good guide book will enhance your visit.

In a past article about Kiyosumi Gardens by Modern Tokyo Times it was stated that “The Iso-Watari section is a real treat because the stepping-stone pathways lead across the pond where it is shallow. For children, it is a time of fantastic pleasure because they can enjoy playful times and be connected with nature at its best. Also, for adults, the “child inside” comes flooding back when you walk on the stepping-stone pathways and at all times you will have opportunities to see fish in the pond.”

“Inside Kiyosumi Gardens you also have stylish buildings and this applies to the Ryotei building and Taisho Kinenkan. These buildings heighten the cultural aspects and ambience of Kiyosumi Gardens. Therefore, if you enjoy photography you can combine architecture and nature together and of course each angle provides a new image to treasure.”

Kiyosumi Gardens is a place where individuals, friends, or groups touring Tokyo, can sit back and look at sublime views. Also, the little pathways by stepping stones are an enthralling feature of this exquisite garden. Given this, the pamphlet guide in different languages is most welcome because it highlights important factors about Kiyosumi Gardens.

Japanese gardens are also spiritual and philosophical and each garden may have a different angle. This applies to the fusion of the respective garden with Buddhist elements, Confucian aspects, Taoism factors or being Japan, a mixture of all and of course the role of nature in the indigenous faith of Shintoism is powerful. Given this, the background of each garden is often very intriguing because Japanese gardens connect “the self” with nature. Also, space, layout, monuments, and other aspects, are meant to transcend everyday life therefore you can clearly feel the therapeutic nature of gardens in Japan.

The entire area provides many hidden treasures and this applies to the Fukagawa Edo Museum, Basho Museum, Museum of Contemporary Art and the Morishita Culture Center. Therefore, it is important to check respective websites to see what options are available to you when you visit this part of Tokyo.

Koto City highlights a different to the ultra-modern city of Tokyo by focusing on culture, art, haiku, music, history and other rich traditions. Kiyosumi Gardens is a lovely central point to your visit and the different museums open up a new world and this applies to either tradition or the modern vibes of the Museum of Contemporary Art.

The gardens highlighted in this article are truly beautiful therefore please visit the links provided below.

Please visit the links below for more information about the gardens highlighted

http://teien.tokyo-park.or.jp/en/rikugien/index.html Rikugien Gardens

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

http://teien.tokyo-park.or.jp/en/kyu-furukawa/ Kyu-Furukawa Gardens

More tourist information about places named

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

ALL IMAGES FROM MODERN TOKYO TIMES

leejay@moderntokyotimes.com

http://moderntokyotimes.com

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

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　

Kanako Itamae

Modern Tokyo Times 

Koshikawa Korakuen Garden is a beautiful place to relax and to witness the stunning styles of a traditional garden in Tokyo.  The construction of Korakuen began in 1629 and the influence of China can be seen and felt when you enjoy your walk in this beautiful garden.

Korakuen is a marvelous landscape garden and you can also feel a strong connection with the Edo period.  The garden fuses the best of landscapes from China and Japan and the stone layout is clearly a strong feature which it is designed to help you escape from the stresses of this life.

Korakuen derives its name from a Chinese text which states “a need for those in power to worry about maintaining power first and then enjoy power later.” This can be found in Hanchuen’s “Gakuyoro-ki” and Mitsukuni who began constructing the garden found great wisdom in these words. Therefore, Mitsukuni took the name Korakuen for this garden which means “the garden for enjoying power later on.”

“Therefore, the landscape at Korakuen is a mixture of the Edo period and the natural inter-mingling of Chinese and Japanese philosophy fused within the grounds of a stunning garden. This fusion is a wonder to behold because the end product is not only fascinating and extremely stylish; but it also reminds you of a period when both societies looked fondly at each other.”

If you close your eyes for a few minutes then you can feel aspects of your inner soul because the ambience of the garden certainly makes you reflect based on the majesty of nature and the exquisite beauty of Korakuen.  Also, you can imagine aspects of Tokugawa culture because the garden is a statement of culture, nature, beauty and ethics – within the silence of the surroundings.

Tourists and Tokyoites alike will feel refreshed once they enter this peaceful environment. Indeed, the beauty of Tokyo is that you have many gems like Korakuen whereby you can leave modern Tokyo behind. Also, the noise of birds singing and watching fish is also therapeutic because Korakuen is not just a park; it is history and culture at its highest and all fused within a stunning garden landscape.

http://teien.tokyo-park.or.jp/en/koishikawa/index.html  (Please view the garden)

http://www.japan-guide.com/e/e3034_003.html  (Please view the garden)

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

Ukiyo-e art in Japan focused on many themes during its “golden period” in the Edo period and carried on into the Meiji era. The world of Japan comes alive visually within many areas of ukiyo-e art because of the subjects covered. It matters not if this art applied to the rich cultural aspects of Japan or the floating world which was truly dramatic.

Sometimes in modern Tokyo and throughout Japan you will see ladies in traditional Japanese clothes during special occasions. When this happens it is often like “looking into a mirror of ukiyo-e” and seeing “a ghost from the past” but which is truly part of the modern world.

This in itself highlights the richness of ukiyo-e in the field of showing traditional ladies in their splendid best. It is also evidence that while Japan is ultra modern, the old world remains powerful even if within “mirages” of the original meaning. Either way, if based on tradition or “mirages,” it is still a noteworthy connection with the past.

Ogata Gekko produced many stunning images of elegant ladies posing in tradition dress. Of course, countless other amazing ukiyo-e artists also focused on the same theme. Therefore, the richness of ukiyo-e art depicts many images of art related to women and this applies to high culture, erotic art (shunga), beautiful ladies (bijinga), ghosts and other themes.

In an earlier article by myself which was published in Modern Tokyo Times I state that “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.”

The world of Ogata Gekko witnessed many changes because of the onset of modernity but if he was to come back today, then he would witness glimpses of the old world. Likewise, Torii Kiyonaga (1752-1815) excelled in the area of bijinga because of his amazing details and intricacies.

Torii Kiyonaga is one of the many amazing artists who belonged to the Torii school of art. He emphasized many aspects of women and traditional dress. This applies to high culture, stratification, sexuality, morality, natural elegance, shunga, bijinga and other areas. The art of Torii Kiyonaga is widely appreciated and when viewing his art related to bijinga and seeing a modern lady in traditional dress in Japan, it is easy to connect both together.

Torii Kiyonaga also highlighted exquisite color schemes and amazing embroidery. This aspect of his art would fit in naturally within elegant boutiques in modern day Japan. The special detail and attention given by this amazing artist meant that he depicted elegant and refined ladies, who look extremely beautiful. Therefore, during special occasions in modern day Japan you can see aspects of the world of ukiyo-e artists in relation to traditional Japanese dress.

In places like the Meiji shrine in Harajuku and sophisticated parts of Japan which focus on tradition like Kyoto, Nara, Nikko and many other parts of this fascinating nation. You can peer into the world of ukiyo-e artists, areas of bijinga and ladies in traditional dress. The ghosts of the past therefore remain within “a living tradition” which comes alive during special occasions, or in specific parts of Japan where high culture and tradition remains strong.

leejay@moderntokyotimes.com

http://moderntokyotimes.com 

Michel Lebon and Tomoko Hara

Modern Tokyo Times

Tokyo is ultra-modern, sophisticated, and a fantastic place to reside because of the options available. Of course, you have many amazing places to reside in order to enjoy the rich lifestyle of this buzzing city. However, for individuals who adore fashion and a rich lifestyle, then Daikanyama is certainly a great place to reside.

Daikanyama is also within easy reach of so many lovely and thriving districts. This applies to Ebisu, Shibuya, and other amazing parts of Tokyo. Therefore, this angle appeals to many Tokyoites because convenience in such a high octane city counts very highly.

This district is blessed with many boutiques and the ambient atmosphere is noticeable in Daikanyama. Also, you have many places to eat delicious food and to enjoy the stylish night life. Despite this, you still have a lovely feel to Daikanyama because it is small enough to feel a community spirit in parts of this thriving district.

From a fashion point of view Daikanyama fits in very well with other smaller fashion districts like Jiyugaoka, Shimokitazawa, Nakameguro, and other similar sized fashion zones. The “European feel” can also be felt because you have many boutiques which are connected to Europe in this district. Also, the pace of life is much more relaxing despite the diversity of this part of Tokyo. Therefore, Daikanyama appeals to all age groups based on the ambient environment.

Stylish boutiques include Silas and Maria, Loveless, Evisu, Via Bus Stop, Actus, Hollywood Ranch Market, Alfredo Bannister, AS, Tsumori Chisato, Arigato, APC, Hemisphere, and so many others. The richness of the fashion angle is most pleasing in Daikanyama therefore the fashion conscious in Tokyo think highly about this buzzing district. On top of this, you have many boutiques which are unique to Daikanyama and this angle is appreciated.

While individuals of all groups are served by the boutiques available, it is still clear that the age group between the 20s and 30s fit in well with the main target market. Shibuya, on the other hand, appeals greatly to the younger generation and early 20s. However, it is easy to generalize because even in Shibuya you have major department stores like Seibu which cater for all generations.

Overall, Daikanyama is desired by the whole spectrum of age groups and clearly families and single individuals can enjoy the rich lifestyle of this suburb in Tokyo. Therefore, if you are new to Tokyo or you are a Tokyoite who is thinking about relocating to a stylish district which is blessed with many amenities – then Daikanyama should be high on your list of desirable places to reside.

http://www.fashioninjapan.com/fashionspot/daikanyama.html  (Good images for fashion in Daikanyama)

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

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Michel Lebon and Kanako Itamae

Modern Tokyo Times

Tokyo is internationally famous for state of the art buildings, modern infrastructure, and being an economic powerhouse. Lifestyle in this mega-city is richly rewarding because each district will provide something new. However, if you want to feel the raw energy of a buzzing fashion district which is fused with stunning architecture and places to relax, then look no further than the Harajuku and Omotesando.

The districts of Harajuku, Omotesando, Kitasando and the area surrounding Yoyogi Park and Meiji-jingu, are extremely sophisticated and diverse. This notably applies to fashion, architecture, shrines, stunning garden, art galleries, and so much more. Indeed, the main street connecting Harajuku and Omotesando feels like the Champs Elysées but with clear Japanese cultural aspects.

Harajuku and Omotesando are internationally famous for fashion and rightly so. After all, you have so many stunning boutiques and famous Japanese and international brands based in this part of Tokyo. On top of this, you have many backstreets to relax and find new boutiques and explore street fashion shops. This is the beauty of fashion in Harajuku and Omotesando because you are spoilt for choice.

From kawaii culture to the crème de la crème of famous international brands, followed by buzzing street fashion in the backstreets of Harajuku and Omotesando. This adorable mix also can be felt within the lifestyle of the entire area because life is more sedate within a few minutes of the main areas. In truth, this is the beauty of Tokyo because within minutes of a very busy area you will find tranquility and relaxation when the housing area starts.

The backstreet area of Omotesando going towards Shibuya is blessed with many lovely boutiques and street fashion can be felt clearly. Mixed with the fashion scene are restaurants and pleasant walks. Not surprisingly, the quality of life is very high therefore this part of Tokyo is a very desirable place to reside. Also, despite the closeness of many amazing fashion districts the “deep areas” of Harajuku and Omotesando are really tranquil and pleasant.

Harajuku and Omotesando are amazing parts of Tokyo because of the richness of architecture, the beautiful Meiji Jingu shrine, relaxing in Yoyogi Park, scrumptious restaurants, stylish bars, art galleries, places of worship, and a host of other reasons. Therefore, the cultural angle to this fascinating part of Tokyo is extremely intriguing and for individuals who have the economic means to reside in this part of Tokyo, then it is an excellent place to reside. After all, the richness of diversity and the vibrant atmosphere is a wonder to behold and it certainly enhances the quality of life.

Open green spaces in Yoyogi Park and the Meiji Jingu are richly appreciated by locals. The Meiji Jingu is a stunning Shinto shrine and the entire complex is beautiful. Also, away from the Shinto places of worship you have an adorable garden in the grounds of this amazing place. Alternatively, Yoyogi Park is a living park whereby you will see a mixture of shoppers, tourists, local people enjoying a stroll, joggers, students studying and relaxing, children playing, and so forth.

The Takeshita-dori in Harajuku is a magnet for trendy teenagers and young adults. Alternatively, Omotesando Hills shopping mall caters for different age ranges and you have many exquisite Japanese and international boutiques in this lovely building. The architecture of Omotesando Hills shopping mall stands out and inside the atmosphere matches the intended desires of the original designer. This means that you have a lovely designed building and a nice shade of light inside which is truly enchanting.

Inside Omotesando Hills shopping mall you have adorable boutiques which include Adore, Anterpima, Betsey Johnson, Black Fleece, Escada Sport, Tour H. creer (Merveille H.), Yves Saint Laurent, Zara, Tracy Reese, Kiwa Sylphy, iliann loeb, Milly, Tiara, Apartment Department, Martinique Le Conte, Patrizia Pepe Firenze (Incontro), Oriental News and so many other delightful companies. This lovely shopping mall is a must place to visit for fashion, to eat scrumptious food and to visit other types of shops which cater for various things.

Harajuku and Omotesando fashion is a mixture of exquisite brands, adorable boutiques, kawaii culture, Lolita girls, streetwise fashion vibes, mainstream fashion, elegant styles, and independent fashion. From Yves Saint Laurent to 6%DOKIDOKI the fashion angle is so diverse and rich. This increases the natural ambience of Harajuku and Omotesando.

Therefore, providing you have the economic means, the Harajuku and Omotesando areas are fantastic places to reside. The quality of life is top notch and individuals can enjoy the buzzing fashion scene to relaxing walks. People are simply spoilt for choice therefore both districts enrich the quality of life enormously.

Lee Jay Walker gave guidance to both writers

http://www.omotesandohills.com/english/  

http://www.japan-guide.com/e/e3006.html

http://www.metrocity.nl/tokyo/streetfashion/harajuku-fashion/

http://www.meijijingu.or.jp/english/  

leejay@moderntokyotimes.com

http://www.moderntokyotimes.com

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

Tomoko Hara

Modern Tokyo Times

The photography of Ogawa Kazumasa in this article is based on images of Japanese ladies in the late nineteenth century and early twentieth century. In each image you will find nothing revolutionary nor will you find a “hidden mystery.” However, the simplicity of each image and the serene effect is most heartwarming.

Indeed, if you venture into stunning gardens like Chinzan-so and you are lucky enough to see a female dressed in traditional Japanese clothes, then the “ghosts” of these images will instantly connect. It is this simplicity which appeals greatly because Ogawa Kazumasa isn’t showing an agenda or focused on highlighting perfection.

Instead, all these images are highlighting aspects of life in the distant past and from the purpose of female fashion, traditional Japanese clothes, the role of women in society, and other factors, then they do provide a glimpse. These photos also connect with the “mysterious world” of parts of Kyoto which are preserving tradition but from different standpoints. This applies to the serene looks of all the ladies in these photos and how life appears simple, refined, and at one with nature.

Images of the world of geisha and traditional houses called okiya springs to mind when thinking about the old world of Kyoto. This applies to the elite of geisha and the high culture of karyukai (the flower and willow world).

The photos by Ogawa Kazumasa are not based on this mysterious world but the simplicity and serenity of his images does conjure up a connection to “old Japan.” Of course, the reality may have been very different and this applies to all old photos which highlight aspects of past cultures in all societies. However, the dream world of “hidden mysteries” can be found in countless different cultures despite the real truth probably being very different. Yet without this “idealism,” “perfection,” and “simplicity,” the world would be more mundane and less appealing.

Therefore, while Ogawa Kazumasa took normal photos it is often the “outsider” and “dreamer” who will take them to a different level. Despite this, the original meaning behind the images and the importance of these photos from a cultural point of view can’t be underestimated. After all, they do provide a glimpse into the “old world” related to females in Japan irrespective if the area is narrow or not.

In my earlier article about Ogawa Kazumasa I comment that “Ogawa Kazumasa was a pioneer in photomechanical printing and photography. He was multi-talented in the field of photography, printing and publishing and clearly the Meiji era of his youth (Meiji Period began from 1868) was dynamic and a time of change.  Therefore, Ogawa Kazumasa had ample opportunities once his talent was recognized because a new spirit was entering Japan alongside the traditions of the past.”

“Ogawa Kazumasa was born in Saitama prefecture which is near Tokyo and he moved to Tokyo in 1880 in order to further his English skills. After this, he moved to Boston in America for two years and after his arrival back to Japan in 1884 he opened a photographic studio in the Iidabashi area.  This was followed by the creation of Tsukiji Kampan Seizo Kaisha four years later and the following year he began Japan’s first collotype business named the Ogawa Shashin Seihanjo and during the same year he became an editor for Shashin Shinpo.”

The revolutionary period of the Meija era impacted greatly on Ogawa Kazumasa and the same applies to new technology which was opening up a new world. Also, his stay in Boston was most interesting because now he understood the reality of two major cultures. Therefore, he was a true innovator and his legacy is abundantly clear because he was a pioneer in photography and in photomechanical printing.

Ogawa Kazumasa opens up many aspects of the Meiji era and Taisho period through the photography he did. Also, he influenced many individuals during his lifetime and collectively a great deal of work was done which sheds light on both periods of Japanese history.

http://oldphoto.lb.nagasaki-u.ac.jp/unive/  (Photo gallery and very high quality)

http://www.baxleystamps.com/litho/ogawa.shtml  

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Please note that Ogawa Kazumasa was born in Saitama prefecture which is near Tokyo but I have entered him under Tokyo because he was based on Tokyo and this is where his career began in the field of photography, printing, and publishing.

Lee Jay Walker gave support to the main writer