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paper"},{"term":"wood"},{"term":"yabusame"},{"term":"yellow"},{"term":"yohga"},{"term":"yugen"},{"term":"zenga"}],"title":{"type":"text","$t":"Fujiland"},"subtitle":{"type":"html","$t":""},"link":[{"rel":"http://schemas.google.com/g/2005#feed","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/posts\/default"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/-\/Metropolis?alt=json-in-script\u0026max-results=8"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/search\/label\/Metropolis"},{"rel":"hub","href":"http://pubsubhubbub.appspot.com/"},{"rel":"next","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/-\/Metropolis\/-\/Metropolis?alt=json-in-script\u0026start-index=9\u0026max-results=8"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"generator":{"version":"7.00","uri":"http://www.blogger.com","$t":"Blogger"},"openSearch$totalResults":{"$t":"18"},"openSearch$startIndex":{"$t":"1"},"openSearch$itemsPerPage":{"$t":"8"},"entry":[{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-8132974495829207875"},"published":{"$t":"2020-08-03T10:54:00.001-07:00"},"updated":{"$t":"2020-08-03T10:57:09.504-07:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"erotic verse"},{"scheme":"http://www.blogger.com/atom/ns#","term":"haiku"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Kamasami Kong"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"podcast"}],"title":{"type":"text","$t":"Podcast: Colin Liddell on \"Erotic Haiku\""},"content":{"type":"html","$t":"\u003Cdiv dir=\"ltr\" style=\"text-align: left;\" trbidi=\"on\"\u003E\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"https:\/\/1.bp.blogspot.com\/-FX6UeJ3LYuo\/XyhPHzl2hFI\/AAAAAAAAsdo\/v47JZQoC2R0ZnvPYGvhDiLesncUNS9b3wCLcBGAsYHQ\/s1600\/original-shunga-square-jpg-39e07e67%2B-%2BEdited.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"\u003E\u003Cimg border=\"0\" data-original-height=\"684\" data-original-width=\"1000\" height=\"436\" src=\"https:\/\/1.bp.blogspot.com\/-FX6UeJ3LYuo\/XyhPHzl2hFI\/AAAAAAAAsdo\/v47JZQoC2R0ZnvPYGvhDiLesncUNS9b3wCLcBGAsYHQ\/s640\/original-shunga-square-jpg-39e07e67%2B-%2BEdited.jpg\" width=\"640\" \/\u003E\u003C\/a\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-family: \u0026quot;georgia\u0026quot; , \u0026quot;times new roman\u0026quot; , serif; font-size: large;\"\u003E\u003Cbr \/\u003E\u003C\/span\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-family: \u0026quot;georgia\u0026quot; , \u0026quot;times new roman\u0026quot; , serif; font-size: large;\"\u003EBack in 2007, podcasts were still something of a novelty. \u003Ci\u003EMetropolis\u003C\/i\u003E, Tokyo's leading English magazine at the time, was an early pioneer with a show hosted by Kamasami Kong which boosted advertisers and content from the magazine.\u0026nbsp;\u003C\/span\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-family: \u0026quot;georgia\u0026quot; , \u0026quot;times new roman\u0026quot; , serif; font-size: large;\"\u003E\u003Cbr \/\u003E\u003C\/span\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-family: \u0026quot;georgia\u0026quot; , \u0026quot;times new roman\u0026quot; , serif; font-size: large;\"\u003EIn this excerpt of the \"Metpod\" from 2007, \u003Ci\u003EMetropolis\u003C\/i\u003E contributor Colin Liddell discusses a book of erotic verses, which he had reviewed for the magazine, with Kamasami Kong. \u003C\/span\u003E\u003C\/div\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: center;\"\u003E\u003Ciframe allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/eNtxqIBVflM\" width=\"560\"\u003E\u003C\/iframe\u003E\u003C\/div\u003E\u003Cbr \/\u003E\u003C\/div\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/8132974495829207875\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2020\/08\/podcast-colin-liddell-on-erotic-haiku.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/8132974495829207875"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/8132974495829207875"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2020\/08\/podcast-colin-liddell-on-erotic-haiku.html","title":"Podcast: Colin Liddell on \"Erotic Haiku\""}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"https:\/\/1.bp.blogspot.com\/-FX6UeJ3LYuo\/XyhPHzl2hFI\/AAAAAAAAsdo\/v47JZQoC2R0ZnvPYGvhDiLesncUNS9b3wCLcBGAsYHQ\/s72-c\/original-shunga-square-jpg-39e07e67%2B-%2BEdited.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-390915733458550805"},"published":{"$t":"2016-03-30T04:17:00.005-07:00"},"updated":{"$t":"2017-02-04T00:41:26.875-08:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"2011"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Japanese Art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Kuniyoshi Utagawa"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Ota Memorial Museum of Art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Sharaku Tohshuhsai"},{"scheme":"http://www.blogger.com/atom/ns#","term":"silhouettes"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Tempo Reforms"},{"scheme":"http://www.blogger.com/atom/ns#","term":"ukiyo-e"}],"title":{"type":"text","$t":"The Polymorphous Creativity of Kuniyoshi"},"content":{"type":"html","$t":"\u003Cdiv dir=\"ltr\" style=\"text-align: left;\" trbidi=\"on\"\u003E\u003Ctable cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"float: left; margin-right: 1em; text-align: left;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"http:\/\/3.bp.blogspot.com\/-hcqlecrIFp0\/Th-gZfMw_gI\/AAAAAAAABaY\/FT9OsjnNjRI\/s1600\/903-AE-Art_Men-Join-to-Form-a-Man-Looks-Fierce-But-is-Really-Nice.jpg\" imageanchor=\"1\" style=\"clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" height=\"500\" m=\"m\" src=\"https:\/\/3.bp.blogspot.com\/-hcqlecrIFp0\/Th-gZfMw_gI\/AAAAAAAABaY\/FT9OsjnNjRI\/s400\/903-AE-Art_Men-Join-to-Form-a-Man-Looks-Fierce-But-is-Really-Nice.jpg\" true=\"true\" width=\"332\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003E\u003Ci style=\"font-family: arial, helvetica, sans-serif;\"\u003E\u003Cspan style=\"font-size: small;\"\u003EMen Join to Form a Man: \u003Cbr \/\u003ELooks Fierce But is Really Nice, c.1847\u003C\/span\u003E\u003C\/i\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003E\u003Cdiv style=\"text-align: justify;\"\u003EThe big ukiyo-e exhibition this year has been the Toshusai Sharaku show at the Tokyo National Museum. Despite all the effort put into that comprehensive show, I have to confess that much more to my taste—and I suspect yours—is the exhibition at the Ota Memorial Museum of Art that looks at the work of another ukiyo-e legend, Utagawa Kuniyoshi. \u003Cbr \/\u003E\u003Cbr \/\u003EWhile Sharaku is a historical cipher who largely limited himself to offbeat prints of kabuki actors in a short ten-month career, Kuniyoshi (1798-1861) was a manically creative genius who took the art of woodblock printing on one of its wildest rides during his five-decade career. If you don't already have a favorite ukiyo-e artist, then this is the perfect choice. Although just as talented as his great contemporary, Katsushika Hokusai, he is less famous, so citing him sounds cooler. \u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ca name='more'\u003E\u003C\/a\u003EAs is often the case at the Ota, the show is divided into two halves, with two entirely different sets of prints—something to do with the largeness of their collection and the relative smallness of the venue. The first half of the exhibition (which featured Kuniyoshi's prints of warriors, actors, and the supernatural) is already finished, but the themes in the second half are just as interesting: caricatures, trick pictures, portraits of beauties, and prints showing the influence of Western art that was seeping in as a precursor to the political changes at the end of the Edo period.\u003Cbr \/\u003E\u003Cbr \/\u003EOne of the keys to understanding the artist's polymorphous creativity was the way he responded to the strict censorship of the times. Occasionally during the Edo period, the government worried about public morals and introduced legislation to clamp down on the \"floating world\" of actors and prostitutes. In 1842, following the imposition of the Tempo Reforms, ukiyo-e artists, who made most of their money depicting famous actors and renowned beauties, were told that these themes were now off-limits.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ctable cellpadding=\"0\" cellspacing=\"0\" class=\"tr-caption-container\" style=\"float: right; margin-left: 1em; text-align: right;\"\u003E\u003Ctbody\u003E\u003Ctr\u003E\u003Ctd style=\"text-align: center;\"\u003E\u003Ca href=\"https:\/\/2.bp.blogspot.com\/-EfsDBljv3zk\/Vvu0q_FBQfI\/AAAAAAAAQMM\/4rTXHxMQm1kOIohXwJlsnm9xr9TYfMa2A\/s1600\/Actors%2Bas%2BFish.jpg\" imageanchor=\"1\" style=\"clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;\"\u003E\u003Cimg border=\"0\" height=\"640\" src=\"https:\/\/2.bp.blogspot.com\/-EfsDBljv3zk\/Vvu0q_FBQfI\/AAAAAAAAQMM\/4rTXHxMQm1kOIohXwJlsnm9xr9TYfMa2A\/s640\/Actors%2Bas%2BFish.jpg\" width=\"427\" \/\u003E\u003C\/a\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003Ctr\u003E\u003Ctd class=\"tr-caption\" style=\"text-align: center;\"\u003E\u003Ci\u003E\u003Cspan style=\"font-family: \u0026quot;helvetica neue\u0026quot; , \u0026quot;arial\u0026quot; , \u0026quot;helvetica\u0026quot; , sans-serif; font-size: small;\"\u003EFish with Actors' Expressions, 1842\u003C\/span\u003E\u003C\/i\u003E\u003C\/td\u003E\u003C\/tr\u003E\u003C\/tbody\u003E\u003C\/table\u003EKuniyoshi got round the restrictions by substituting animals for humans in many of his prints. \u003Ci\u003EFish with Actors' Expressions \u003C\/i\u003E(ca. 1842-44) shows a number of actors caricatured as various forms of sea life, while \u003Ci\u003EThe Yoshiwara Sparrows' Temporary Nest\u003C\/i\u003E (1846) shows the denizens of Tokyo's pleasure quarters in bird form. In yet another ruse to get round the censors, \u003Ci\u003EScribbles on a Storehouse Wall\u003C\/i\u003E (1847-8) purports to reproduce roughly drawn graffiti, but actually shows recognizable pictures of the famous actors of the day.\u003Cbr \/\u003E\u003Cbr \/\u003EAlthough it was government regulation that helped to spur these inventive works, Kuniyoshi's own restless creativity took over, pushing him to create all manner of eccentric masterpieces. \u003Cbr \/\u003E\u003Cbr \/\u003EThe exhibition includes several pictures in which single human figures are skillfully built up from lots of tiny people clustered together. Another series of works show misleading silhouettes. What initially appears to be the outline of a lobster proves to be a fisherman with two fishing rods tangled up in some weeds.\u003Cbr \/\u003E\u003Cbr \/\u003ELater pictures show a slackening of the Tempo laws, with the artist returning to pictures of beautiful women. In these, there is often some 'prop'—like a child, domestic chore, or literary allusion—so that accusations of glamorizing courtesans can be denied. The final section of the exhibition looks at the impact of Western art, with Dutch etchings set alongside the Kuniyoshi prints they influenced.\u003Cbr \/\u003E\u003Cbr \/\u003EThrough Kuniyoshi's art we get a lively picture of late Edo Japan: a vibrant society in which irrepressible popular culture vied with authority, while foreign pressures made themselves increasingly felt. \u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ci\u003EUtagawa Kuniyoshi: Unparalleled Ukiyo-e Artist until July 28, 2011\u003C\/i\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EC.B.Liddell\u003Cbr \/\u003EMetropolis\u003Cbr \/\u003E14th July, 2011\u003C\/div\u003E\u003C\/div\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/390915733458550805\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2016\/03\/the-polymorphous-creativity-of-kuniyoshi_30.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/390915733458550805"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/390915733458550805"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2016\/03\/the-polymorphous-creativity-of-kuniyoshi_30.html","title":"The Polymorphous Creativity of Kuniyoshi"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"https:\/\/3.bp.blogspot.com\/-hcqlecrIFp0\/Th-gZfMw_gI\/AAAAAAAABaY\/FT9OsjnNjRI\/s72-c\/903-AE-Art_Men-Join-to-Form-a-Man-Looks-Fierce-But-is-Really-Nice.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-4218811159704594231"},"published":{"$t":"2011-11-29T16:56:00.000-08:00"},"updated":{"$t":"2011-11-29T17:04:42.435-08:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"2007"},{"scheme":"http://www.blogger.com/atom/ns#","term":"aesthetics"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Arthur Waley"},{"scheme":"http://www.blogger.com/atom/ns#","term":"book review"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Donald Richie"},{"scheme":"http://www.blogger.com/atom/ns#","term":"jimi"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"yugen"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Zen"}],"title":{"type":"text","$t":"Book Review: \"A Tractate on Japanese Aesthetics\" by Donald Richie"},"content":{"type":"html","$t":"\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"http:\/\/4.bp.blogspot.com\/-SIkIJnTSJJY\/TtV960DqOII\/AAAAAAAABqA\/-bYYF87h0SM\/s1600\/Richie.jpg\" imageanchor=\"1\" style=\"clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;\"\u003E\u003Cimg border=\"0\" dda=\"true\" height=\"200\" src=\"http:\/\/4.bp.blogspot.com\/-SIkIJnTSJJY\/TtV960DqOII\/AAAAAAAABqA\/-bYYF87h0SM\/s200\/Richie.jpg\" width=\"138\" \/\u003E\u003C\/a\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003C\/div\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: justify;\"\u003ETHERE ARE TWO KINDS OF FOREIGNERS: The one who visits the holiest zen garden and sees nothing but a dirty pond, a bit of gravel, and some shrubs, and the other who finds infinite spiritual wonders in a small, misshapen clay tea cup. Most of us living in Japan exist between these two poles of stolid cynicism and excitable, awestruck reverence for Japanese culture.\u003C\/div\u003E\u003Cspan class=\"fullpost\"\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: justify;\"\u003EExactly where you lie on this continuum will determine how much you appreciate this small book by Donald Richie. The acknowledged don of resident gaijin writers in Japan, Richie first came to these shores in 1947 as a cub reporter for the US military publication \u003Cem\u003EPacific Stars and Stripes\u003C\/em\u003E. What is notable at the start is the way Richie attempts to set his book apart by (a) calling it a \"tractate,\" and (b) asserting that an exploration of Eastern aesthetics is not compatible with the ordered, logical, and analytical \"conventions of a Western discourse.\" While \"tractate\" is similar in definition to dissertation, its connotations call to mind the mysticism of the Hebrew Talmud and Neo-Platonic philosophy, something that seems borne out in Richie's declared intention to allow unspoken factors to \"guide his brush.\"\u003Cbr \/\u003E\u003Cbr \/\u003E\"Most likely to succeed in defining Japanese aesthetics is a net of associations composed of listings or jottings, connected intuitively, that fills in a background and renders the subject visibly,\" he writes in the preface.\u003Cbr \/\u003E\u003Cbr \/\u003EGiven Richie's age — 83 — one is tempted to think that he's employing these tricks to set up easier and more tolerant ground rules for what follows or, to put it more bluntly, giving himself an old man's license to ramble on. The incessant abstraction and definition of terms by words that are themselves undefined gives great stretches of the book a vague, misty character or, worse still, the feeling of reading a dictionary without the alphabetical organization. To be fair to Richie, he seems as much aware of this as anyone else.\u003Cbr \/\u003E\u003Cbr \/\u003E\"But such a subjective term as 'taste' (even under a rubric as generous as good-sense equals good-taste) needs to be codified,\" he writes at one point, apparently regretting his decision to turn his back on the certainties established by the \"conventions of a Western discourse.\" Luckily, he soon moves away from such wordism and throws in more actual examples. \"This is \u003Cem\u003Ejimi\u003C\/em\u003E, usually translated as simple 'good taste,' though it does have a pejorative edge. When a plainish kimono is worn in a group wearing brighter garments, a close friend might remark (with a smile): \"Isn’t that a little \u003Cem\u003Ejimi\u003C\/em\u003E?\"\u003Cbr \/\u003E\u003Cbr \/\u003ERead with patience and a degree of faith in the undoubted erudition of the writer, this little book eventually has much to say. As the above quote suggests, much in Japanese aesthetics is determined by social dynamics and one-upmanship. In one of the many small boxes that pepper the main text, Richie writes that \"[Japanese aesthetics] still serve to separate status and class.\" This is aesthetics as a line of defense against social turbulence and changes caused by economic forces. The salient features of Japanese culture—\u003Cem\u003Ewabi sabi\u003C\/em\u003E, \"less is more,\" Zenism, etc.—thus appear as attempts to constantly outflank and counter the gaudy flash and panache of the nouveau riche.\u003Cbr \/\u003E\u003Cbr \/\u003EJapanese aesthetics are revealed as the product of this social competitiveness, of the desire to find yet more subtle shades of meaning and beauty than the next guy. This has often led to an effete pretentiousness and an overabundance of subtlety, as in the appositely named Arthur Waley's definition of the term \u003Cem\u003Eyugen\u003C\/em\u003E, quoted in the book: \"To watch the sun sink behind a flower-clad hill, to wander on and on in a huge forest with no thought of return, to stand upon the shore and gaze after a boat that goes hidden by far-off islands… such are the gates of yugen.\" The kind of person who reads that and thinks, \"Great! Where can I buy some?\" then this book is for you. As for me, I enjoyed it for all the wrong reasons. \u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cem\u003EC.B.Liddell\u003C\/em\u003E \u003Cbr \/\u003E\u003Cem\u003EMetropolis\u003C\/em\u003E \u003Cbr \/\u003E\u003Cem\u003E28th December, 2007\u003C\/em\u003E\u003C\/div\u003E\u003C\/span\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/4218811159704594231\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2011\/11\/book-review-tractate-on-japanese.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/4218811159704594231"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/4218811159704594231"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2011\/11\/book-review-tractate-on-japanese.html","title":"Book Review: \"A Tractate on Japanese Aesthetics\" by Donald Richie"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"http:\/\/4.bp.blogspot.com\/-SIkIJnTSJJY\/TtV960DqOII\/AAAAAAAABqA\/-bYYF87h0SM\/s72-c\/Richie.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-8064901018750336400"},"published":{"$t":"2011-09-18T03:00:00.000-07:00"},"updated":{"$t":"2017-01-04T01:20:32.538-08:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"2011"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Araki"},{"scheme":"http://www.blogger.com/atom/ns#","term":"art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"exhibition"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Hidenori Sasaki"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Ikuta Ryokuchi Park"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Japanese Art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Kenzo Tange"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Mircea Eliade"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Playboy"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Taro Okamoto"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Taro Okamoto Museum of Art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Ushio Shinohara"}],"title":{"type":"text","$t":"Exhibition: Taro Okamoto"},"content":{"type":"html","$t":"\u003Cdiv dir=\"ltr\" style=\"text-align: left;\" trbidi=\"on\"\u003E\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"http:\/\/4.bp.blogspot.com\/-OTgSYqhwzZw\/TnXA6MTIUcI\/AAAAAAAABco\/ueUhXumzsOM\/s1600\/Alien+named+PAIRA%252C+designed+by+Taro+Okamoto%252C+1956.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"\u003E\u003Cimg border=\"0\" height=\"236\" rba=\"true\" src=\"https:\/\/4.bp.blogspot.com\/-OTgSYqhwzZw\/TnXA6MTIUcI\/AAAAAAAABco\/ueUhXumzsOM\/s320\/Alien+named+PAIRA%252C+designed+by+Taro+Okamoto%252C+1956.jpg\" width=\"320\" \/\u003E\u003C\/a\u003E\u003C\/div\u003E\u003Cbr \/\u003E\u003Ch4 style=\"text-align: center;\"\u003EThe second part of the 100th anniversary show honors the legacy of an artistic phenomenon\u003C\/h4\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: justify;\"\u003EVisiting the Taro Okamoto Museum of Art is always a fascinating experience. Located in Kawasaki's heavily-wooded Ikuta Ryokuchi Park, the specially designed building seems like a cross between a freemason hall on acid and the cult centre of a cross-eyed messiah. \u003Cspan class=\"fullpost\"\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EStrange as this may sound, it is only to be expected. During his early life, when he was studying art in Paris, Okamoto became fascinated by esotericism and occultism. He attended meetings of the College of Sociology, a group of intellectuals interested in ritualism led by Georges Bataille, and was also initiated into Acéphale, a mystical secret society. \u003Cbr \/\u003E\u003Cbr \/\u003ELater, following his return to Japan, Okamoto became a dominating figure on the Japanese art scene. This was only partly due to his art. More important was the French intellectualism that he brought back and adapted to local conditions, along with his mesmeric charisma and media-savvy persona, which allowed him to achieve cult status in the Japanese media.\u003Cbr \/\u003E\u003Cbr \/\u003EThe exhibition commemorates the 100th anniversary of Okamoto's birth and is divided into two parts. The first part, which finished in July, focused on people who worked with Okamoto. The second part looks at his wider influence as an inspirational figure and cultural phenomenon. \u003Cbr \/\u003E\u003Cbr \/\u003EThe best way to approach this special exhibition is through the museum's main permanent exhibition, where you can see a selection of some of the artist’s most impressive paintings and sculptures. These are brash, often anthropomorphic abstracts, many of which were influenced by his later interest in prehistoric Jomon period pottery and artifacts. This leads to the special exhibition, which is divided into several rooms opening onto a large hall dominated by \u003Cem\u003EAlien named PAIRA\u003C\/em\u003E (1956), a large, inflated star with a giant eye that evokes the All-Seeing Eye, a common mystical symbol in freemasonry. \u003Cbr \/\u003E\u003Cbr \/\u003EOne of the rooms looks at Okamoto's involvement in architecture, including his collaboration with Kenzo Tange for \u003Cem\u003ETower of the Sun\u003C\/em\u003E, the symbol of the 1970 Osaka Expo. Another room looks at \u003Cem\u003ETaro Ai\u003C\/em\u003E (Taro Love) a photographic book by Japan’s most famous shutterbug, Araki Nobuyoshi. \u003Cbr \/\u003E\u003Cbr \/\u003ELike Okamoto, Nobuyoshi has cultivated a strong public persona and has become famous as much for his image as his art. This suggests a degree of emulation in terms of showmanship. In the actual photos, Nobuyoshi uses Okamoto's \u003Cem\u003ETower of the Sun\u003C\/em\u003E and other elements of Okamoto's art in his usual, erotically tinged photos.\u003Cbr \/\u003E\u003Cbr \/\u003ESurprisingly for an artist as influential as Okamoto, the exhibition has comparatively few paintings and sculptures by other artists. Those represented include Tadanori Yokoo and Shozo Kitadai. But their works are overshadowed by Ushio Shinohara's vast, sprawling, anarchic canvas, \u003Cem\u003ETaro Okamoto Working Outdoors—From Sunrise in Arizona to Sunset in Bermuda\u003C\/em\u003E (2000). The fact that most of these artworks include representations of Okamoto strengthens the somewhat cultish atmosphere of the exhibition.\u003Cbr \/\u003E\u003Cbr \/\u003EOther rooms look at Okamoto's role in the wider media, with clips of interviews and all 60 editions of Japanese Playboy in which he wrote a column answering readers’ questions on a wide variety of topics. To contrast the resulting implication of seediness, another room focuses on his scholarly and academic interests, with bookshelves crammed with the works of philosophers and intellectuals. These include Georges Bataille, the Jewish sociologist Marcel Mauss, who taught Okamoto in Paris, and the once anti-Semitic Romanian philosopher Mircea Eliade whose views had the profoundest impact on Okamoto's own theories, according to the exhibition's curator, Hidenori Sasaki. \u003Cbr \/\u003E\u003Cbr \/\u003EThe diverse elements in Okamoto's mentality revealed by this show suggest that he was a very contradictory character. However, this was something entirely in keeping with his own philosophy, which emphasized contradiction and polarity as creative spiritual forces, rather than the dominant modernist values of logic and synthesis. \u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cem\u003EC.B.Liddell\u003Cbr \/\u003EMetropolis\u003Cbr \/\u003E7th September, 2011\u003C\/em\u003E\u003C\/span\u003E\u003C\/div\u003E\u003C\/div\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/8064901018750336400\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2011\/09\/exhibition-taro-okamoto.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/8064901018750336400"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/8064901018750336400"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2011\/09\/exhibition-taro-okamoto.html","title":"Exhibition: Taro Okamoto"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"https:\/\/4.bp.blogspot.com\/-OTgSYqhwzZw\/TnXA6MTIUcI\/AAAAAAAABco\/ueUhXumzsOM\/s72-c\/Alien+named+PAIRA%252C+designed+by+Taro+Okamoto%252C+1956.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-936280156782193176"},"published":{"$t":"2011-03-02T01:04:00.000-08:00"},"updated":{"$t":"2015-10-11T02:41:57.652-07:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"2010"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Araki"},{"scheme":"http://www.blogger.com/atom/ns#","term":"exhibition"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Katsura Funakoshi"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"photography"},{"scheme":"http://www.blogger.com/atom/ns#","term":"sculpture"}],"title":{"type":"text","$t":"Exhibition: Nobuyoshi Araki + Katsura Funakoshi"},"content":{"type":"html","$t":"\u003Cdiv dir=\"ltr\" style=\"text-align: left;\" trbidi=\"on\"\u003E\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"https:\/\/lh4.googleusercontent.com\/-AI7MthwfZ40\/TW4HuRPgUrI\/AAAAAAAABQI\/Xxi5Y9tD2ek\/s1600\/Araki+Mother+and+Baby.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"\u003E\u003Cimg border=\"0\" l6=\"true\" src=\"http:\/\/lh4.googleusercontent.com\/-AI7MthwfZ40\/TW4HuRPgUrI\/AAAAAAAABQI\/Xxi5Y9tD2ek\/s1600\/Araki+Mother+and+Baby.jpg\" \/\u003E\u003C\/a\u003E\u003C\/div\u003E\u003Cdiv align=\"center\"\u003E\u003Cem\u003E\u003Cspan style=\"font-family: Arial, Helvetica, sans-serif; font-size: large;\"\u003EMother and Child (2008)\u003C\/span\u003E\u003C\/em\u003E\u003C\/div\u003E\u003Cspan class=\"fullpost\"\u003E\u003Cbr \/\u003E\u003C\/span\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan class=\"fullpost\"\u003E\u003Cspan style=\"font-size: large;\"\u003EIt's not the meek who will inherit the Earth; it's the breeders. Japan has finally woken up to this fact and is taking steps to counteract the silvering of the national demographic by encouraging women to use their ovaries more. Moreover, this imperative is now finding its way into culture expression. \u003Cem\u003ENobuyoshi Araki + Katsura Funakoshi: An Image of Love Supreme\u003C\/em\u003E brings together two of the big guns of the Japanese art world. The show features a pair of Funakoshi's sphinx-like wooden mannequins paying silent witness to a series of shots by Araki of naked mothers and babies. Probably just another ruse by the sex-crazed photographer to get women to shed their kit, the large monochrome shots nevertheless emit a primal human energy that counterpoints, mocks and ignores the mute androgyny of the sculptures.\u003C\/span\u003E\u003C\/span\u003E\u003C\/div\u003E\u003Cspan class=\"fullpost\"\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-size: large;\"\u003E\u003Cbr \/\u003E\u003C\/span\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-size: large;\"\u003ETakahashi Collection \u003Cem\u003ENobuyoshi Araki and Katsura Funakoshi: An Image of Love Supreme\u003C\/em\u003E.\u0026nbsp;\u003C\/span\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-size: large;\"\u003EUntil Apr 4.\u003C\/span\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cspan style=\"font-size: large;\"\u003E\u003Cbr \/\u003E\u003C\/span\u003E\u003C\/div\u003E\u003Cspan style=\"font-size: large;\"\u003E\u003Cem\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cem\u003EC.B.Liddell\u003C\/em\u003E\u003C\/div\u003E\u003C\/em\u003E\u003Cem\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cem\u003EMetropolis\u003C\/em\u003E\u003C\/div\u003E\u003C\/em\u003E\u003Cem\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cem\u003E11th March, 2010\u003C\/em\u003E\u003C\/div\u003E\u003C\/em\u003E\u003C\/span\u003E\u003C\/span\u003E\u003C\/div\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/936280156782193176\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2011\/03\/mother-and-child-2008-its-not-meek-who.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/936280156782193176"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/936280156782193176"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2011\/03\/mother-and-child-2008-its-not-meek-who.html","title":"Exhibition: Nobuyoshi Araki + Katsura Funakoshi"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"http:\/\/lh4.googleusercontent.com\/-AI7MthwfZ40\/TW4HuRPgUrI\/AAAAAAAABQI\/Xxi5Y9tD2ek\/s72-c\/Araki+Mother+and+Baby.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-5993595447316654587"},"published":{"$t":"2010-12-03T15:05:00.000-08:00"},"updated":{"$t":"2011-02-19T22:55:13.765-08:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"2010"},{"scheme":"http://www.blogger.com/atom/ns#","term":"art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Asahi Shimbun"},{"scheme":"http://www.blogger.com/atom/ns#","term":"danchi"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Dankai no Sedai"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Frankfurt School"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Tabaimo"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Twitter"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Yokohama Museum of Art"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Yokohama Triennale"}],"title":{"type":"text","$t":"Exhibition: Tabaimo"},"content":{"type":"html","$t":"\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"http:\/\/3.bp.blogspot.com\/_SFhgk2FUcYg\/TPl3td1k-uI\/AAAAAAAABHU\/_ugmeQVxpxo\/s1600\/Yudangami.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"\u003E\u003Cimg border=\"0\" height=\"182\" ox=\"true\" src=\"http:\/\/3.bp.blogspot.com\/_SFhgk2FUcYg\/TPl3td1k-uI\/AAAAAAAABHU\/_ugmeQVxpxo\/s320\/Yudangami.jpg\" width=\"320\" \/\u003E\u003C\/a\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: center;\"\u003EYudangami (Careless Hair), 2009\u003C\/div\u003E\u003Cspan class=\"fullpost\"\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: center;\"\u003E\u003Cbr \/\u003EA leading contemporary artist dissects Japan's \"lost generation\"\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EFor the Frankfurt School of Marxist cultural thinkers, the difference between \"negative\" and \"affirmative culture\" was important: as long as society languished in an imperfect, pre-utopian stage, the only true art was a disturbing or critical one that made people dissatisfied with society and drove them to change it. Affirmative art merely reinforced what they saw as a repressive status quo.\u003Cbr \/\u003E\u003Cbr \/\u003EThere is a little of this ideological attitude behind much avant-garde art, including \"Tabaimo: Danmen no Sedai,\" the new exhibition by one of the most touted contemporary artists in Japan.\u003Cbr \/\u003E\u003Cbr \/\u003ESince breaking onto the scene as the youngest entrant in the Yokohama Triennale in 2001, Tabaimo has built up a strong reputation with her hand-drawn animated works that give a surreal and often strongly critical twist to typical Japanese urban scenes and situations.\u003Cbr \/\u003E\u003Cbr \/\u003EThe current exhibition in the voluminous spaces of the Yokohama Museum of Art is an opportunity for Tabaimo, now in her mid-30s, to cement her growing status. Accordingly, she has come up with a suitably grand theme that riffs on Japan's generation gaps and sense of social unease.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003EThe title, \"Danmen no Sedai\" (\"Crosscut Generation\"), is a pun on \"Dankai no Sedai\" (\"Solidarity Generation\"), a well-known phrase describing the radicalized and politically active baby boomers that came of age in the '60s. While the Solidarity Generation banded together in an attempt to change the world, the Crosscut Generation—those who, like Tabaimo herself, reached adulthood after the Bubble—are more wrapped up in themselves. She even uses the analogy of sushi rolls cut into thin individual slices to get her point across.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\"Rather than being one indiscernible part of some comprehensive totality, we'd rather remain a single slice, however thin and two-dimensional, with all elements in plain view,' she writes in the exhibition catalogue.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EThe essential difference seems to be between the person as part of a social macrocosm versus the individual as a self-absorbed microcosm, an idea which resonates with a wide range of contemporary phenomena, from the reclusive hikikomori to the garrulous Twitterer.\u003Cbr \/\u003E\u003Cbr \/\u003EThe idea of social atomization is strongly realized in \u003Ci\u003EdanDAN\u003C\/i\u003E, a video installation on three connected screens that presents a cross-section view of a danchi public housing apartment seen from above. Although dwelling close together, the figures in the individual apartments are clearly self-obsessed and oblivious of each other.\u003Cbr \/\u003E\u003Cbr \/\u003EOther installations like \u003Ci\u003EBlow and Fragment\u003C\/i\u003E take the human body as their subject, showing various mutations, dissections and visual analogies. In the stunning \u003Ci\u003EFragment\u003C\/i\u003E, the figure of a naked man goes through several changes before being dismembered section by section, with each fragment appearing to drop away below the viewer. This unraveling of the human form leaves one with a sense that the individual is both everything and nothing.\u003Cbr \/\u003E\u003Cbr \/\u003EPerhaps the most visually arresting piece is \u003Ci\u003EYudangami\u003C\/i\u003E (Careless Hair), which grew out of the serialized novel that Tabaimo was invited to illustrate in the pages of the Asahi Shimbun. The work presents us with offbeat aspects of a minor character—a prostitute—framed through a curtain of hair that is projected onto a large curved screen. As things take an increasingly surrealistic turn, the sense of voyeuristic intimacy merges with something more sinister.\u003Cbr \/\u003E\u003Cbr \/\u003EThe same free-associative approach is also evident in the large number of pen and ink illustrations taken from the Asahi serial. These mix impressionistic elements of the story together in a dream-like way, but Tabaimo's melodious lines give each drawing a surprisingly clean and sculptural quality.\u003Cbr \/\u003E\u003Cbr \/\u003EThis is a powerful and interesting exhibition that combines a disquieting sense of Japan's deepening social malaise with an impressive flow of oddball imagery. As such, it should keep Tabaimo's edgy artistic star firmly in the ascendant.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003Ci\u003ETabaimo: Cross-Section of a New World, Yokohama Museum of Art until Mar 3, 2010\u003C\/i\u003E\u003Cbr \/\u003E\u003Cbr \/\u003EC.B.Liddell\u003Cbr \/\u003EMetropolis\u003Cbr \/\u003E5th February, 2010\u003C\/div\u003E\u003C\/span\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/5993595447316654587\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2010\/12\/exhibition-tabaimo.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/5993595447316654587"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/5993595447316654587"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2010\/12\/exhibition-tabaimo.html","title":"Exhibition: Tabaimo"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"http:\/\/3.bp.blogspot.com\/_SFhgk2FUcYg\/TPl3td1k-uI\/AAAAAAAABHU\/_ugmeQVxpxo\/s72-c\/Yudangami.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}},{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-6020566552783124032"},"published":{"$t":"2010-11-30T14:57:00.000-08:00"},"updated":{"$t":"2011-02-19T22:54:20.468-08:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"2009"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Chat Noir"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Henri Riviere"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Hiroshige Utagawa"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Hokusai"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"MoMA Hayama"},{"scheme":"http://www.blogger.com/atom/ns#","term":"ukiyo-e"}],"title":{"type":"text","$t":"Exhibition: Henri Riviere"},"content":{"type":"html","$t":"\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"http:\/\/1.bp.blogspot.com\/_SFhgk2FUcYg\/TPWBGbNX8RI\/AAAAAAAABHE\/GWxzeyol04A\/s1600\/The+Twilight.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"\u003E\u003Cimg border=\"0\" height=\"205\" ox=\"true\" src=\"http:\/\/1.bp.blogspot.com\/_SFhgk2FUcYg\/TPWBGbNX8RI\/AAAAAAAABHE\/GWxzeyol04A\/s320\/The+Twilight.jpg\" width=\"320\" \/\u003E\u003C\/a\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: center;\"\u003E\u003Cspan style=\"font-family: Arial, Helvetica, sans-serif; font-size: x-small;\"\u003EAspects of Nature: the Twilight, 1898\u003C\/span\u003E\u003C\/div\u003E\u003Cspan class=\"fullpost\"\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: center;\"\u003E\u003Cbr \/\u003EFrance's 'Little Hokusai' gets the star treatment in Hayama\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EWhenever an exhibition of late 19th-century European art is held in Tokyo, the curators never tire of telling us how all the major developments of the period were influenced by Japan. Impressionism's embrace of nature and city life as themes, Toulouse-Lautrec's asymmetrically energetic posters of Moulin Rouge nightlife, and even Vincent Van Gogh's interest in big shiny flowers and DIY ear surgery are all supposed to have had their roots in aspects of Japanese art.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EThe mental image this creates is of a group of effete Parisians, bored with painting saccharine cupids and fusty old saints, opening up a crate of Japanese crockery to find it wrapped in discarded ukiyo-e prints, which then blow their minds. Sometimes this line can get a little stale or unconvincing through repetition, but with Henri Riviere: A French Master of Ukiyoe, the influence of Japanese woodblock printing on this French artist is unmistakable.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003EPrevious Riviere exhibitions in Japan have focused on his \u003Cem\u003EThirty-Six Views of the Eiffel Tower\u003C\/em\u003E (1902), a series of Paris cityscapes clearly inspired by ukiyo-e artist Katsushika Hokusai’s much more famous Thirty-six Views of Mt. Fuji from 1826 (some examples of which are included in this exhibition to help drive home the main curatorial thesis). Like Hokusai's series, in which Japan's iconic volcano is sometimes prominently displayed and at other times a cipher on the horizon, Riviere uses the equally identifiable Eiffel Tower to mark his views as belonging unquestionably to a specific locale. As with Hokusai's work, you occasionally have to search through the prints to catch sight of the landmark.\u003Cbr \/\u003E\u003Cbr \/\u003EA good example is \u003Cem\u003EFrom the Pier\u003C\/em\u003E, where the top of the tower is just visible amidst the rafters of the quay. Interestingly, this work is also used to show that Hokusai wasn’t Riviere's only Japanese influence. Utagawa Hiroshige's \u003Cem\u003EOkazaki, Yahagi Bridge\u003C\/em\u003E (c. 1840) can be found nearby, showing the beams of the bridge from a remarkably similar angle. It is impossible to determine whether this is plagiarism or coincidence.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EEither way, the ukiyo-e precursors of Riviere's Thirty-Six Views are old hat. What distinguishes this exhibition is that it greatly adds to the picture we have of the French printmaker, bringing in other aspects of his career, like the art inspired by frequent visits to Brittany—some excellent, some more chocolate boxy—and his connection with the Chat Noir (Black Cat) cabaret group.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EFrom 1886 to 1897, Riviere was deeply involved in producing shadow plays, influenced by oriental puppetry, at the Chat Noir theater in Paris's bohemian Montmartre district. This show includes zinc cutouts used in the performances and other paraphernalia. The work seems to have given Riviere an appreciation of the economy and expressiveness of silhouettes, which later surfaced in his prints.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EThe exhibition's greatly expanded view of Riviere is possible thanks to the donation of a substantial private collection to the National Library of France, and the research this prompted. But there is more to the show than this. A talented draughtsman, Riviere is nevertheless an essentially unimportant and peripheral figure from art history. Yet he has become an important artistic bridge between France and Japan.\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003ETo the Japanese, Riviere is the clearest symbol of their cherished belief that many of the great artistic developments of late 19th-century European art could not have happened without them; to the French, he represents their equally self-centered view of themselves as protean internationalists, effortlessly absorbing and blending diverse cultural strands while giving them an indelibly French stamp. In short, the modest talent of Henri Riviere succeeds in massaging two large national egos at the same time.\u003C\/div\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cem\u003EHenri Riviere: French Ukiyo-e Master. Until Oct 12, 2009, Museum of Modern Art, Hayama\u003C\/em\u003E\u003C\/div\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: justify;\"\u003EC.B.Liddell\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003EMetropolis\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E9th October, 2009\u003C\/div\u003E\u003C\/span\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/6020566552783124032\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2010\/11\/exhibition-henri-riviere.html#comment-form","title":"1 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/6020566552783124032"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/6020566552783124032"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2010\/11\/exhibition-henri-riviere.html","title":"Exhibition: Henri Riviere"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"http:\/\/1.bp.blogspot.com\/_SFhgk2FUcYg\/TPWBGbNX8RI\/AAAAAAAABHE\/GWxzeyol04A\/s72-c\/The+Twilight.jpg","height":"72","width":"72"},"thr$total":{"$t":"1"}},{"id":{"$t":"tag:blogger.com,1999:blog-6680767306647564241.post-735712703426685260"},"published":{"$t":"2010-11-30T14:32:00.000-08:00"},"updated":{"$t":"2010-11-30T14:33:40.717-08:00"},"category":[{"scheme":"http://www.blogger.com/atom/ns#","term":"2009"},{"scheme":"http://www.blogger.com/atom/ns#","term":"ceramics"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Hagi ware"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Jusetsu Miwa"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Koreans"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Metropolis"},{"scheme":"http://www.blogger.com/atom/ns#","term":"MoMAT Craft Gallery"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Shoji Hamada"},{"scheme":"http://www.blogger.com/atom/ns#","term":"tea ceremony"},{"scheme":"http://www.blogger.com/atom/ns#","term":"Yoshinobu Someno"}],"title":{"type":"text","$t":"Exhibition: Someno Collection"},"content":{"type":"html","$t":"\u003Cdiv class=\"separator\" style=\"clear: both; text-align: center;\"\u003E\u003Ca href=\"http:\/\/3.bp.blogspot.com\/_SFhgk2FUcYg\/TPV7YNctN7I\/AAAAAAAABHA\/7wRKZys8tEg\/s1600\/Miwa+Jusetsu%252C+Inochi-no-kaika.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"\u003E\u003Cimg border=\"0\" ox=\"true\" src=\"http:\/\/3.bp.blogspot.com\/_SFhgk2FUcYg\/TPV7YNctN7I\/AAAAAAAABHA\/7wRKZys8tEg\/s1600\/Miwa+Jusetsu%252C+Inochi-no-kaika.jpg\" \/\u003E\u003C\/a\u003E\u003C\/div\u003E\u003Cdiv style=\"text-align: center;\"\u003E\u003Cspan style=\"font-family: Arial, Helvetica, sans-serif; font-size: x-small;\"\u003EMiwa Jusetsu, Inochi-no-kaika, tea bowl with notched foot, Hagi ware, Oni-hagi type, 2003\u003C\/span\u003E\u003C\/div\u003E\u003Cspan class=\"fullpost\"\u003E\u003Cbr \/\u003E\u003Cdiv style=\"text-align: center;\"\u003E\u003Cbr \/\u003ESlapdash ceramics stir the mind at the National Museum of Modern Art\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003EMany people who aspire to be artists fail to hit the mark, while others with no such ambition can unwittingly succeed in achieving true artistry. This paradox is nowhere more evident than at a top-level crafts exhibition, like \"Mr. and Mrs. Someno's Ceramics Collection,\" now on at the National Museum of Modern Art's Craft Gallery.\u003Cbr \/\u003E\u003Cbr \/\u003EWith around 200 pieces collected by the late law professor Yoshinobu Someno and his wife over several decades, the show features ceramics by several well-known potters. Although most of them produced aesthetically stunning work and some of them even received grandiloquent titles like \"Living National Treasure,\" for the most part, they prided themselves on being simple craftsmen rather than artists.\u003Cbr \/\u003E\u003Cbr \/\u003EBut even \"prided,\" with its connotations of self-conscious achievement, is the wrong word. The appeal of many of these works is what Someno called their lack of \"ostentatious nonsense.\" A good example of the collector's taste is a square dish with a reddish brown glaze by Shoji Hamada. This has a wonderfully loose, almost random splotch of design in colored enamels, which seems to have been daubed on sometime in the production process with nary a conscious thought.\u003Cbr \/\u003E\u003Cbr \/\u003EIt is this nonchalant, laidback attitude that's so refreshing and artistically cool. But such playful insouciance is only allowable because Hamada was an accomplished craftsman with a deep understanding of every stage of the complex pottery process. On its own, this kind of slapdash approach would simply be puerile and irritating, but on an elegantly made, well proportioned, well fired piece of crockery, it is instead a breath of fresh air.\u003Cbr \/\u003E\u003Cbr \/\u003EA similar spirit can be found in \u003Cem\u003EInochi-no-kaika\u003C\/em\u003E (2003), a Hagi ware chawan (tea bowl) with a notched foot, made by the then 93-year-old Jusetsu Miwa, the 11th master in a potting dynasty that stretches back hundreds of years.\u003Cbr \/\u003E\u003Cbr \/\u003EHagi ware takes its name from a city in Western Japan, a center of pottery since captive Korean craftsmen were resettled there following Japanese invasions of their homeland in the late 16th century. Associated with the tea ceremony, it strives for a rustic simplicity, emitting warmth and a sense of the clay from which it is made. A key feature is the cracks in the glazing that allow it to become encrusted with tea stains over time, gradually changing color. This is achieved by the uneven application of the glaze, shrinkage of the item during firing, and the turbulent air currents within the kiln.\u003Cbr \/\u003E\u003Cbr \/\u003ERather than shaping and controlling the process, the craftsman has an instinct about what may happen and allows the processes and materials to speak for themselves. The result is often dependent on lucky accidents.\u003Cbr \/\u003E\u003Cem\u003EInochi-no-kaika\u003C\/em\u003E is an example of oni-hagi (\"devil Hagi\"), a wilder style pioneered by Miwa that is considered aggressive in its flouting of convention, but in fact brings the spirit of Hagi ware to its logical conclusion.\u003Cbr \/\u003E\u003Cbr \/\u003EIn other countries, ceramics this rough, rude and lopsided would be considered a lot less than perfect (and probably unhygienic too), but in Japan they are greatly appreciated. This is because, unlike more perfect productions, they reveal exactly what they are—glazed clay objects made by hand and fire for drinking tea—rather than hiding under a clean finished surface. Also, the random patterns that appear lend themselves to reflection and stimulate the imagination. \u003Cbr \/\u003E\u003Cbr \/\u003ESomeno, in a 1986 essay, eloquently captured the power of such homely objects to stir visions.\u003Cbr \/\u003E\u003Cbr \/\u003E\"In Kusetsu's new work,\" he wrote, \"one can see clouds through which a dragon flies up to the sky, or warm earth showing through gaps where spring snow melts, or perhaps torrents of water rushing down a valley, cutting through rocks. It's as though we hear Stravinsky's Rite of Spring.\"\u003C\/div\u003E\u003Cdiv style=\"text-align: justify;\"\u003E\u003Cbr \/\u003E\u003Cem\u003EC.B.Liddell\u003Cbr \/\u003EMetropolis\u003Cbr \/\u003E25th September, 2009\u003C\/em\u003E\u003C\/div\u003E\u003C\/span\u003E"},"link":[{"rel":"replies","type":"application/atom+xml","href":"http:\/\/fujiland-mag.blogspot.com\/feeds\/735712703426685260\/comments\/default","title":"Post Comments"},{"rel":"replies","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2010\/11\/exhibition-someno-collection.html#comment-form","title":"0 Comments"},{"rel":"edit","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/735712703426685260"},{"rel":"self","type":"application/atom+xml","href":"http:\/\/www.blogger.com\/feeds\/6680767306647564241\/posts\/default\/735712703426685260"},{"rel":"alternate","type":"text/html","href":"http:\/\/fujiland-mag.blogspot.com\/2010\/11\/exhibition-someno-collection.html","title":"Exhibition: Someno Collection"}],"author":[{"name":{"$t":"Unknown"},"email":{"$t":"noreply@blogger.com"},"gd$image":{"rel":"http://schemas.google.com/g/2005#thumbnail","width":"16","height":"16","src":"https:\/\/img1.blogblog.com\/img\/b16-rounded.gif"}}],"media$thumbnail":{"xmlns$media":"http://search.yahoo.com/mrss/","url":"http:\/\/3.bp.blogspot.com\/_SFhgk2FUcYg\/TPV7YNctN7I\/AAAAAAAABHA\/7wRKZys8tEg\/s72-c\/Miwa+Jusetsu%252C+Inochi-no-kaika.jpg","height":"72","width":"72"},"thr$total":{"$t":"0"}}]}});