Ari TV is the Voice of Sendai: Responding to the tragedy of the tsunami by being tenacious

Ari TV is the Voice of Sendai: Responding to the tragedy of the tsunami by being tenacious

Pierre Leblanc and Lee Jay Walker

Modern Tokyo Times

Ari TV (http://www.ari-tv.jp/top.html) is a clear reminder about the tenacity of the Tohoku region which was badly hit by the devastating tsunami of March 11, 2011. Therefore, with the first anniversary getting nearer to March 11, 2012, it is important to highlight this media group for all the positive things that they have done.

Since the devastating 9.0-magnitude earthquake which unleashed the brutal tsunami, this media group dug deep in order to undercover the “real stories.” This applies to highlighting the determination of the Tohoku region and how the people of Sendai have responded.

Also, because Ari TV is based in Sendai then clearly this media group can connect with local people. More important, unlike many mass media outlets who often enter and highlight an important story which is happening in Sendai, Ari TV is their around the clock. This fact enables Ari TV to express the “real feelings” of the local community and clearly strong bonds have been developed whereby this media group is informed at all times about local events, individuals who are fantastic role models, companies who are focused on regeneration, and organizations trying to help.

Ari TV (http://en.re-tohoku.jp/) also understood the international concerns after the devastating tsunami. Therefore, the introduction of the Tohoku Revival Calendar which is highlighted above was a nice touch because you can read continuous updates in English and Japanese. This aspect also highlights rebirth because clearly Ari TV is developing new international links.

It is equally vital that Ari TV is supported commercially because you have so much work to do in Sendai and throughout the Tohoku region. After all, sadly, you still have thousands of missing people in early 2012 and this aspect highlights the complete devastation of March 11, 2011. This also means that the nightmare goes on for many because you have no “closure” and “special grave” to visit and connect.

Therefore, it is essential that the local government, the central government, local businesses, businesses throughout Japan, and others, support Ari TV and all the positive work they do around the clock. After all, Ari TV can reach “local people” because this media group is fully interwoven with Sendai and the Tohoku region. Also, Sendai is the main city in Tohoku with regards to population and a healthy Sendai is vital for the regional economy.

In the photo above which was published on March 2, 2012, Ari TV is highlighting the regeneration of a shopping mall. However, unlike the glitzy areas of modern day Japan the brutal reality of the tsunami is visible in this image. Yet despite the clear limitations currently available to this shopping mall and having to move into housed shopping containers; locals don’t view the same image because to them this is a sign of rebirth and the start of a long process to normality.

Takano from Ari TV comments that “The big revival shopping area “South Sanriku SanSan Mall” opened in South Sanriku town, Miyagi, on February 25^th. These shops are temporarily housed in shipping containers. The name comes from the people’s desire to make a mall filled with smiles and energy (which is) bright like the shining sun.”

In an early article by Modern Tokyo Times the “Suzuki Farm Harvest” was highlighted and this applies to the tenaciousness of Mr. Suzuki (photo above). He fully understood that salt water had damaged the fields and it appeared impossible to regenerate in such a short period of time, if at all. However, Mr. Suzuki was adamant that he would overcome all the obstacles in front of him and this set of a chain reaction whereby local people gave him the support he needed.

This moving story is one of many by Ari TV and this is why this media group needs support. After all, Ari TV is part of the community that they represent and because they are based “on the ground,” then they can highlight unique events.

Please support Ari TV by watching their many programs in Japanese providing you are a Japanese speaker. Also, if you main language is English or it is your second language then please view the Tohoku Revival Calendar. Irrespective of language, Ari TV can build bridges throughout the local community and wider Tohoku region and also internationally. Therefore, Ari TV is “the voice of Sendai.”

http://en.re-tohoku.jp/ Tohoku Revival Calendar – English Version

http://www.ari-tv.jp/top.html Ari TV

http://ja-jp.facebook.com/aritv.sendai – Please contact for more information.

http://twitter.com/#!/re_tohoku_en – Please contact for more information

http://suzuki-yuukinouen.blog.ocn.ne.jp/

http://www.re-tohoku.jp Tohoku Revival Calendar – Japanese version

http://www.hayabusa2012.jp/index.html

Japanese art and Fujishima Takeji: stunning artist from Kagoshima

Japanese art and Fujishima Takeji: stunning artist from Kagoshima

Lee Jay Walker

Modern Tokyo Times

Fujishima Takeji was born in (1867-1943) Kagoshima and during his informative years he learnt brushwork techniques in 1882 from Togaku Hirayama. However, in 1884 Fujishima Takeji moved to Tokyo and at first he studied traditional Japanese painting under Gyokusho Kawabata but the pull of Western-style art was pulling away at him. Therefore, he turned to Western-style paintings and studied under Hosui Yamamoto and Yukihiko Soyama.

The 1880s was a period of enormous development for Fujishima Takeji and clearly Togaku Hirayama had given him a firm base to develop. Not surprisingly this young gifted artist was gaining in esteem and the art critic and novelist, Ogai Mori, was deeply impressed by his art. This proved to be very fruitful because Ogai Mori was extremely influential because he knew people in the right circles.

In the 1890s academia would become his backbone and this proved a wise choice because it opened up new doors. At first he began to teach in Mie Prefecture in 1893 but the real breakthrough occurred when Seiki Kuroda influenced him to become an assistant professor in Tokyo. Therefore, in 1896 he taught at the Tokyo Art School and this applies to the Western Painting Department.

In Europe Fujishima Takeji is known for developing and enhancing Romanticism and Impressionism within the Japanese art movement called yoga. In time he would become influenced by Art Nouveau. However, his work within the yoga (Western-style) art movement in Japan suited his thinking because by the mid-1880s he had chosen this path when he studied under Hosui Yamamoto and Yukihiko Soyama.

The Marubeni Art Collection comments that “In 1905, Fujishima traveled to Europe and studied under Fernand Cormon at the Ecole des Beaux-Arts de Paris in France and Carolus-Duran, President of the Academie de France in Italy. Cormon’s speciality was historical paintings, while Duran excelled in portraiture.”

 

“On his return, in 1910, Fujishima was nominated Professor of Tokyo Art School and became a member of the Imperial Art Academy (the Teikoku Bijutsu-in), as well as a member of the jury for its exhibitions, known in abbreviations at the Tei-ten. In 1937, he received the very first Order of Culture (Bunka Kunsho), a decoration given by the Government to those who have contributed greatly to the development of art, science and other fields of culture, along with Saburosuke Okada.”

The life of Fujishima Takeji was extremely structured and this applies to his teachers, entering academia, and having a firm direction. Also, the window of opportunity because of the changing times during this period of Japanese history meant that his natural move away from traditional Japanese art was easily obtainable. This applies to the artistic climate in Japan during his informative years and development stage.

Fujishima Takeji is rightly acclaimed for the richness of his art and the images in this article are meant to encourage people to delve into his art work.

http://www.vincentvangoghclaudemonet.org/artist/Fujishima_takeji.html

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Tokyo fashion in Shinjuku: Marui One is amazing for Lolita, Kawaii, & other unique styles

Tokyo fashion in Shinjuku: Marui One is amazing for Lolita, Kawaii, & other unique styles

Sarah Deschamps and Lee Jay Walker

Modern Tokyo Times

 

In Tokyo the names of Laforet Harajuku, Shibuya 109, and Marui One, stand out for being amazing stores to visit when it comes to fashion. If you adore kawaii fashion, Goth styles, punk, Gothloli, Lolita, Visual Kei, and so forth, then Mauri One in Shinjuku is a must. After all, the choice available is amazing and the environment blends well with the many boutiques which provide fantastic styles.

Famous boutiques which have enhanced the Tokyo fashion vibe can be found in Marui One because clearly they understand the significance of this major department store in the heart of Shinjuku. Indeed, it is thanks to some of these boutiques that the fashion industry in Japan is so famous internationally when it comes to unique styles. After all, many of the boutiques in Marui One have enabled the unique fashion trends of Tokyo to expand internationally.

Of course, the same boutiques can be found in other department stores and are located in many other cities. However, it is the unique fashion angle of Tokyo which attracts the younger generation from all over Japan and internationally. Yes, other major cities like Osaka and Kobe are blessed with stunning fashion districts and often alternative trends have begun in Osaka. Yet internationally it is the streets of Harajuku, Shibuya, and Shinjuku, which hit the headlines when it comes to youth culture, subcultures, and the latest trends in fashionable Tokyo.

In fairness, it is a little harsh on Kansai because it was this area that was the initial bedrock of Lolita fashion in Japan but internationally Tokyo gets more international attention than Osaka. 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.

Therefore, turning back to Marui One it is clear that the strong background of some of these boutiques have enhanced the growing reputation of this department store in Tokyo.  Marui One also took a unique approach and collectively it is working like “a dream ticket.” Given this, stunning boutiques including Angelic Pretty; Metamorphose; Baby, The Stars Shines Bright; Alice and The Pirates; h.Naoto; Jesus Diamante; and many others, moved into Marui One because they understood the dynamics of this amazing store.

Angelic Pretty comments on their website that “Angelic Pretty provides adorable clothing covered in lace, frills and ribbons like that of the fairytale princess you dreamed about as a little girl. We want girls to never lose sight of that dream — And this is a brand for girls who want to keep that dream alive.”

Metamorphose comments that “Metamorphose is an adorable brand of Lolita fashion made for everyone, best described as EGL or Elegant Gothic Lolita.”

“Almost everyone has the desire to “transform” one’s self, be it into an angel, someone who is more elegant, or even back to the time they were a little girl. With this concept in mind, we created the Metamorphose brand. In order to assist you in your “transformation”, while not being a slave to the current fashion, we continue to conceive cute EGL fashion.”

In truth, the companies highlighted in this article are real treasures because they stand out for being unique and providing a different angle to the diverse Tokyo fashion scene. Therefore, if you want to feel the vibes and unique styles of Tokyo then a visit to Marui One is a must because you have so many different styles to view. Also, the quality of the clothing stands out and the color schemes, creative angle, and unique thought patterns are clear for all to see.

In an earlier article by Modern Tokyo Times it was stated that fashion at Marui One applies to “…fantasy fashion, romantic designs, modern kimono, Gothic Lolita, Sweet Lolita, dreamy fashion, casual styles, visual kei, and other amazing trends. Therefore, Marui One is like “a mirror” of parts of Harajuku because this store is internationally famous. Marui have many different stores in Shinjuku (and throughout Tokyo) but Marui One stands out because of its individualism.”  

Therefore, if you adore fashion then a visit to Marui One is most rewarding.

http://www.babyssb.co.jp/  Baby, The Stars Shine Bright

http://www.angelicpretty.com/en/ Angelic Pretty

http://www.metamorphose.gr.jp/english/ Metamorphose

http://www.boz.ne.jp/ Atelier Boz

http://www.hnaoto.com/ h.Naoto

http://www.jesusdiamante.com/ Jesus Diamante

leejay@moderntokyotimes.com

http://moderntokyotimes.com  

Japan tourism and culture: Hakone Jinja, historical treasure museum and Mount Fuji

Japan tourism and culture: Hakone Jinja, historical treasure museum and Mount Fuji

James Jomo and Lee Jay Walker

Modern Tokyo Times

Hakone is a very popular tourist destination because you have so many places to visit and the views of Mount Fuji in certain locations are extremely stunning. Throughout Hakone you have many museums and cultural wise the area is very rich in history. This certainly applies to Hakone Jinja (Hakone Shrine) whereby the Shinto faith blends naturally with nature. Also, the historical treasure museum based on the rich history of Hakone Jinja is certainly worth visiting because you have several amazing gems to view.

Hakone Jinja (Hakone Gongen) highlights all the natural beauty of Shinto and how nature and the gods work in unison in this religion. The backdrop of Lake Ashi, the mountain landscape and Mount Fuji breaking out from certain vantage points is absolutely stunning. Therefore, you can feel the strong connection between nature and the mystical charms of the Shinto faith.

The exact date when the foundation of Hakone Shrine was created remains debatable but clearly it dates back to the eighth century. This means that this amazing religious place was built during the Nara Period (710-794) which is fitting for such an important shrine. After all, while Kyoto may hog the limelight for being significant in Japanese culture the truth of the matter is that the Nara Period is where high culture began. This isn’t undermining the exquisite beauty and richness of Kyoto but clearly the majesty of Kyoto built on the firm foundations of the Nara Period.

Mystical holy men in the eighth century called yamabushi believed that gods dwelled in mountains that were extremely steep. Therefore, by dwelling in the same places it was hoped that ascetic practices fused with the dwelling gods would lead to magical powers and greater knowledge. Not surprisingly, Hakone Jinja with its ideal location and mysterious majesty was a place where the dwelling gods may be found according to the traditions of the yamabushi.

During the ninth century new forces were entering the Japanese psyche because Esoteric Buddhism from China was making an impact. This notably applies to Kukai (774-835) and Saicho (767-822) and once more the importance of the mountain landscape is abundantly obvious. Therefore, a fusion began to take place between the Shinto faith and its animistic nature alongside esoteric Buddhism in parts of Japan.

Mountain asceticism under Kukai in Wakayama was also powerful. Meanwhile,  in eastern Japan, and this notably applies to Hakone and Nikko, the same asceticism could be found despite the thought patterns being different. According to history Priest Mangan travelled extensively to spread the Buddhist faith and in 757 he reached Hakone and during his stay very powerful events occurred in his life. This applies to having many encounters with the yamabushi during his three years in Hakone and learning new ascetic ways. However, the real lasting legacy applies to a revelation that Priest Mangan had.

In this revelation which occurred during a dream the fusion of many ideas manifested itself and the outcome was very important. The revelation in his dream stated that “Your heart is pure and clean. Let’s deliver mankind with the grace of Shinto and Buddhist deities.” This revelation impacted greatly on him and he notified the emperor who in turn valued the meaning fully. Therefore, the emperor notified Priest Mangan to build a shrine at once in order to fulfill the revelation and hence this is the origin of this holy Shinto shrine.

Issues related to when the foundations first began or if Priest Mangan incorporated older Shinto shrines remains open. However, major changes did occur during the stay of Priest Mangan and from this date onwards many powerful individuals in Japanese history understood the power of this place.

If you visit the small treasure museum associated with the Hakone Jinja then important individuals in Japanese history like Emperor Hanayama (968-1008); Yoritomo Minamoto (1147-1199); Toyotomi Hideyoshi who died in 1598; Tokugawa Ieyasu (1543-1616); and many others, will be highlighted. The treasure museum may only be small but you have many gems inside and the images are extremely beautiful.

Indeed, maybe the mysticism of Shintoism is at play because irrespective of language constraints and the size of the treasure museum; providing you stand back and take in what you visualize then the visit will stay with you. This notably applies to the five items which have been ranked with having national Important Cultural Property.

Hakone is an extremely beautiful part of Japan and takes only 90 minutes by a special express train from Shinjuku. Your options and the special Hakone transport pass from the Odakyu train company means that your stay is convenient. Also, you can utilize the many forms of transport which are available when you buy this special transport pass.

Hakone is situated in the Fuji Hakone Izu National Park and the entire region is a tourist paradise whereby stunning nature is in all directions and you have so many cultural treasures to view. This notably applies to the Narukawa Art Museum for modern Japanese paintings; the Hakone Open Air Museum; the Pola Museum of Art; Venetian Glass Museum; Suzuhiro Corp. Kamaboko Museum; volcanically active Owakudani geysers; Hakone Botanical Garden of Wetlands; Odawara Castle Donjon; Local History Museum; Museum of Saint Exupery and the Little Pince in Hakone; Hakone Old Takaido Road Museum; Hakone Mononofu-no-Sato Art Museum; Hakone Art Museum; Honma Yosegi Museum; Kanagawa Prefectural Museum of Natural History; and you have a wealth of parks and special walks to go on.

In Hakone you have countless options and of course if you stay several days to a week then you won’t be disappointed because the countless amazing views will refresh you throughout your stay. The religious angle of the Shinto faith and cultural importance of the entire area fuses naturally with the stunning landscape.

http://www.odakyu.jp/english/qtours/hakone_course2.html

http://www.odakyu.jp/english/freepass/hakone_01.html

http://www.hakone.or.jp/english/index.html

http://www.odakyu.jp/english/rc/index.html

http://www.hokusai-kan.com/treasure01.htm

ALL IMAGES BELONG TO MODERN TOKYO TIMES

http://moderntokyotimes.com

 

Japanese art and Meiji period ukiyo-e (1868-1912)

Japanese art and Meiji period ukiyo-e (1868-1912)

Lee Jay Walker

Modern Tokyo Times

The Meiji Period (1868-1912) was very dynamic in many ways because new thinking, modernization, radical change, and a plethora of other factors, altered the cultural landscape in all major cities. However, the countryside often ticked to a different beat despite important reforms and major changes in the area of agriculture and amenities. In the field of ukiyo-e art it appears that the crème de la crème of Meiji ukiyo-e artists have been relegated or not acknowledged fully. After all, the emphasis in the past was mainly focused on Edo ukiyo-e artists.

Despite this, it is clear that you have many important Meiji ukiyo-e artists who blessed this art form. This notably applies to Chikanobu, Kawanabe Kyosai, Ogata Gekko, Yoshitoshi, Toyohara Kunichika, Utagawa Yoshifuji, Mizuno Toshikata, Kobayashi Kiyochika, and Ginko Adachi. The list could be added and for some of the above artists then clearly they began their careers during the Edo period but on each above individual the Meiji period impacted greatly on their art.

The Toshidama Gallery (http://www.toshidama-japanese-prints.com/) comments that “Whilst the date is significant, it is hard to say that prints produced before this date were ‘Edo’ and those made after were ‘Meiji’. There is however a clear trend in both subject matter, style and quality which becomes more apparent as the century progressed. Most striking is the use of colour. With progress came industrialisation and the ability to produce aniline dyes and commercial pigments. The distinctive reds, blues and violets of Meiji prints are hard to miss when compared to the vegetable and organic dyes of the early part of the century. Vibrant and sometimes harsh, only the great artists of the period such as Yoshitoshi and Kunichika were able to create subtlety or sophistication from the new colours. For an artist such as Kunichika, the new reds were the ‘colour of enlightenment’ and their use had political overtones as well as artistic purpose.”

“Subject matter for Meiji artists continued the tradition of picturing the still wildly popular kabuki theatre. In the case of artists such as Kunichika, the production of theatre prints still overwhelmingly made up the bulk of their commissions.  Historical subjects remained popular and often carried critical political undertones especially in the case of artists such as Yoshitoshi or Chikanobu who were sentimentally and politically attached to the previous administration. There was however, an increasing demand for picturing the new. In print series such as Yoshitora’s 53 Stations of the Tokaido Road of 1872, we see the use of telegraph poles as significant decorative devices – a sure reflection of the new era’s commitment to modernisation. Pictures of beautiful women had always been a staple of ukiyo-e production, but as in the case of Kunichika’s Mirror of the Flowering of Customs and Manners of 1878, these bijin pictures reflected the new western influences and stopped looking back to the dreamy floating world courtesans of Utamaro. Kunichika’s women are tougher, and have personalities and stories to tell and this is also the case in the work of Yoshitoshi, where women figure as identifiable characters for almost the first time in Japanese art.”

Obviously the dynamics of the time would inspire new thinking and creativity and the new vibrant color palette enabled new dimensions to develop. Other areas like multiple perspectival lines and detailed composition meant that times were changing. Of course, it is important to avoid generalizations because ukiyo-e artists in both periods of history, or who belonged to both the Edo period and Meiji period, had certain trademarks which belonged to each individual artist. However, the impact of modernization and the threat to ukiyo-e because of this meant that new focuses were needed in order to survive the Meiji period.

The reputation of some Meiji ukiyo-e artists is starting to grow and long may this continue. In the history of ukiyo-e the artists of the Meiji period had it hard because often the greats of the Edo period overshadowed them in popularity and international prestige. Also, unlike the ukiyo-e artists of the Edo period the changing world was challenging this art form because of multiple factors. Therefore, innovation was needed during the Meiji period because the power of photography was constantly growing and different art forms were gaining greater attention internally once Japan began to open up to the outside world.

Therefore, like I stated in an earlier article “Yoshitoshi was working against the onset of modernity because with the mass production of Western standards, for example in lithography and photography; he was fighting a losing battle.  However, he did keep the bursting dam at bay but the spark of passion could not keep the onrushing water out.  Therefore, Japanese woodblock print, which had been a beacon for Japanese art, succumbed to the onset of modernity and he, and countless others, must have felt the pain deeply.”

Yet despite everything the art work of Chikanobu, Kawanabe Kyosai, Ogata Gekko, Yoshitoshi, Toyohara Kunichika, Utagawa Yoshifuji, Mizuno Toshikata, Ginko Adachi, Kobayashi Kiyochika, and other Meiji ukiyo-e artists, was truly amazing. Therefore, each individual mentioned left behind many stunning pieces of art and they all provide a glimpse into the changing times of this period.

Meiji ukiyo-e artists just like Edo ukiyo-e artists should be judged on a case by case basis which applies to the art they produced. Of course differences will apply based on multiple factors but the issue shouldn’t be the period they belonged to. Instead, it should solely be based on the art they produced because both periods of history blessed the art world.

http://www.toshidama-japanese-prints.com/catalog.php?category=79

http://www.toshidama-japanese-prints.com/

http://www.toshidama-japanese-prints.com/item_222/Toshikata-A-Beauty-Looking-at-Autumn-Grass.htm

http://yoshitoshi.verwoerd.info/

http://www.yoshitoshi.net/

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

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

Japanese art and Yorozu Tetsugoro: famous artistic son of Iwate

Japanese art and Yorozu Tetsugoro: famous artistic son of Iwate

Lee Jay Walker

Modern Tokyo Times

Yorozu Tetsugoro was born in 1885 and died of tuberculosis in 1927 after severe complications from pneumonia which finally took its toll. Sadly, all too often many artists in this period died very young and the same fate awaited this genius from Iwate. However, despite his limited years on this earth Yorozu Tetsugoro left a lasting legacy because of his rich artistic skills.

Art became very important to Yorozu Tetsugoro at an early age and during his teenage years he read Suisaiga no Shiori (A Guide to Watercolors) by Oshita Tojiro. This book inspired Yorozu Tetsugoro because he began to paint watercolors.

In 1903 the “search” within his soul led him to Tokyo because this inquisitive young man knew that art was part and parcel of who he was. Prior to moving to Tokyo he studied Japanese art with “great abandon” because his studies were independent and the passion that this freedom created inspired Yorozu Tetsugoro.

1906 proved to be pivotal because he ventured to America as part of a Buddhist Zen mission. This relates to studying Zen meditation under Taninaka Ryoboan who was a Zen priest. Therefore, the mission would have been a natural correlation for Yorozu Tetsugoro. Also, on his return in the same year he was accepted on a Preliminary Course at Tokyo Fine Arts School and this applies to the Faculty of Western Painting.

Yorozu Tetsugoro finally graduated at this institution in 1911 and clearly his art continued to develop in several directions. The Iwate Prefecture website comments that “His graduation art piece, Nude Beauty, won much acclaim. It is considered to be a pioneering work of Japanese Fauvism. In the same year he participated in a Fyuzankai with Saito Yori and Kishida Ryusei. In the first exhibition he displayed his artwork, including, among others, Head of a Woman (Woman with a Boa).”

 

During this period of his life the Avant-garde Movement in Europe influenced Yorozu Tetsugoro greatly. However, just like he studied Japanese art independently during his early years, the free spirit remained because he desired to create his own unique style. Yorozu Tetsugoro would try to achieve and his paintings of landscapes, still-life paintings, and various self-portraits, highlight the inner thinking of this man of creativity.

It is also noticeable that in 1914 he returned to Iwate Prefecture therefore the soothing environment, connection of the past, and being free from the hustle and bustle of Tokyo must have liberated Yorozu Tetsugoro. This does not imply any negativity to his time in Tokyo because clearly his studies, connections with other artists, new thinking, and other vital areas, all enhanced his creativity and growing reputation. However, in order for Yorozu Tetsugoro to apply his art completely then the freedom of Iwate Prefecture was needed at this moment in his life.

Yorozu Tetsugoro fused many aspects of different art concepts from within Japan and outside of Japan. Artistic styles and movements are highlighted by art elites but often lay people get confused by the countless definitions. However, from a lay perspective the art of Yorozu Tetsugoro represents a time when new cultural perspectives were impacting greatly on individuals in the art world of Japan.

However, the serenity of Iwate Prefecture and his own individualism means that Yorozu Tetsugoro may have lived in “the new world” but fusions of the “old world” remained vivid within his soul. Also, new spurts of individual creativity enabled him to break free and create stunning art irrespective of the art movement it is deemed to belong.

The solitary nature of many images by Yorozu Tetsugoro is striking and clearly his rich artistic talent continues to inspire vast numbers of people in the modern period.

http://www.ima.or.jp/en/encollection/enyorozu/self-portrait-with-red-eyes.html

http://www.pref.miyagi.jp/bijyutu/mmoa/en/navigation/index.asp?url=../museum/collect010.html

http://www.pref.iwate.jp/~hp0922/engyorozu.htm

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Tokyo fashion: Kimoken and Koenji fashion in vibrant Tokyo

Tokyo fashion: Kimoken and Koenji fashion in vibrant Tokyo

Sarah Deschamps and Lee Jay Walker

Modern Tokyo Times

Kimoken (http://kimoken.exblog.jp/) highlights the fashion district of Koenji in Tokyo and this can be seen by the images he takes and the passion of his love of fashion. The different vibes of Koenji are gradually making waves in the media in Tokyo because the international press is mainly focused on Aoyama, Ginza, Harajuku, Omotesando, Shibuya, and Shinjuku. However, in Koenji you have a different side of fashion and many upcoming designers are focused on this district in Tokyo because of many factors. Also, the vintage angle is exceptional in Koenji and this factor enables individual styles to flourish.

The individual Kimoken (Kenta Kimoto) was born in 1979 and this year was very revolutionary in the international arena. This applies to the Iranian Revolution and other global events. However, the “revolution” within Kimoken would turn out to be fashion and the independent spirit of Koenji suits his philosophy.

Kimoken (http://blog.livedoor.jp/kimoken/) stated that his favorite phrase is “Wara e ba wara e. Ware ga nasu koto ha ware nomi zo shiru” (If you want to laugh at me, then do it. What I do is known only by myself). This is a very powerful phrase and the daring fashion styles of fashion in Koenji, Harajuku, Shibuya, and so forth, which can often be viewed, suits this phrase. After all, only the individual knows the “real self” and why should people be constrained by others?  Therefore, this phrase is both enlightening and based on inner confidence.

If you want to connect this phrase with fashion in Tokyo then the fashion scene of Koenji flows naturally. Kimoken, therefore, takes photos of the daring fashion scene of Koenji which can be viewed at the above websites which have already been highlighted.

A partial list of vintage fashion companies in Koenji applies to Spank!, Yuri, Safari, Zool, Yakusoku, Bernet, Kuro Benz, Peep Cheep, Kiki, Jinjer, dai-dai, Chiruru, Sokkyou, Hikari, Mad Tea Party, Mouse, and Pheb, Vivid, Hoy-Hoy Station, Now Or Never, UK Extra, Re’all, and many others like Cord. This list is not the complete list of vintage fashion companies in Koenji therefore it is important to browse around in this fashion district. Also, the Kita-Kore building is growing in reputation and you have a special buzz in this place.

The beauty of the websites of Kimoken is that you can not only see his passion of fashion but you can feel the sheer vibrancy of the area he focuses on.  Kimoken highlights the freshness of fashion in Koenji and he does this with an individualistic style. Also, unlike some fashion websites which have a high commercial aspect the beauty of Kimoken and his thinking is that fashion is the central theme.

Kimoken was born in the prefecture of Ishikawa and he graduated at Osaka Bunka Fukushoku Gakuin in 2000. This fashion institution focuses on individuals to express their unique fashion styles and thinking. Also, the fashion scene in Osaka in places like Umeda and Namba, and other districts, is very vibrant. Therefore, Koenji fashion in Tokyo and the Osaka Bunka Fukushoku Gakuin have many similar characteristics because individualism, expression, freedom of thought, and so forth, are essential aspects of both Koenji and this fashion institution which is highly acclaimed.

After Kimoken finished his studies he became a DJ in the Kansai area but in 2005 he decided on a fresh break and moved to Tokyo. While being based in Tokyo he works and connects with people in various fields. This applies to movie directors, actors, comedians, street-performers and script writers. At present Kimoken primarily works as a scriptwriter where creativity is needed. However, other important areas apply to performing and continuously taking photos of the fashion scene in Tokyo and this notably applies to Koenji.

To understand the importance of fashion to Kimoken and why he is so passionate about this area, then you have to turn the clock back. This applies to the 1990s when he was a junior high school student because it was this period of his life when fashion became an important aspect to Kimoken.

At first he tried many different styles but he couldn’t find anything which expressed himself. However, this experience and searching around for the right fashion style for Kimoken was a valuable time for him because it broadened his understanding of fashion and highlighted how important it was to his life. Therefore, Kimoken now looks back at this time with fondness because it set him up on the future path that he would take.

In the 1990s he liked the 60’s Mod fashion which hit Japan in the 1970s and he connects this with why he adores the fashion of Koenji in Tokyo. After all, Koenji in Tokyo is famous for vintage fashion. Given this, Kimoken places Koenji to be number one for fashion in Tokyo based on the fashion scene which he is passionate about.

Kimoken’s favorite shop is the (http://ameblo.jp/madteaparty-kouenji/) Mad Tea Party and(http://lactoseintolerart.tumblr.com/) Lactose Intoler-Art is highly respected by him because of the freshness of this website which focuses on creativity. Also, the fashion area he clicks with the most is the fashion style of 15 years ago and according to Kimoken the fashion scene in Koenji is based on many aspects. This notably applies to the vintage scene, up and coming designers in Tokyo, a fusion of the old mixed with the vibrant energy of youth and young adults, individualism, and where the only boundary is the “self.”

The style of Kimoken when feeling at his best applies to a shirt made from gauze, bell-button pants, and an opera hat to compliment everything.

If you want to view the vibes of Koenji then the Kimoken websites below are a must because they highlight the freshness of this fashion district. Not only this, the individual taking the images is passionate about fashion and you can feel his unique style and thinking within the images he takes.

ALL IMAGES IN THIS ARTICLE BELONG TO KIMOKEN

http://kimoken.exblog.jp / Kimoken (fashion images and news)

http://blog.livedoor.jp/kimoken/ Kimoken (fashion images and news)

I have produced online-comics.（Fashion ＆ LoveStory comics）
http://ameblo.jp/kajipan2011/

Kimoken highlights this website

http://lactoseintolerart.tumblr.com/

Lactose Intoler-Art

Boutiques in Koenji

http://www.pheb.jp/ and Pheb

http://bernet.shop-pro.jp/ Bernet

http://chiruru.net/ Chiruru

http://ameblo.jp/cord1006/ Cord

http://daidaikoenji.blog56.fc2.com/ dai-dai

http://hoyhoy.shop-pro.jp/ Hoy-Hoy Station

http://ameblo.jp/greenlight-shoes/ Jinjer

http://kiki-kiki.ocnk.net/ Kiki

http://yaplog.jp/clobenz/ Kuro Benz

http://ameblo.jp/madteaparty-kouenji/ Mad Tea Party

http://ameblo.jp/mikamithemouse Mouse

http://usedclothingnowornever.blogspot.com/ Now Or Never

http://www.peepcheep.com/ Peep Cheep

http://ameblo.jp/realstep2/ Re’all

http://e-safari.co.jp/ Safari

http://www.sokkyou.net/ Sokkyou

http://spankworld.jp/ Spank!

http://uk-extra.com/ UK Extra

http://www.vivid-web.jp/ Vivid

http://www.e-yuri.jp/Page/TOP Yuri

http://zool.jp/ Zool

leejay@moderntokyotimes.com

http://moderntokyotimes.com

 

Japanese art and Kamisaka Sekka: Rimpa and modernism

Japanese art and Kamisaka Sekka: Rimpa and modernism

Lee Jay Walker

Modern Tokyo Times

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

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

In 1910 the Japanese government sent Sekka to the United Kingdom and while he stayed in Glasgow the Art Nouveau style would influenced him greatly. Sekka was also fascinated by Japonisme and he wanted to understand the attraction of Japanese art in the West and which areas appealed the most. Therefore, his time in Glasgow was most rewarding because his studies enlightened him in many areas.

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

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

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

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

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

 

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

http://moderntokyotimes.com

leejay@moderntokyotimes.com

Japanese art: Yuzo Saeki and “At Eternity’s Gate” by Van Gogh

Japanese art: Yuzo Saeki and “At Eternity’s Gate” by Van Gogh

Lee Jay Walker

Modern Tokyo Times

Shortly before Van Gogh died he painted “At Eternity’s Gate” in 1890 after doing the same image as a lithograph eight years before. The image is extremely powerful and the meaning can be transformed to mean many things. However, the initial impression during the first few moments of seeing this image conjures up thoughts related to despair, alienation, abandonment, and a person who is at the end of their rope.

This reality connects the tragic end of Yuzo Saeki but perhaps without an “Eternity’s Gate?” After all, Yuzo Saeki died in a strange land, isolated, confused, and with his mind wandering from the desire to paint more before “the gates of death” would take him from this world.

Yuzo Saeki, just like Van Gogh during his lifetime, experienced severe mental health problems during his final months on this earth. Therefore, this gifted artist from Japan died at the age of 30 because of multiple factors. This applies to having a nervous breakdown, tuberculosis which was eating away at his health, massive overwork, poverty, alienation from reality, and other factors which took away his life.

In this sense, “At Eternity’s Gate” by Van Gogh connects these two extremely gifted individuals because if you replace the image with a 30 year old man, in a room more sinister and frightening and coughing up blood; then an image into the last moments of Yuzo Saeki can be seen. However, even more disturbing is that Yuzo Saeki died in France where cultural differences in this period were enormous and when institutions were “more dark and foreboding.”

Therefore, Yuzo Saeki gradually slipped away from this world by being isolated, alienated, in destitution, and with little care from others in Paris if he died or lived. At home, he had a family which was deeply concerned but his reality in the last few months must have been like Dante’s hell.

Van Gogh died at the age of 37 in 1890 while Yuzo Saeki was born eight years later in 1898. If “a tortured soul of a genius” could migrate and transcend itself into an equally “troubled soul” in the final year of his life, then it certainly entered Yuzo Saeki. Of course, many individuals reject heaven and hell and the transmigration of the soul. However, the utter despair of Yuzo Saeki during his remaining period on this earth in 1928 does mirror aspects of the painting “At Eternity’s Gate” by Van Gogh. The same also applies to the troubled mind of Van Gogh when “the demons of life” entered his world.

Michael Brenson stated in the New York Times in an article called “When Japan’s Art Opened to Western Winds,” that “When European art began to question its own traditions, however, as it did increasingly during and after World War I, there was a potential for trouble. Artists could find themselves with neither a European tradition to learn from nor a Japanese tradition to hold onto. When Saeki Yuzo, who is perceived in his country as a tragic hero, the Japanese van Gogh, died at the age of 30 in an insane asylum in Paris in 1928 – perhaps a suicide – he had been trying to paint in this void. Saeki continues to be an example to Japanese artists abroad of the difficulties in reconciling East and West.”

Further down in the same article Michael Brenson comments that “His cafe windows and stores are filled with signs, some illegible. In his “Snowy Landscape,” figures are on the verge of illegibility. His signs seem like scars of an internal pressure to resolve a conflict between the independence and picturesque subject matter of Paris and a dependence upon his native calligraphic and woodcut tradition.”

Striking aspects of the comments by Michael Brenson applies to “died at the age of 30 in an insane asylum in Paris – perhaps a suicide,” “his café windows and stores are filled with signs, some illegible” and“His signs seem like scars of an internal pressure.”

Therefore, according to Michael Brenson not even the death of Yuzo Saeki is one hundred per cent known and this applies to what caused his death or if he killed himself. This fact brings back the image of “At Eternity’s Gate” by Van Gogh but with the backdrop being more sinister and perhaps with Yuzo Saeki being shriveled up in the corner of a cold and dark room. After all, it appears that nobody in Paris really cared about how he died in the final moments of his life – and this is indeed sad.

Also, the image of “At Eternity’s Gate” shows an individual in despair and Yuzo Saeki certainly felt the same pains and abandonment. Not only this, were the signs illegible in some of the art work by Yuzo Saeki because he felt alienated, rejected, and because he feared about upsetting local people?  Or was it a natural sign that he felt trapped between two worlds, a natural aspect of his art, the fact that he could feel “the gates of death,” or did it signify his growing inward feeling that he didn’t belong?

In an earlier article I wrote about Yuzo Saeki I comment that “…despite all the artistic, political and cultural convulsions which befell Yuzo Saeki, along with suffering from tuberculosis, he still produced some truly amazing art. Therefore, the real tragedy of the life of Yuzo Saeki is that he didn’t have enough time to escape the trappings of two cultures which were pulling away at his artistic soul.”

Van Gogh also had an intense struggle between religion and rejection in several areas of his life which led to emotional instability. Given this, Van Gogh and Yuzo Saeki share internal convulsions because of different factors and both fully understood poverty, feeling of alienation, rejection, and the darkness of asylum institutions.

Therefore, the image of “At Eternity’s Gate” by Van Gogh enables people to enter “a small glimpse” into the world of two extremely talented individuals.

 http://www.art.com/gallery/id–a228566/yuzo-saeki-posters.htm

http://www.nytimes.com/1987/12/25/arts/when-japan-s-art-opened-to-western-winds.html

http://moderntokyotimes.com/2012/01/24/japanese-art-and-yuzo-saeki-a-stunning-flower-which-died-too-young/ Yuzo Saeki

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

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Tokyo tourism: Chinzan-so garden, delicious food and rich in culture

Tokyo tourism: Chinzan-so garden, delicious food and rich in culture

Olivier LeCourt and Lee Jay Walker

Modern Tokyo Times

Chinzan-so is a stunning garden in Tokyo whereby you can view the natural beauty of an amazing Japanese garden, beautiful architecture, elements of Buddhism, the magical world of Shintoism, and so much more. Also, unlike the vast majority of stunning gardens in Tokyo which close early this doesn’t apply to Chinzan-so therefore at night the garden is also extremely beautiful and you have many restaurants to eat scrumptious Japanese food. However, being Chinzan-so, then even the restaurants blend in with the natural environment and clearly this beautiful place would bless any major city in the world.

The natural beauty of Chinzan-so is so refreshing because not only can you connect with stunning nature but also this garden is rich in culture and history. The stunning pagoda and aspects of Buddhism, Shintoism, Taoism, and the sacred 500 year old tree, also highlights the exquisite nature of Chinzan-so.

Luxury can also be found at (http://www.fourseasons.com/tokyo/) the Four Seasons Hotel which can be found throughout the amazing city of Tokyo and internationally. The Four Seasons Hotel highlighted in this article applies to the hotel which is located in the same Chinzan-so area. Therefore, if you adore luxury, architecture, the backdrop of an amazing garden and so much more; then the sublime Four Seasons Hotelfused with your stay in Tokyo and the richness of Chinzan-so garden is an amazing break which will stay long in the memory.

Chinzan-so is like walking into the past and into a magical world where you can imagine the amazing animation film called “Spirited Away” by Hayao Miyazaki. This applies to the stone deities, aspects of Buddhism, small Shinto shrine, and famous religious tree. Therefore, the spiritual nature of Chinzan-so is a welcome dimension and at night if you have an “over imagination,” then you can feel the mystery of the old world which is also highlighted in the animation film called “Spirited Away.”

This stunning garden enables people to feel the hidden magic of the Edo period and the changing times of Japan in the Meiji period. Also, it is clear that the opulent wealth of the elites in the past developed this splendid garden and they did so with an eye on culture and aesthetics.

Prince Aritomo Yamagata built his magnificent mansion where modern Chinzan-so stands but of course modifications have been made. The name Chinzan-so means “House of Camellia” therefore you will find many types of camellia throughout this exquisite and stunning garden.

In a past article about Chinzan-so by Modern Tokyo Times it was stated that “The prestige of Prince Aritomo Yamagata and his importance and how Chinzan-so is viewed can be judged by the fact that the Emperor Meiji held many important meetings in this place, in order to plan the future with dignitaries who held important seats of power.  Therefore, it is abundantly clear that the stunning environment, remote settings where seclusion could be found from prying eyes and the cultural aspect of Chinzan-so meant that it was an ideal setting.”

 

“Much of the historical legacy today which can be viewed must be credited to Baron Heitaro Fujita because he utilized the stunning grounds and topography.  This applies to adding important historical monuments and many of these came from Kyoto and Toba. However, the stunning pagoda which is very beautiful was relocated from Hiroshima.”

Therefore, the historical legacy and richness of culture is abundantly obvious because Baron Heitaro Fujita utilized every positive aspect of Chinzan-so and today Tokyoites and tourists can witness many intriguing aspects of Japanese culture. Also, from a religious and philosophical point of view the Taoist images from ancient China fuses naturally with aspects of Buddhism and Shintoism. These images and the numerous stone lanterns are a wonder to behold and the delightful pond, exquisite pagoda, images of Taoism and Buddhism, small Shinto shrine, a sacred 500 year old tree, waterfall, and the stunning layout of the garden means that Chinzan-so is very special.

Throughout the grounds you also have many restaurants to visit and for tourists and Tokyoites you can enjoy not only the natural beauty of Chinzan-so, but you can also eat scrumptious food. This applies to “Kinsui”which is a traditional restaurant which is famous for the kaiseki cuisine; “Mokushundo” where they provide delicious Japanese box lunches, fondue, and barbecue; “Chuu-an” restaurant serves up Edomae sushi and other delicious food; and “Mucha-an” restaurant provides delicious food and is known for their delicious Japanese soba.

The beauty of all these restaurants is that they blend in naturally within the stunning grounds of Chinzan-so. Therefore, the dining experience is a real treasure because not only can you eat extremely delicious food, but the backdrop of the stunning scenery is really special. Not surprisingly, all these restaurants are of the highest quality and cater for different styles of Japanese food.

Also, you have a firmly established restaurant called “Camellia” in this stunning environment and this dining place is famous for its French cuisine. This restaurant is rich in history because for more than 50 years it remains highly acclaimed based on the mouth-watering food which is provided.  The view is also extremely majestic and the setting is spacious. Therefore, if you are a connoisseur of scrumptious French cuisine then restaurant “Camellia” will certainly please you.

Within the main hotel complex overlooking Chinzan-so you have “Café Foresta” which is very spacious and a great place to relax and drink tea, coffee, and other choices, and to eat a delicious cake and so forth “Café Foresta” also provides amazing views of Chinzan-so if you are lucky enough to find a place by the enormous windows. At night, the view is fantastic because of the lights which highlight the beautiful pagoda and other special areas.

Chinzan-so is a must place to visit in Tokyo because of everything highlighted in this article and so much more.

http://www.chinzanso.com/english/restaurant.html

http://www.fourseasons.com/tokyo/ Four Seasons Hotel

http://www.chinzanso.com/english/

leejay@moderntokyotimes.com