31/10/2014

Tokugawa Iemitsu

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Tokugawa Iemitsu 徳川家光 Third Shogun
sometimes spelled Iyemitsu, Iyémitsŭ,

(August 12, 1604 – June 8, 1651)
and in office 1623 – 1651


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the third shogun of the Tokugawa dynasty. He was the eldest son of Tokugawa Hidetada, and the grandson of Tokugawa Ieyasu. Iemitsu ruled from 1623 to 1651.
... his childhood name was Takechiyo (竹千代).
his younger brother was Tokugawa Tadanaga - However, Ieyasu made it clear that Iemitsu would be next in line as shogun after Hidetada.
In 1623, when Iemitsu was nineteen, Hidetada abdicated the post of shogun in his favor. Hidetada continued to rule as Ōgosho (retired Shogun), but Iemitsu nevertheless assumed a role as formal head of the bakufu government.
© More in the WIKIPEDIA !

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Utsunomiya Tsuritenjo Jiken 宇都宮 釣天井事件 The Ceiling at Utsunomiya


source : nifty.com/oracleasuka
Now even the subject of a senbei rice cracker.


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AN ARTIST'S LETTERS FROM JAPAN - BY JOHN LA FARGE (1835 – 1910)

Near Utsunomiya, August 30, 1886
I recall a little story of Utsunomiya, connected with my associations of Nikko, which I shall try to tell you; though, at the very start, I find a difficulty in my having heard it told in several different and contradictory ways—and I can only travel one at a time. As I shall tell it, it represents a legend believed at least in the theater, which, as we know, everywhere makes a kind of history.

The story is about the shogun Iyémitsŭ, whose temple, you know, is at Nikko, and who was near missing the honor of being divinized there later, owing to a plot arranged by his enemies, the scene of which was this little town of Utsunomiya. At that time he was but a boy, the heir-apparent, and was on his way to Nikko, as was his official duty, to worship at the tomb of his grandfather Iyéyasŭ, lately deceased. In this story Iyémitsŭ is not in the legitimate line of descent, but is made the heir by the decision of the great Iyéyasŭ.

His father, Hidetada, was shogun, as you know, having succeeded Iyéyasŭ, during the latter's lifetime,—the old man remaining in reality the master, though absolved from external responsibilities. Now, Hidetada's wife was of the family of Nobunaga, on her mother's side—and bore him a son, who was named during his childhood Kuni Matsu. Another son, whose boy name was Take Chiyo, was the son of Kasuga No Tsubone, a remarkable woman. Each son had tutors, people of importance, and around each boy gathered a number of ambitious interests, all the fiercer that they were dissembled and depended for success upon the choice of either heir as shogun, to succeed father and grandfather. The claim of the other son was favored by the father and more generally accepted; but the son of Kasuga was superior in looks, manners, and intelligence, and his mother hoped to influence in his favor old Iyéyasŭ, the grandfather.

Iyéyasŭ was then living in retirement at Sunpu, that is now called Shidzuoka, which is on the road called the Tokaido.

Kasuga took advantage of a pilgrimage to the shrines of Ise to stop on her road, and naturally offer homage to the head of the family, the grandfather of her son. Besides the power of her own personality, she was able to place before Iyéyasŭ very strong arguments for choosing as the heir of the line a youth as promising as her Take Chiyo.

Iyéyasŭ advised her to continue her pilgrimage, and not to go out of her woman's business, which could not be that of interfering with questions of state; and she obeyed. But Iyéyasŭ revolved the entire question in his mind, and decided that there was danger in a delay that allowed both parties to grow stronger in antagonism. So that he came at once to Yedo, which is now Tokio, and visited Hidetada, asking to see both the boys together. They came in along with their father and his wife, and took their accustomed places. Now these were on the higher floor, raised by a few inches from the floor on which kneels the visitor of lower degree, in the presence of his superior: a line of black lacquer edges the division. Thereupon Iyéyasŭ taking the boy Take Chiyo by the hand, made him sit by him, and alongside of his father, and ordered the other son, Kuni Matsu, to sit below the line, and said:
"The State will come to harm if the boys are allowed to grow up in the idea of equal rank.
Therefore, Take Chiyo shall be shogun, and Kuni Matsu a daimio
."
This decision gave to the line of the Tokugawa a brilliant and powerful continuity, for Take Chiyo, under his manhood name of Iyémitsŭ, was as an Augustus to the Cæsar Iyéyasŭ. And, indeed, Iyéyasŭ had certainly made sufficient inquiries to warrant his decision. If he consulted the abbot Tenkai, of Nikko, who was a preceptor of the boy, he must have heard favorably of him. For, according to the judgment of Tenkai, as I find it quoted elsewhere, "Iyémitsŭ was very shrewd and of great foresight," and in his presence the great abbot felt, he said, "as if thorns were pricking his back."

Not but that he was also fond of luxury and splendor; and one glimpse of him as a youth shows a quarrel with a tutor who found him dressing himself, or being dressed, for "No" performances, or "private theatricals," and who proceeded thereupon to throw away the double mirrors,—in which the youth followed his hair-dresser's arrangements,—with the usual, classical rebuke, condemning such arrangements as unworthy of a ruler of Japan.

There are many stories of Iyémitsŭ more or less to his advantage—and a little anecdote shows a young man of quick temper, as well as one who insisted upon proper attendance.

Iyémitsŭ had been hawking in a strong wind, and with no success. Tired and hungry, he went with some lord-in-waiting to a neighboring temple, where lunch was prepared for them by his cook,—a man of rank. Iyémitsŭ, while taking his soup in a hurry, crushed a little stone between his teeth; whereupon he immediately insisted upon the cook's committing suicide. The cook being a gentleman, a man of affairs, not a mere artist like poor Vatel, hesitated, and then said:
"No soup made by me ever had stones or pebbles in it; otherwise I should gladly kill myself: you gentlemen have begun dinner at once without washing hands or changing dress, and some pebble has dropped into the soup from your hair or clothes. If after having washed your hands and changed your dress, you find any stones in the soup, I shall kill myself."
Whereupon Iyémitsŭ did as was suggested by the cook, repented of his own severity, and increased the cook's pay. But the tutor and guardians of Iyémitsŭ watched over him carefully, and the story I had begun to tell shows that they had no sinecure.

The tutors and guardians of the brother, whom Iyéyasŭ had decided to put aside in favor of Iyémitsŭ, were naturally deeply aggrieved and sought for chances to regain their ward's future power and their own.

As my story began, Iyémitsŭ, representing the hereditary shogunate, was called upon to travel to Nikko and worship officially at his grandfather's tomb. On his way it was natural that he should rest as we did, at Utsunomiya, and in the castle of his vassal, Honda, who was one of the tutors of his brother. This was the son  of the great Honda Masanobu, of whom I spoke above as a champion of Iyéyasŭ.

Here was an opportunity; and a scheme of getting rid of the young shogun was devised by his enemies that seemed to them sufficiently obscure to shield them in case of success or failure, at least for a time. This was, to have a movable ceiling made to the bath-room weighted in such a way as to fall upon any one in the bath and crush him. Whether it was to be lifted again, and leave him drowned in his bath, or to remain as an accident from faulty construction, I do not know.

To build this machine, ten carpenters were set to work within the castle and kept jealously secluded,—even when the work was done, for the young shogun delayed his coming. The confinement fretted the men, among whom was a young lover, anxious to get back to his sweetheart, and not to be satisfied with the good food and drink provided to appease him. He told of his longings to the gatekeeper, whose duty it was to keep him imprisoned, bribed him with his own handsome pay and promise of a punctual return, and at last managed to get out and be happy for a few moments. The girl of his love was inquisitive, but reassured by explanation that the work was done, and that he should soon be out again; yet not before the shogun should have come and gone on his way to Nikko. And so he returned to the gatekeeper at the time appointed. Meanwhile, during that very night, the officers of the castle had gone their rounds and found one man absent. In the morning the roll-call was full. This was reported to the lord of the castle, who decided that if he could not know who it was that had been absent it was wise to silence them all. Therefore, each was called to be paid and dismissed, and, as he stepped out, was beheaded. The gatekeeper, getting wind of what was happening and  fearing punishment, ran away, and being asked by the girl about her lover, told her what he knew and that he believed all the carpenters to have been killed.

Since her lover was dead, she determined to die also, having been the cause of his death and of the death of his companions. She wrote out all this, together with what her lover had told her of his belief and suspicions, and left the letter for her father and mother, who received it along with the tidings of her suicide. The father, in an agony of distress and fear, for there was danger to the whole family from every side, made up his mind to stop the shogun at all hazards, and in the depth of the night made his way to Ishibashi, where one of the princes had preceded Iyémitsŭ, who was to pass the night still further back on the road.

Here there was difficulty about getting a private interview with so great a man as this prince, whose name you will remember as being the title of the former owner of our friend's house in Nikko: Ii, Kammon no Kami.

The letter was shown to Ii, who despatched two messengers, gentlemen of his own, one back to Yedo, to see to the safety of the castle there; the other one to Iyémitsŭ, but by a circuitous route, so that he might appear to have come the other way. The letter was to the effect that the young shogun's father was very ill and desired his son's immediate return. By the time that Iyémitsŭ could get into his litter, Ii had arrived and shown him the girl's letter. Then the occupants of the litters were changed, Matsudaira taking Iyémitsŭ's norimono and Iyémitsŭ Matsudaira's. This, of course, was to give another chance of escape in case of sudden attack by a larger force, for they were now in enemy's country and did not know what traps might be laid for them. The bearers of the palanquin pressed through the night, so that, leaving at midnight, they arrived at Yedo the following  evening; but the strain had been so great that they could go no further.

There was still the fear of attack, and among the retinue one very strong man, Matsudaira Ishikawa, carried the litter of the prince himself. But the gates were closed, and the guards refused to recognize the unknown litter as that of the shogun; nor would they, fearing treachery, open when told that Iyémitsŭ had returned. Delays ensued, but at last admission was obtained for Iyémitsŭ through a wicket gate—and he was safe. Later, after cautious delays, the guilty were punished, and I hope the family of the carpenter's love escaped. When I first read the story, years ago, the version was different, and there was some arrangement of it, more romantic—with some circumstances through which the young carpenter and his sweetheart escaped, and alone the father, innocent of harm, committed suicide.

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That lady in the story just given you, where she is the mother of Iyémitsŭ and the concubine of his father, the shogun, was a very different person.

Little Iyémitsŭ was the legitimate son; moreover, the one who by date of birth was the probable heir, notwithstanding the preference shown by his father and his mother, Sogenin, for his younger brother. So that the succession was decided abruptly by the stern head of the family, Iyéyasŭ.

Great attention was paid by the grandfather, the great Iyéyasŭ, to the education of this grandson. As a Japanese friend remarked, he believed that the important place in the generation was that of the third man. So that three distinguished noblemen were appointed his governors: Sakai, to teach benevolence; Doi, to teach wisdom; Awoyama, to teach valor.
Besides these great professors for the future, the little boy needed an immediate training by a governess good in every way. Kasuga, a married woman, the daughter of a well-known warrior of imperial descent who had lost his life in some conspiracy of the previous generation, was chosen by [Pg 213] the government for the position. This was, perhaps, as great an honor as could be offered to any lady. Besides, there was an opportunity to clear the memory of her father. And she begged her husband to divorce her that she might be free to give all her life to this task. So devoted was she that the boy being at one time at the point of death, she offered herself to the gods for his recovery, vowing never to take any remedy. In her last illness she refused all medicine, and even when Iyémitsŭ—now ruler—begged her to take a commended draught from his hand, she merely, out of politeness, allowed it to moisten her lips, saying that her work was done, that she was ready to die, and that her life had long ago been offered for the master. Nor would she allow the master to indulge her with regard to her own son. He was in exile, deservedly, and the shogun asked her permission to pardon him, in the belief of possible amendment. She refused, bidding Iyémitsŭ to remember his lesson: that the law of the country was above all things, and that she had never expected such words from him. Moreover, that had he revoked the law for her, she could not die in peace.
There is a Spartan politeness in all this, for which I think the stories worth saving to you.
- source : www.gutenberg.org

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At Imamiya shrine 今宮神社 , you can get unique charms or talismans. One of them is the
tamanokoshi (marry into the purple) charm 玉の輿お守り.
It is a vivid navy blue and printed with the designs of Kyoto vegetables.


This charm is derived from an old story:

Tokugawa Iemitsu (1604-51), the 3rd Edo shogun, fell in love with a beautiful girl named Otama, who was born in Kyoto’s Nishijin weaving district as the daughter of a greengrocer. Iemitsu took Otama as a concubine and she bore him a son, who later became the 5th Edo shogun, Tokugawa Ietsuna.
In 1651, when Iemitsu died, Otama became a Buddhist nun under the name Keishoin. She had kept Nishijin in mind even after achieving a high status, and she seems to have exerted herself to build a temple, revive the Yasurai Matsuri (which had been suspended), and support Nishijin after she heard of the ruin of Imamiya Shrine.
The guardian gods of Nishijin also protect Imamiya Shrine, so people wished for the prosperity of the Nishijin area. Local residents say that the word “tamanokoshi” can be traced back to Otama’s story, and anyone who wants to become a “Cinderella”, or simply be happy, can visit this shrine to buy this charm.
source : www.kyopro.kufs.ac.jp

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. Sanpooji 三寶寺 / 三宝寺 Sanpo-Ji - Nerima .

The third Shogun, 将軍家光 Tokugawa Iemitsu, often passed here during his falcon hunting and a special gate was constructed later for him to go through, 御成門 Onari-Mon, now the oldest existing building in the temple complex.

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reimuzoo 霊夢像 Reimuzo, Oracle Dream Image
When Iemitsu was ill later in his life, he had dreams of Ieyasu.
He orderd the painter Kano Tan'yū to create an image after his dream vision.
37 of these dreams are well documented. “dream” portraits.



. . . CLICK here for more Photos !



Visions of the Dead: Kano Tan'yū's Paintings of Tokugawa Iemitsu's Dreams
Karen M. Gerhart / Monumenta Nipponica 2004
- source : www.jstor.org -

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. Kasuga no Tsubone 春日局 Lady Kasuga . - (1597 - 1643)

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- #iemitsu #tokugawaiemitsu -
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24/10/2014

Huish Marcus

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Huish Marcus Bourne Huish
(1843- 1904)

Author of “Japan and its Art”
Chairman of the British Japan Society



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Marcus Bourne Huish

Nationality: English
Date of Birth: 1843.11.25
Place of Birth: Castle Donington
Date of Death: 1921.05.04
Place of Death: 21 Essex Villas, Kensington, London

- - - Identity:
Marcus Bourne Huish was a barrister, writer and art dealer, the son of Marcus Huish of Castle Donington, Leicestershire. He married Catherine Sarah Winslow. Their daughter Margaret Dorothy Huish was born in 1879.

- - - Life:

Husih was called to the bar in 1867 but seems to have abandoned his legal career for the art trade. From 1879-1911 he was Director of the Fine Art Society, with Ernest Brown as his assistant manager. For 12 years he was also editor of Art Journal. In September 1879, after JW's bankruptcy, the Fine Art Society commissioned JW to travel to Venice to complete twelve etchings. JW stayed for over a year, making fifty etchings and over ninety pastels.

On JW's return in 1880, he rented rooms at 65 Regent Street from the Society to print the Venice etchings, twelve of which were exhibited in December at Etchings of Venice, The Fine Art Society, London, 1880. Fifty-three pastels were exhibited the next year, at Venice Pastels, The Fine Art Society, London, 1881. The private view of Mr Whistler's Etchings, The Fine Art Society, London, 1883, was accompanied by a catalogue, wherein each entry was followed by a quotation from earlier criticisms. In 1895, JW held an exhibition of lithographs at the Society (Mr Whistler's Lithographs, The Fine Art Society, London, 1895).

Huish was himself a watercolourist and the chairman of the Japan Society.
He was a Chevalier of the Order of the Sacred Treasure, and was made a Knight of the Order of the Crown of Italy for his part in organising the British section at the Venice Biennale.
The Huishes lived at 21 Essex Villas, Kensington.
- source : www.whistler.arts.gla.ac.uk


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Samplers and Tapestry Embroideries
by Marcus Bourne Huish
Author of “Japan and its Art,”
...
. . .It is true that recent International Exhibitions have included some marvellous specimens of adroitness in needlework, such, for instance, as the wonders from Japan; but these tours de force, and even the skilled productions from English schools, as, for instance, “The Royal School of Art Needlework,” and which endeavour fitfully to stir up the dying embers of what was once so congenial an employment to womankind, are no indications of any possibility of needlework regaining its hold on either the classes or the masses.
...
... Among other stitches used for grounds are the long flat satin-stitch familiar in Japanese embroideries of all periods, and laid-stitches, i.e., those formed of long threads “laid” on the satin or silk foundation, and held down by short “couching” stitches placed at intervals. Laid-stitch grounds, however, are oftener seen in foreign embroideries, especially Italian and Spanish, than in English examples.

Read the full text at Gutenberg library
- source : www.gutenberg.org/ebooks

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. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 .


. Mingei 民芸 Folk Art from Japan . 

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22/10/2014

Legrand Paul

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Legrand Paul Legrand ボール・ルグラン


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ボストン美術館  華麗なるジャポニズム展
Boston Museum Japonism Exhibition


インクスタンド Ink Stand - 1876

- source : kurokawatakao-beauty

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“Looking East” exhibition
highlights Japanese influence on Matisse, Monet, Van Gogh and more
Looking East: Western Artists and the Allure of Japan
Opens January 31, 2014

Signaling their own cosmopolitanism, Western artists staged their compositions with elegant oriental props; Japanese fans, kimonos, lanterns, screens, umbrellas, and vases, for example, are especially common in French paintings.
“The French Impressionist Claude Monet looked to his collection of more than 200 Japanese prints as a source of inspiration, and even based the gardens at his country home in Giverny, France on ukiyo-e landscapes,” explains Ms. Kennedy. Characteristic Japanese flora and fauna motifs such as chrysanthemums and butterflies are also incorporated in Western decorative arts as seen in this exhibition’s elaborately decorated inkstand (1876) by the French designer Paul Legrand.
The japonisme influence even extended to architecture, furniture design and book illustrations, examples of which are also on view in this exhibition.
- source : fristcenter.org/news


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. Japonism ジャポニスム .


. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 . 


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Iwamura Sadao

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Iwamura Sadao
(1912  - 1944)

died: Phillipines ; active: Japan

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This cabinet was made it the mid-1930s by Iwamura Sadao, a graduate of the Kyoto Art and Craft School. With rounded, streamlined corners and strong geometric patterning, the cabinet embodies the international style known as Art Deco. This decorative arts movement first took shape in Paris during the Exposition Internationale des Arts Décoratifs et Industriels Modernes of 1925. It was during the run of this exhibition that Prince Asaka, the eighth son of Prince Kuni, and his wife princess Nobuko, the eighth daughter of Emperor Meiji, resided in Paris and became ardent supporters of the design concepts advanced by Art Deco artists.
After returning to Tokyo, they immediately began construction on a sumptuous modern residence which is preserved today as the Teien Art Museum. This palace became a showcase of Art Deco design in Japan and featured the work of designers who combined many of the hallmarks of international Art Deco with Japanese approaches to craft.


lacquer, crystal, mother-of-pearl

While not directly produced for the Teien Palace, this cabinet exemplifies the approach used to create many of the objects that adorned the imperial residence. With its high degree of quality and production, it could easily have been included in this Palace. Not only does Iwamura use Japanese lacquer—albeit in a striking, seldom seen verdant shade—he combines it with mother-of-pearl inlay and shrinks the dimensions to accommodate the size and scale of domestic living in modern Japan.
- source : www.spencerart.ku.edu


. Mingei 民芸 Folk Art from Japan . 


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. Art Deco アールデコ .

. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 .



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21/10/2014

LaFarge John

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John LaFarge John  ジョン・ラファージ 
(March 31, 1835 – November 14, 1910)


taken in 1902

- quote
an American painter, muralist, stained glass window maker, decorator, and writer.

... He was a pioneer in the study of Japanese art, the influence of which is seen in his work.
During his life, LaFarge maintained a studio at 51 West 10th Street in Greenwich Village, which now is part of the site of Eugene Lang College at the New School University.

LaFarge made extensive travels in Asia and the South Pacific, which inspired his painting. He visited Japan in 1886, and the South Seas in 1890 and 1891, in particular spending time and absorbing the culture of Tahiti.
Henry Adams accompanied him on these trips as a travel companion.



... La Farge experimented with color problems, especially in the medium of stained glass.


- His Work about Japan
An Artist's Letters from Japan (New York, 1897)
Hokusai: a talk about Japanese painting (New York, 1897)

© More in the WIKIPEDIA !




AN ARTIST'S LETTERS FROM JAPAN
BY JOHN LA FARGE

To Henry Adams, Esq.
My Dear Adams: Without you I should not have seen the place, without you I should not have seen the things of which these notes are impressions. If anything worth repeating has been said by me in these letters, it has probably come from you, or has been suggested by being with you—perhaps even in the way of contradiction. And you may be amused by the lighter talk of the artist that merely describes appearances, or covers them with a tissue of dreams. And you alone will know how much has been withheld that might have been indiscreetly said.
If only we had found Nirvana—but he was right who warned us that we were late in this season of the world.
J. L. F.



WHICH IN ENGLISH MEANS:
And you too, Okakura San: I wish to put your name before these notes, written at the time when I first met you, because the memories of your talks are connected with my liking of your country and of its story, and because for a time you were Japan to me. I hope, too, that some thoughts of yours will be detected in what I write, as a stream runs through grass — hidden, perhaps, but always there. We are separated by many things besides distance, but you know that the blossoms scattered by the waters of the torrent shall meet at its end.

- - - - - CONTENTS
An Artist's Letters from Japan
From Tokio to Nikko
The Shrines of Iyéyasŭ and Iyémitsŭ in the Holy Mountain of Nikko
Iyémitsŭ
Tao: The Way
Japanese Architecture
Bric-à-Brac
Sketching
Nirvana
Sketching.—The Flutes of Iyéyasŭ
Sketching.—The Pagoda in Rain
From Nikko to Kamakura
Nikko to Yokohama
Yokohama—Kamakura
Kioto
A Japanese Day.—From Kioto to Gifu
From Kambara to Miyanoshita—A Letter from a Kago
Postscript / Appendix

- source : www.amazon.co.uk


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Project Gutenberg's
An Artist's Letters From Japan, by John La Farge


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NEW YORK
THE CENTURY CO.
1897

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excerpt
JAPANESE ARCHITECTURE
Nikko, August 2.

I fear that of all my description the refrain of the words gold and bronze will be all that you will retain. How can I have any confidence in my account of anything so alien, whose analysis involves the necessary misuse of our terms, based upon another past in art?—for words in such cases are only explanations or easy mnemonics of a previous sight. But soon I shall have photographs to send, and if I can summon courage for work, in this extreme heat and moisture, I shall make some drawings. But again, these would not give the essential reasons for things being as they are; and whatever strange beauties would be noted, they might appear to have happened, if I may so say, and not to have grown of necessity. It is so difficult for our average way of accepting things to think of what is called architecture without expecting structures of stone—something solid and evidently time-defying.

And yet, if architecture represents the needs of living of a people, the differences that we see here will have the same reasonableness that other devices show elsewhere. The extreme heat, the sudden torrents of rain, will explain the far-projecting and curved roofs, the galleries and verandas, the arrangements for opening or closing the sides of buildings by sliding screens, which allow an adjustment to the heat or the damp. But weightier reasons than all these must have directed in the construction of such great buildings as the temples, and I think [Pg 120] that, putting aside important race influences, these sufficient reasons will be found in the volcanic nature of Japan and its frequent earthquakes. Whatever was to be built must have had to meet these difficult problems: how successfully in the past is shown by a persistence of their buildings which to us seems extraordinary, for many of them are lasting yet in integrity for now over a thousand years.

I speak of the influences of race, because it is evident that very many traditions, prejudices, and symbolic meanings are built into these forms, and that many of them must have come through the teachings of China. Everywhere the higher architecture, embodied in shrines and temples, is based on some ideal needs, and not essentially upon necessities; is, in fact, a record or expression of a religious idea or mystery. In this case I am too profoundly ignorant, as most of us are, to work out origins; but my mind feels the suggestion of an indefinite past, that once had meanings and teachings, just as my eye recognizes in the shape of the massive temples the image of a sacred box, or ark, once to be carried from place to place. There is, perhaps, in this direction a line of study for the men to come.

Like all true art, the architecture of Japan has found in the necessities imposed upon it the motives for realizing beauty, and has adorned the means by which it has conquered the difficulties to be surmounted. Hence no foundations, which would compromise the super-imposed building by making it participate in the shock given to its base. Hence solid pedestals, if I may so call them, or great bases, upon which are placed only, not built in, the posts which support the edifice, leaving a space between this base and the horizontal beams or floors of the building. The building is thus rendered elastic, and resumes its place after the trembling of the earthquake, and the [Pg 121] waters of bad weather can escape without flooding any foundations.

The great, heavy, curved roof, far overhanging, weighs down this structure, and keeps it straight. An apparently unreasonable quantity of adjusted timber and beams supports the ceiling and the roof. Complicated, tremendous corbelings, brackets grooved and dovetailed, fill the cornices as with a network; but all these play an important practical part, and keep the whole construction elastic, as their many small divisions spread the shock.

Still more, in such a building as the charming pagoda at Iyéyasŭ's shrine, which is full one hundred feet high, slight-looking and lithe, the great beam or mast which makes its center does not support from the base, but is cut off at the foundation; and hence it acts as a sort of pendulum, its great weight below retarding the movement above when the earthquake comes.

I have heard the whisper of a legend saying that the architect who devised this, to correct the errors of a rival and partner, was poisoned in due time, in jealous return. For those were happy times when backbiting among artists took the more manly form of poisoning.

Now besides all this, which gives only the reason for the make of certain parts which together form the unity of a single building, there are other principles before us. The relation of man to nature, so peculiarly made out in the Japanese beliefs, is made significant, symbolized, or typified through the manner in which these buildings are disposed. A temple is not a single unity, as with us, its own beginning and end. A temple is an arrangement of shrines and buildings meaningly placed, often, as here, in mountains—a word synonymous with temples; each shrine a statement of some divine attribute, and all these buildings spread with infinite art over large spaces, open, or inclosed by trees and rocks. The buildings are but [Pg 122] parts of a whole. They are enveloped by nature, the principle and the adornment of the subtle or mysterious meaning which links them all together.

Besides all this is the religious symbolism underlying or accompanying all, as once with us, of which I know too little to speak, but which can be felt and occasionally detected because of many repetitions. But this would carry me beyond my limits; and, indeed, we find it very difficult to obtain any more information from our instructors, whether they do not know securely, or whether they reserve it for better minds and worthier apprehensions. Nor do I object to this Oriental secrecy or mystery, as it adds the charm of the veil, which is often needed.

And I should wish that soon some one might undertake to make out in full the harmony of proportions which has presided over these buildings. It is evident that a delicate and probably minute system of relations, under the appearance of fantasy, produces here the sense of unity that alone makes one secure of permanent enjoyment. My information on the subject is fragmentary: I know that the elegant columns are in a set relation to the openings of the temple; that the shape of these same columns is in another relation to their exquisite details; that the rafters play an important part, determining the first departure. I have seen carpenter's drawings, with manners of setting out work and measurements, and I feel that there is only a study to carry out.

Nor is my wish mere curiosity, or the interest of the antiquarian. What we need to-day is belief and confidence in similar methods, without which there is nothing for ourselves but a haphazard success; no connection with the eternal and inevitable past, and none with a future, which may change our materials, but will never change our human need for harmony and order.

You have heard of the little gardens, and of their exquisite [Pg 123] details, in which the Japanese makes an epitome of nature, arranged as if for one of his microscopic jewels of metals, ivory, or lacquer.

Here in our own garden there would seem no call for an artificial nature. The mountain slope on which we live must have always been beautiful of itself; but for all that, our garden—that is to say, the space about our landlord's house and our own—has been treated with extreme care. Our inclosure is framed towards the great temple groves, and the great mountains behind them, by a high wall of rock, over which, at a corner edged with moss, rolls a torrent, making a waterfall that breaks three times. The pool below, edged with iris that grow in the garden sand, is crossed by a bridge of three big flat stones, and empties secretly away. On each side of the fall, planted in the rock wall, stands a thick-set paulownia, with great steady leaves, and bending towards it a willow, whose branches drop far below itself and swing perpetually in the draught of the waterfall. Bunches of pink azalea grow in the hollows of the rocks, and their reflections redden the eddies of the pool. Steps which seem natural lead up the wall of rock; old pines grow against it, and our feet pass through their uppermost branches. On the top is planted a monumental stone, and from there a little path runs along, leading nowhere nowadays, as far as I can make out. I am right in calling this mass of rock, which is a spur of the mountain's slope, a wall; for I look down from its top to the next inclosure far below, now overgrown and wild. What is natural and what was made by man has become so blended together, or has always been so, that I can choose to look at it as my mood may be, and feel the repose of nature or enjoy the disposing choice of art.

Where the little bridge crosses over, and where mossy rocks dip down a little to allow a passage, edged by a maple and a pine, I look over across the hidden road to a [Pg 124] deserted yashiki, with one blasted tree, all overgrown with green and melting into distances of trees which, tier behind tier, reach to a little conical hill, that is divided and subdivided by sheets of mist at every change of heat and damp, so that I feel half as if I knew its forms perfectly—half as if I could never get them all by heart.

In the sand of our little garden are set out clumps of flowers, chrysanthemum mostly, and occasionally iris and azalea; and the two houses make its other two sides. The priest's house, an old one, with large thatched roof projecting in front and supported there by posts covered with creepers, is nearer the water. I see the little priest with his young neophyte curled on the mats in the big front room whose whole face is open; while in a break, or wing, is the opening to the practical housekeeper side of the dwelling.

Our own house, which faces south like the priest's, completes the square, as I said. It is edged on the outside by a small plantation of trees with no character, that stretch away to the back road and to a wall terracing a higher ground behind. There a wide space overgrown with bushes and herbage, that cover former care and beauty, spreads out indefinitely toward conical hills hot in the sun, behind which rises the great volcanic slope of Nio-ho. A little temple shrine, red, white, and gold, stands in this heat of sunlight and makes cooler yet the violets and tender greens of the great slopes. This is to the north. When I look toward the west I see broad spaces broken up by trees, and the corner of Iyéyasŭ's temple wall half hidden by the gigantic cedars, and as I write, late in the afternoon, the blue peak of Nan-tai-san rounded off like a globe by the yellow mist.

The garden, embosomed in this vastness of nature, feels small, as though it were meant to be so. Every part is on a small scale, and needs few hands to keep [Pg 125] things in order. We have a little fountain in the middle of the garden, which gives the water for our bath, and sends a noisy stream rolling through the wooden trough of the wash-room. The fountain is made by a bucket placed upon two big stones, set in a basin, along whose edge grow the iris, still in bloom. A hidden pipe fills the bucket, and a long, green bamboo makes a conduit for the water through the wooden side of our house. With another bamboo we tap the water for our bath. In the early morning I sit in the bath-room and paint this little picture through the open side, while A——, upstairs in the veranda, is reading in Dante's "Paradiso," and can see, when he looks up, the great temple roof of the Buddhist Mangwanji.

Occasionally the good lady who takes care of our priest's house during his weeks of service at the temple of Iyémitsŭ salutes me while at my bath, for the heating of which her servant has supplied the charcoal. She is already dressed for the day, and in her black silk robe walks across the garden to dip her toothbrush in the running water of the cascade. Then in a desultory way she trims the plants and breaks off dead leaves, and later the gardener appears and attends to one thing after another, even climbing up into the old pine tree, taking care of it as he does of the sweet-peas; and I recall the Japanese gardener whom I knew at our Exposition of 1876, as I saw him for the last time, stretched on the ground, fanning the opening leaves of some plant that gave him anxiety.

Thus the Japanese garden can be made of very slight materials, and is occasionally reduced to scarcely anything, even to a little sand and a few stones laid out according to a definite ideal of meaning. A reference to nature, a recall of the general principles of all landscapes,—of a foreground, a distance, and a middle distance; [Pg 126] that is to say, a little picture,—is enough. When they cannot deal with the thing itself—when they do, they do it consummately—they have another ideal which is not so much the making of a real thing as the making of a picture of it. Hence the scale can be diminished, without detriment in their eyes, until it becomes lilliputian to ours. All this I take to be an inheritance from China, modified toward simplicity. I do not know to what type our little garden belongs. For they have in their arrangements manners of expressing ideas of association, drawing them from nature itself, or bringing them out by references to tradition or history, so that I am told that they aim to express delicate meanings which a Western imagination can hardly grasp; types, for instance, conveying the ideas of peace and chastity, quiet old age, connubial happiness, and the sweetness of solitude. Does this make you laugh, or does it touch you—or both? I wish I knew more about it, for I am sure that there is much to say.

I have spoken of simplicity. The domestic architecture is as simple, as transitory, as if it symbolized the life of man. You can see it all in the drawings, in the lacquers, and it has recently been treated completely in the charming book of Professor Morse. Within, the Japanese house is simplicity itself; all is framework, and moving screens instead of wall. No accumulations, no bric-à-brac; any lady's drawing-room with us will contain more odds and ends than all that I have yet seen together in Japan. The reserved place of honor, a sort of niche in the wall, the supposed seat of an ideal guest, has upon its bench some choice image on a stand, or a vase with elegant disposal of flowers or plants, and above it the hanging roll with drawing or inscription. Perhaps some other inscription or verse, or a few words on a tablet upon some cross-beam, and perhaps a small folding screen. Otherwise [Pg 127] all works of art are put aside in the fireproof store-house, to be brought out on occasions. The woodwork is as simple as it can be—occasionally, some beautiful joinery; always, when it can be afforded, exquisite workmanship; and, above all, exquisite cleanliness. For there are no beds—only wadded coverlets and the little wooden pillow, which does not disturb the complicated feminine coiffure in the languors of the night. No tables; food is laid on the cleanly mats, in many trays and dishes. No chairs; the same mats that serve for bedstead and table serve for seats with, perhaps, a cushion added.

And this is all the same for all, from emperor's palace to little tradesman's cottage. There is nothing, apparently, but what is necessary, and refinement in disposing of that. The result is sometimes cold and bare. There is the set look of insisting upon an idea—the idea of doing with little: a noble one, certainly; as, for instance, when the emperor's palace at Kioto is adorned merely by the highest care in workmanship and by the names of the artists who painted the screen walls—in solitary contradiction to the splendor and pomp of all absolute rulers, no storehouse for the wasted money of the people, but an example of the economy which should attend the life of the ruler. It is possible that when I return I shall feel still more distaste for the barbarous accumulations in our houses, and recall the far more civilized emptiness persisted in by the more esthetic race.
- source : www.gutenberg.org/files


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Utsunomiya Tsuritenjo Jiken 宇都宮 釣天井事件 The Ceiling at Utsunomiya
and
Tokugawa Iemitsu (Iyémitsŭ) 徳川家光 Third Shogun

. Near Utsunomiya, August 30, 1886 .


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A Rishi Calling Up A Storm - Japanese Folk Lore


source and more : www.1st-art-gallery.com

Location: Cleveland Museum of Art, Cleveland, Ohio, USA

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ジョン ラファージ vs 広重 - LaFarge versus Hiroshige

- source : rokkomiki.exblog.jp


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. . . CLICK here for Photos !


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. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 .


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10/10/2014

Hugh Cortazzi

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Cortazzi Hugh Cortazzi  ヒュー・コータッツィ 
Sir Arthur Henry Hugh Cortazzi
(1924 - )



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British diplomat. Also known as Hugh Cortazzi, he is also a distinguished international businessman, academic, author and prominent Japanologist.
He was Ambassador from the United Kingdom to Japan (1980–84),
President of the Asiatic Society of Japan (1982–1983) and
Chairman of the Japan Society of London (1985–95).
.
Sir Hugh has written, edited, translated or contributed to a number of books on the history of Anglo-Japanese relations, and Japanese history or culture. He has also written articles on Japanese themes in English and Japanese publications.
© More in the WIKIPEDIA !

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- Japan Times - Hugh Cortazzi

Hugh Cortazzi was posted to British Commonwealth Air Forces in Japan in 1946, and he joined the British Foreign (later diplomatic) service in 1949. After retiring, he worked in the city of London and was an adviser to a number of Japanese companies. He was chairman of the council of the Japan Society from 1985-1995. Since 1983 he has researched and written a number of books about Japanese culture and history and has edited and compiled a series of books on personalities active in Anglo-Japanese relations.

For Hugh Cortazzi's latest contributions to The Japan Times, see
- source : japantimes.co.jp/author


Oct 31, 2014
Does right-wing extremism threaten Japan's democracy?

Japan's image abroad is suffering as a result of the apparently growing influence of right-wing extremists in the government. It is in Japan's national interest to discourage revisionists from propagating historical lies that might threaten the democratic processes.
...
Extreme nationalism is a threat to democratic institutions and values everywhere. Recent reports in the British media about the growing influence of right-wing extremists in Japan have caused deep concern among friends of Japan here.

On Oct. 22 it was reported that Sanae Takaichi, the minister for internal affairs, had given an enthusiastic endorsement of a book praising Adolf Hitler. The explanations and denials issued have been contradictory and unconvincing.

If any British minister were to say anything that even by implication supported a criminal who had been instrumental in instituting the Holocaust, there would be a public outcry and the minister concerned would be forced to resign.
...
NHK is supposed to be like the BBC and to be both politically neutral and objective. Under the direction of Katsuto Momii it seems to have been turned into a tool of the Japanese government. As professor Koichi Nakano has apparently said it looks “increasingly like a mirror of CCTV,” China’s state broadcaster.
...
The facts about the activities of the Japanese biological warfare unit 731 in Manchukuo are so horrific that its existence and experiments tend to be buried and, if possible, forgotten. This “amnesia” is at least in part due to American connivance; American investigators were told the results of the “experiments” in return for not pursuing the Japanese perpetrators.
...
I do not mention these facts to stir up trouble or ill feeling. Like other friends of Japan here I believe strongly in reconciliation and support the efforts made by both Japanese and British individuals and groups working for mutual understanding and seeking to ensure that there is no repetition of the atrocities committed in war. Revisionists make these tasks harder.
...
The Japanese media have the reputation abroad of being too close to the Japanese establishment as a result of the “kisha club” system. The beneficiaries of the system deny this, but even if the Japanese media are not “pussy cats,” a study of prewar history suggests that extremist threats can inhibit the free and frank criticism that is necessary to preserve a healthy democracy in Japan.

Japan’s image and prestige abroad is suffering as a result of the apparently growing influence of extremists in the Japanese government. It is very much in Japan’s national interest that the revisionists are discouraged from propagating their historical lies and that Japanese democratic processes are not threatened by extremist anti-democratic individuals or groups.

I am aware that by writing this article Japanese right-wing nationalists will regard me as anti-Japanese. This is not the case. I admire and like Japanese culture and am happy to have many good Japanese friends. One book on which I worked long and hard for a series on “Great Civilizations of the World” is titled “The Japanese Achievement.” In this I attempted to outline Japanese history and its culture. Better a candid friend than an insincere sycophant.
- source : japantimes.co.jp/opinion


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- Reference - Japanese -

- Reference - English -


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07/10/2014

Yamamoto Baiitsu

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Yamamoto Baiitsu 山本梅逸
(1783-1856)

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"Plum Blossom Study"
"Cottage with Paulownias and Bamboo" 1853
- source : www.kaikodo.com


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Yamamoto Baiitsu (1783 - 1856)
Nanga and Bunjin style painter at the latter part of the Edo period.

Baiitsu was born in Nagoya of Owari Province as a son of Yamamoto Ariemon, engraver.
When Baiitsu was 13 years old, his father died, and, his family was deprived.
Even though, his mother was enthusiastic about educating her son, she teached him Japanese Waka poem.
Baiitsu liked painting from his childhood, he started studying painting under Yamamoto Rantei at first. Rantei spotted the Baiitsu's potential and he made Baiitsu to be a pupil of Cho Gessho.
Later, Kamiya Tenyu, wealthy merchant, patron of artists in Owari area and collector of antique drawings, gave sanctuary to Baiitsu.
Tenyu coached him how to paint, and also permitted to see his collection for Baiitsu to gain skills. In these days, Baiitsu met Nakabayashi Chikudo who was 7 years older and was going to become a sworn friend of him.

In 1802, their benefactor Tenyu died, Baiitsu and Chikudo went to Kyoto.
They copied out old paintings displayed in the temples and shrines in Kyoto to caltivate their skills. Though, they could not become popular in the Kyoto circle of painters at that time. They once came back to Nagoya, however, Baiitsu went to Kyoto again in 1832.

Baiitsu was admitted as a master painter at this time.
He had relationships with Rai Sanyo and Yanagawa Seigan and others.
Based in Kyoto, Baiitsu traveled to every regeon in Japan.
When he was in Edo, he collaborated with Tani Buncho, another master painter .
In 1854, Baiitsu was appointed to be an official painter of Owari Domain and he came back to Nagoya.

Baiitsu was good at painting Sansui landscape views and flowers & birds.
Now, he is generally categorized as Nanga style painter.
However, he established his own original, exquisite and concinnous painting style as he was influenced by several styles such as realism of the Maruyama-Shijo school and techniques of Chinese old paintings.
- source : jyuluck-do.com


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- source : www.nagaragawagarou.com

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- Reference - 山本梅逸 -

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03/10/2014

Felice Beato Felix

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Beato Felice Beato

(1832 – 29 January 1909)



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also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events as the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial oeuvre of photojournalism. He had an impact on other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting.

Japan
By 1863 Beato had moved to Yokohama, Japan, joining Charles Wirgman, with whom he had travelled from Bombay to Hong Kong. The two formed and maintained a partnership called "Beato & Wirgman, Artists and Photographers" during the years 1864–1867, one of the earliest and most important[ commercial studios in Japan. Wirgman again produced illustrations derived from Beato's photographs, while Beato photographed some of Wirgman's sketches and other works. (Beato's photographs were also used for engravings within Aimé Humbert's Le Japon illustré and other works.)

Beato's Japanese photographs include portraits, genre works, landscapes, cityscapes, and a series of photographs documenting the scenery and sites along the Tōkaidō Road, the latter series recalling the ukiyo-e of Hiroshige and Hokusai. During this period, foreign access to (and within) the country was greatly restricted by the Shogunate. Accompanying ambassadorial delegations[30] and taking any other opportunities created by his personal popularity and close relationship with the British military, Beato reached areas of Japan where few westerners had ventured, and in addition to conventionally pleasing subjects sought sensational and macabre subject matter such as heads on display after decapitation.
His images are remarkable not only for their quality, but also for their rarity as photographic views of Edo period Japan.



Samurai of the Satsuma clan, during the Boshin War period

The greater part of Beato's work in Japan contrasted strongly with his earlier work in India and China, which "had underlined and even celebrated conflict and the triumph of British imperial might". Aside from the Portrait of Prince Kung, any appearances of Chinese people in Beato's earlier work had been peripheral (minor, blurred, or both) or as corpses. With the exception of his work in September 1864 as an official photographer on the British military expedition to Shimonoseki, Beato was eager to portray Japanese people, and did so uncondescendingly, even showing them as defiant in the face of the elevated status of westerners.

Beato was very active while in Japan. In 1865 he produced a number of dated views of Nagasaki and its surroundings. From 1866 he was often caricatured in Japan Punch, which was founded and edited by Wirgman. In an October 1866 fire that destroyed much of Yokohama, Beato lost his studio and many, perhaps all, of his negatives.

While Beato was the first photographer in Japan to sell albums of his works, he quickly recognised their full commercial potential. By around 1870 their sale had become the mainstay of his business. Although the customer would select the content of earlier albums, Beato moved toward albums of his own selection. It was probably Beato who introduced to photography in Japan the double concept of views and costumes/manners, an approach common in photography of the Mediterranean. By 1868 Beato had readied two volumes of photographs, "Native Types", containing 100 portraits and genre works, and "Views of Japan", containing 98 landscapes and cityscapes.

Many of the photographs in Beato's albums were hand-coloured, a technique that in his studio successfully applied the refined skills of Japanese watercolourists and woodblock printmakers to European photography.

Since about the time of the ending of his partnership with Wirgman in 1869, Beato attempted to retire from the work of a photographer, instead attempting other ventures and delegating photographic work to others within his own studio in Yokohama, "F. Beato & Co., Photographers", which he ran with an assistant named H. Woollett and four Japanese photographers and four Japanese artists. Kusakabe Kimbei was probably one of Beato's artist-assistants before becoming a photographer in his own right. But these other ventures would fail, and Beato's photographic skills and personal popularity would ensure that he could successfully return to work as a photographer.

Beato photographed with Ueno Hikoma, and possibly taught photography to Raimund von Stillfried.
Felice Beato with Saigo Tsugumichi (both seated in front), with foreign friends. Photograph by Hugues Krafft in 1882.

In 1871 Beato served as official photographer with the United States naval expedition of Admiral Rodgers to Korea. Although it is possible that an unidentified Frenchman photographed Korea during the 1866 invasion of Ganghwa Island, Beato's photographs are the earliest of Korea whose provenance is clear.



Beato's business ventures in Japan were numerous. He owned land and several studios, was a property consultant, had a financial interest in the Grand Hotel of Yokohama, and was a dealer in imported carpets and women's bags, among other things. He also appeared in court on several occasions, variously as plaintiff, defendant, and witness. On 6 August 1873 Beato was appointed Consul General for Greece in Japan.

In 1877 Beato sold most of his stock to the firm Stillfried & Andersen, who then moved into his studio. In turn, Stillfried & Andersen sold the stock to Adolfo Farsari in 1885. Following the sale to Stillfried & Andersen, Beato apparently retired for some years from photography, concentrating on his parallel career as a financial speculator and trader. On 29 November 1884 he left Japan, ultimately landing in Port Said, Egypt. It was reported in a Japanese newspaper that he had lost all his money on the Yokohama silver exchange.
© More in the WIKIPEDIA !


フェリーチェ・ベアト
- source : wikipedia Japan

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Beato in Yokohama
Beato resided in Yokohama for 21 years, the longest period he worked in a single place. Through his camera, he captured the transitional period between the feudal governance of the Edo period (1600–1868) and the imperial rule of the Meiji era (1868–1912) with memorable portraits, landscapes, and genre scenes. (Go to Chronology for more details of Beato's life and work.)
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“Photographic Views of Japan with Historical and Descriptive Notes”
When he arrived in Japan in 1863, Beato brought with him a considerable inventory of photographs and negatives. Unfortunately, these plus the negatives he initially made in Japan were lost in a fire that swept through Yokohama and destroyed much of the city in 1866. Between 1866 and 1868, Beato worked feverishly to rebuild his stock and reestablish his livelihood. After producing hundreds of negatives, he selected a suite of photographs which he published with descriptions under the collective title Photographic Views of Japan with Historical and Descriptive Notes shortly after the overthrow of the feudal regime in 1868. The complete set survives in some collections, but often the images have been disassembled.

This handsome album established a British view of “Japan” for the West. Each albumen print has a satin sheen. (For more about albumin prints, go to Photographic Terms.) The print is mounted on heavy paper to keep the thin photographic paper from curling inward after development. Almost every photograph is accompanied by a brief descriptive caption written by James W. Murray to provide an interpretive label for the viewer. The description is mounted on the opposite page and printed with distinctive type within an elegant border. When viewers turned each page of the large bound albums, they encountered not only a beautiful landscape, portrait, or scene of everyday life, but also a presumedly authoritative commentary on the subject depicted.

These captions are of particular interest today not only for the stories they tell, but also for the odd and old-fashioned ways in which many Japanese names and words are “romanized.” They also contain many factual errors that reveal the rudimentary level of foreign knowledge of Japan at this early stage in the nation's new relationship with the West. (The captions have been reproduced without correction here.)
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Commemorative Albums & Tourism
Albums were introduced very early into the practice of photography. The albums often were bound like books, with embossed titles printed on the cover or spine. Covers were made of leather, fabric, or carved wood. In Japan, they also included lacquer with elaborate inlays. Photographers assigned to the British military expeditions often created albums for the officers to commemorate their battles. Beato created his first such keepsake album for officers who fought in the Crimean War. Often the albums were sent to their families and friends in advance of the officers’ return to Britain as a way of communicating the complexity of their lives and display of bravery for their country. Such albums, sometimes displayed in lyceums, fed a hungry public with images long after battles were fought.
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Coloring Black-&-White Originals
In the two-volume Photographic Views of Japan, landscapes and points of interest comprise the first volume and are presented in black-and-white albumen prints. In the second volume, reproduced here, the albumen portraits and genre scenes of everyday life were colored by hand.

Beato colored the photographs using several methods. The tonal shades of velvety blacks, reddish-browns, and purples were controlled through the interaction of developer chemicals and the albumen paper. To achieve more vivid colors, artisans applied watercolors to the completed print. The usual hand-applied colors were green, blue, red, and yellow. Templates were cut to to ensure consistency when painting watercolors on multiple prints from the same negative.

Charles Wirgman (1832–1891), Beato’s journalist friend and business partner, initially painted the photographs with watercolor. Shortly after Wirgman and Beato began partnering in the studio, however, Japanese watercolor artists were contracted for this service. Beato had a ready supply of colorists from the skilled craftsmen who had been trained to color woodblocks for traditional woodcut prints. With color photographs, Beato hoped to appeal to the prevailing taste already established by Japanese woodblock prints.
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Photographs & Captions
This portrait of “Girl Playing the Samisen” acquires additional meaning with Murray’s descriptive caption, in which he writes about the instrument and the role of music in the training of young women. As he tells it, the instrument is the equivalent of the guitar, thus establishing for the viewer a comparative model. Murray continues with a description of how the samisen is “played with a flat piece of wood, or ivory, or horn, and seldom struck with the fingers,” and goes on to impose his own Western standards by characterizing its sound as “wild and harsh” and the woman’s voice as “by no means pleasant to the ear.” These girls are “studious and diligent, and music is part of their overall education,” he states, but there is a “wonderful absence of any approach to harmony in the airs played by even the most carefully taught.”
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Models & “Types”
The “Views of Japan” reproduced in this unit represent portraits selected from Beato’s wide-ranging opus and sold as a group by the photographer. This particular album, held by the Smith College Museum of Art, contains 50 images formerly bound in a green linen cover with the printed title, now absent, in the center of the cover. Although each photograph is different, the viewer may discern certain resemblances in the physical characteristics of the sitters. Beato usually hired his sitters and dressed them in appropriate attire for his studio photographs. The models for “Mr. Shōjirō” and “Our Painter” could almost be the same person, for example, although their descriptions differ greatly. In both images, the model holds instruments of trade in his hands. Mr. Shōjirō holds “that ingenious little calculating table of his …,” the soroban, or abacus. The painter stands in front of his portfolio of prints while holding his palette and brush. “A bit of a roué is our painter,” Murray states, “much given to wine, and not insensible to the charms of singing girls. A good creature on the whole…. ”
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Crime & Punishment
To some degree, the violence Beato captured in his earlier non-Japanese war photographs is evident in Views of Japan. During its transitional years as a treaty port, the Yokohama settlement was not entirely safe for foreigners. Often travel outside the confines of the settlement was not permitted or required hired guards. The two photographs that conclude the Smith College Museum of Art album, depicting “The Executioner” and “The Execution,” are vivid reminders of the harshness of the times. Beato staged a studio portrait for the former, a nameless executioner with sword raised ready to decapitate a criminal.
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“The Executioner” (detail)
The album concludes with two Beato photographs of violence. The caption accompanying this photo suggests that it depicts an actual execution ground. It was, in fact, staged in Beato’s studio.


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By contrast, “The Execution” is an outdoor shot without imaginary props, depicting a crucified criminal and several severed heads on display. Murray’s description, one of the lengthiest in the album, serves several purposes. It describes not only the execution scene but the multiple ways in which executions were performed—crucifixion, beheading, or forced suicide. When the traveler returned home to share Beato’s photographs and Murray’s texts, he or she came away with a final impression of barbarism—an image that would have a substantial and pernicious afterlife in later foreign representations.
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Tourism & the Western Image of Japan
With images such as these, Beato’s pioneer photographs helped consolidate the impressions of Japan held by many Westerners. Perusing such albums, the viewer was able to safely travel the byways of Japan and—supposedly—witness daily life. These graphics and their captions created an iconic image of Japan that would survive the sale of Beato’s studio in 1877 and even the photographer’s death in 1908. With his genre scenes, Beato provided a window on an exotic country interpreted through the lens of Western culture. Such albums became mementos for tourists and, for those who would never have the luxury of visiting, a bound collection of highly selected and filtered knowledge.
- source : ocw.mit.edu/ans7870


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curio shop

- - - Gallery of his photos - Beato's Japan: People
- source : ocw.mit.edu/ans


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Rokubu priest, 1867, carrying his portable altar
Photo by Felice Beato, around 1668

The rokubu was an itinerant priest who traveled to restore fertility to barren women, carrying his tools on his back.

. . 六十六部 Rokujurokubu, 六部 Rokubu Pilgrims .


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