JIC: Japan Infomation Communication

Hanga - Japanese woodblock print

   I'd like to introduce "Hanga"!! Hanga is the Japanese woodblock print !!  I'll tell you about styles of Hanga and 3 Japanese famous hanga artists.

    The Japanese Woodblock Print is an art form, which highlights flowing, curved outlines, simplistic forms as well as the detailing of flat areas containing color.  This form of art has not only existed for a long time in Asian history, but it has also deeply impacted artists in both Europe and North America throughout the 19^th century.

Styles

Shin-Hanga

   Shin hanga literally means "New Prints". It was an art movement for a new style of Japanese prints from about 1910 until ca. 1960. Shin hanga took the art of ukiyo-e to a new renaissance.

   Shin hanga movement integrated Western elements without giving up the old values of Japanese traditional woodblock prints. Instead of blindly imitating Western art styles, the new movement concentrated on traditional subjects like landscapes, beautiful women and actor portraits. Inspired by European Impressionism the artists introduced the effects of light and the expression of individual moods. The result was a technically superb and compelling new style of Japanese prints.

"Before mirror"  by Shinsui Ito

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.Sosaku-Hanga

  Sosaku hanga literally means "Creative prints". Sosaku hanga art movement in early 20th century Japan, during the Taishō and Shōwa periods advocated the principles of “self-drawn”, self-carved” and “self-printed”, according to which the artist, with the desire of expressing the self, is the sole creator of art. As opposed to the shin hanga movement that maintained the traditional ukiyo-e collaborative system where the artist, carver, printer, and publisher engaged in division of labor, creative print artists distinguished themselves as artists creating art for art’s sake.

"Sunny Path"  by Okiie Hashimoto

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Japanese famous hanga artists

    Katsushika Hokusai (1760-1849)

He was a Japanese artist, ukiyo-e painter and printmaker of the Edo period.In his time he was Japan's leading expert on Chinese painting. He was born in Edo (now Tokyo).

Hokusai entered the studio of his countryman Katsukawa Shunsho in 1775 and there learned the new, popular technique of woodcut printmaking. Between 1796 and 1802, he produced a vast number of book illustrations and color prints, perhaps as many as 30,000, that drew their inspiration from the traditions, legends, and lives of the Japanese people. Hokusai is best-known as author of the woodblock print series Thirty-six Views of Mount Fuji, (c. 1831), which includes the iconic and internationally-recognized print, The Great Wave off Kanagawa (created during the 1820s).

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"The Great Wave Off Kanagawa"

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  Sharaku (1770 - 1825?)

  He is widely considered to be one of the great masters of the Japanese woodblock print and one of art history’s most fascinating figures. Appearing on the Japanese art scene in the spring of 1794, he disappeared just as suddenly in early 1795 after creating nearly 150 prints of Kabuki actors.

The expressions of the actors are extremely vigorous and exaggerated - close to caricatures. The Sharaku prints seem like a snap-shot catching the character, the mood and momentary emotions of the actor. Sharaku’s work was not popular among his contemporaries, and he was fully recognized by the Japanese only after his work became highly regarded in the Western world.

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"Otani Oniji"                                                                  

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    Kitagawa Utamaro (1753-1806)

He was a Japanese printmaker and painter, and is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.

  His work reached Europe in the mid 19th century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views, with an emphasis on light and shade.

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    "Bijinga"

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Reference

Styles :

http://spectacle.berkeley.edu/~fiorillo/texts/shinhangatexts/shinhanga_intro.html 

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

Japanese famous hanga artists :

http://www.ibiblio.org/wm/paint/auth/hokusai/

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

http://www.rijksmuseum.nl/aria/aria_artists/00018437?lang=en

posted by Tsukasa Takahashi

Dyeing

Dyeing -“Somemono”

To Wrap the Human Form

The elaborate and opulent designs and patterns and colors of Japanese textiles are what have made them world famous. Traditional Japanese textile surface design is quite unique and immediately recognizable. This is due in some part to the two-dimensional nature of the kimono and how Japanese design proclivities for such a garment wrapped and embellished the human body. Even a brief glance at historical and contemporary kimono reveals that the various techniques of dyeing reached great heights of complexity and flexibility in Japan.

Resist and Resist and Resist

Japan's dyeing techniques center on two basic types of resist dyeing--paste resist (which includes stencil  dyeing), and shaped resist (shibori). A resist is just what the word implies, a substance or process that stops dye from dyeing the fabric in certain places. (Wax resist was well developed in the 8th century, but had died out by the 10th and was revived in modern times.) Paste resist may be divided into freehand resist applied by a squeeze cone (Japanese: tsutsugaki) and stencil dyeing (katazome). The former is used most often in the technique known as yuzen, which usually incorporates other methods of embellishment, and in indigo folk textiles, while the latter is ubiquitous. 

Shibori

  "Shibori" is often translated "as tie-dye," but this easy label is far too limited. Shibori is a galaxy of resist techniques, all involving shaping the fabric in different ways then securing or binding it tightly so that dye does not affect the cloth where it is secured. The variety of techniques is truly astounding, varying from the familiar tie-dye to a wide range of stitched-and-bound techniques to winding and binding cloth to cores of different materials and sizes to folding and clamping between boards and the exotic and wonderful tub-stuffing resist. Though shibori is practiced in many other parts of the world, including techniques not found in Japan, and has historical importance, no single region has as many techniques as Japan. The serendipitous accidental effects that happen with shibori are part of the technique's charm and are particularly dramatic with cotton and indigo. 

Squeeze Cones

A paper cone stiffened and waterproofed with persimmon tannin is used to squeeze out rice paste onto a textile surface, delineating color areas and resisting other areas. The designs are entirely freehand, and the technical flexibility and freedom of expression are limited only by the craftsperson's own creativity. Indigo folk textiles such as quilt covers, hangings, and split curtains (noren), display complex, polychrome designs of felicitous motifs made with this technique.

Stencils

Japanese textile-dyeing stencils themselves are works of art and are collected. Their making and cutting is an independent craft, and stencil cutters have been designated "Living National Treasures" by the government. Simply, three sheets of the finest grade of handmade mulberry paper are coated and glued together with persimmon tannin, smoked for durability, aged, and then the designs are cut. Even the cutting tools are wonders of craftsmanship, and watching the cutting is like experiencing a form of music.

Rice-paste resist is applied through the stencils, which are removed, the cloth is then dyed, and the process is repeated as many times as desired. Removing the paste is done simply by washing (wax resist is much harder to remove). Amazingly delicate, minute patterns (komon) as well as bold design are both possible with stencils. The Okinawan bingata dyeing displays a complex use of stencils.

Yuzen

The name of this technique appears often in art books, but few adequate descriptions are found in English. One reason is because it is so complex; basically yuzen is a mixture of freehand paste resist and painting, and it also may include stencil and shibori work. The decorative flexibility possible with this combination of techniques is unsurpassed. Design motifs are first outlined in paste resist, and then the dyes are applied in such a way as to give subtle gradation of tone. Both delicacy and extravagance are characteristic of yuzen, and traditional motifs and decorative concepts are most common. Embroidery and gold leaf application often finish a yuzen composition. 

This information was found by here.

Posted by Miho Katagiri

japanese dolls

I shall tell you about "Japanese dolls"!! there are various traditional dolls in Japan. I'd like to introduce some of them.    

★Hina Ningyos★

  Hina ningyos are ceremonial dolls. They are closely associated with Girl’s Day Festival or Hinamatsuri which is still celebrated on the third day of  March(Dolls Festival)

Hina ningyo, the most popular variety in Japanese  doll culture   has been described as the most idealistic and romantic of all Japanese dolls by  Jill and David Gribbin in their book "Japanese Antique Dolls". They originated in the 17^th century when Shogun Iemitsu of the Tokugawa Shogunate  sent a set of dolls to his seven year old niece Princess Okiko in 1629. The traditional Hina set comprised of a royal pair called “dairibina” or “Hina” which was accompanied by offering trays as well as the inu-bako (dog- boxes).

But during the Tokugawa Period (1603-1867) the Hina display achieved much sophistication with 15 or more core personages arranged on a tiered stand (Hina dai) covered in red felted material.

★The basic Hina Ningyous consists of 7 parts. ★

• First platform is Emperor and Empress.   
• Second platform is sannin kanjyo.
• Third platform is gonin bayashi.
• Fouth platform is two zuishin.
• Fifth platform is three shicho.
• Other platform is ministure furniture, tools, carrisges,etc.

These principal figures is called the “dairi bina” (  represented by royalty, shogun and even daimyo or feudal lords), sanin kanjo (three ladies in waiting), two zuishin ( i.e. Minister on the Right or Udaijin and the Minister on the Left  or Sadaijin), gonin bayashi (five musicians) and three shicho (footmen). A large array of accessories, furniture, sweet cakes etc.  were also included in the display.The principal forms or types of dairibina include Tachibina, Kaneibina, Kyohobina, Kokinbina,Meijibina etc. which were created during various periods in Japanese history e.g. Kyohobina (1716-1735), Kokinbina (1764-1867) etc.

Hina Goten or doll palaces also found their way into many Japanese homes as part of Hina matsuri.Hina ningyos are often passed  on from mothers to daughters as part of the family heirloom.

★Ichimatsu★

In Japan, Ichimatsu ningyo also known as the "Friendship Doll" they usually celebrate the festival during the month of March for childrens. They were named after Sanogawa Ichimatsu, a Kabuki actor who played female roles in the Edo Period. He became an idol especially among women and as such when ningyos resembling his face were made for sale, there was a demand for such ningyos. Ichimatsu ningyos were made from  sawdust moulds with movable arms and legs.  Mitsuore or triple jointed dolls are very rare among Ichimatsu ningyos.

 

Most of the Ichimatsu ningyos were girls and their sizes varied greatly. Large ones were as tall as 30 ins while miniature ones were only 0.5 ins.

These dolls were also used as an accompaniment to the hina ninyos which were displayed on Girls Day Festival. Many Ichimatsu ningyos were also sold naked. Mothers made clothes for these ningyos in the presence of their daughters who would also learn to dress these ningyos. Ichimatsu ningyos also have seasonal clothing and accessories.    

      

This information is found from here.

http://www17.plala.or.jp/srjad/HINA1(revised).htm    http://soiga.com/npo/yamak/log/eid116.html  http://www17.plala.or.jp/srjad/ichimatsu%20(revised).htm  http://www.trocadero.com/stores/mixofasia/items/718173/item718173.   http://www.b-zenjapan.com/03/bzj04.phtml?shop_id=28&goods_id=11.

posted by Ryoko Higuchi

Japanese Photograh

Japanese Photograph

In Japan, there are beautiful seasons. I introduce Jaoanese photo and original photographers of Japan.

These photos are Mt. Fuji.Mt. Fuji is Japanese symbol.

  If you want to admire the Japanese photograph, you should go to Tokyo Metropolitan Museum of Photography.

  Japanese  Famous Photograher

Yonosuke Natori(1910-1962)

In 1910, Hewas born as the third son. His father was the businessman and his mother was a daughter of Mitsui interest chief clerk Eiji Asabuki. He went to Keio University and go over to Germany at 18 years old.
He was influenced by design thought of Bauhaus(it was school of art and building) and pursue the graphic arts as an editor afterwards.

He went back to Japan in 1933 and establish "Nihon Kobo". Next year "NIPPON" foundation of a periodical.
He performed publishing in wartime in China.

It was approached with the editing of "Iwanami Shashin Bunko" after the war by Isamu Kobayashi of Iwanami Shoten and acted as the chief editor.

Koshi Matsumoto(1961-)

Koshi Matumoto was from the Photograph department of Osaka University of Arts.

He went to France when he was 24 years old.

He became a member of Japan Professional Photographers Society. The individual expression gives many people impression. It is playing an active part in the medium of an advertising photograph, an edit photograph, and other. His best works are "Nemuranai Toshi", "Keihin Ensen", "KANSAI" and so on.

 

Japanese original photographers

"Camera Kozo"

Japanese The camerakozos are originally words to stand for a young person taking pictures in Japan. They also are called "Cameko".

They photograph the woman such as race queen or the event companion not event and race itself in the meeting places such as a mortor show or the car race. They do not spare money in high-quality cameras for a subject.

Akihabara in Japan is known as a habitat of the otaku. Because the event of the idol is held frequently here. In addition, it is a perfect place for the camerakozo because there are a lot of electric shops in Akihabara.

For companions to be idols, camerakozo are thankful perosn if they become a fan. The adnissions to the ivents that camerakozo pay are grateful for the promoter.

But there are any troublesome camerakozo. The acts taking photographs persistently and talking to companions are interfered with duties. Because there are a person performing an act to be able to be called such a crime, the image for the whole camerakozo are turned worse.

Reference

http://photoguide.jp/pix/index.php?cat=148&lang=japanese

http://www.flickr.com/

http://www.photojpn.org/

Posted By Shiho Kuwahara

ink painting

ink painting

Throughout Japanese ink paintings are the elements of philosphy, literature, and religion,specifically the concept of Zen. Zen which is meditation or contemplation, is also the name of the religious buddhist sect of Japan. It teaches that thetrue nature of one's mind can only be achieved through a higher state of thinking bu meditating. Japanese ink painting is art that truely express the inner emotions and interests of the Japanese people. The achievement of Nirvana,the place of inner truth through meditation and nature are the two most popular subjects of iink paintings.

 

Famous painters

 

Josetsu(unidentified)

He was a precursor of ink paint  in Muromachi period. He was respected as a master of ink painter from Sessu who would becom an ambassador of Japanese ink paint in later.

This picture "Hyonenzu" is most popular in his works.  The poetry and the sentence that imaged this picture are kept in an inscription on the picture. This picture has hold Taizoin in Kyoto. It was a national treasure.

Josetsu was  trusted very much by Yoshimochi Ashikaga who was shogun in Muromachi period, so he was often asked for work.

   

Sesshu (1420~1506)

The pictures he painted were appointed to the national treasures in Japan.

He was the vest popular ink painter in Japan.

The right picture is “Shuutou Sannsuiga”. It was the national treasure. Everyone know that picture if you are Japanese. It was kept in Tokyo National Museum.

There were pictures appointed to the important cultural properties.

 

Shubun(unidentified)

He was active in ink painting in 1423~1462. He was a official painter of shogunate. He was also a priest in Shokokuji.

He joind the mission to Korea in 1423 and he paint  Sansuiga there. Sansuiga is painted about scene and nature.  The most popular paint in his works was "Suishokurankouzu". It was a national treasure and was hold in Nara National Museum. He influenced Sesshu.

   

Motonobu Kano(1476~1559)

He achieved a synthesis of kanga (ink painting in the Chinese style) with the lively colours of yamato-e (the Japanese style). Under him the Kano School established itself, artistically as well as socially, and became a virtual academy. His most famous works, originally in various sanctuaries and monasteries in Kyoto, now preserved in its National Museum, show the decorative treatment of nature, which became standard for the Kano School.

 

Tohaku Hasegawa(1539~1610)

He was a Japanese painter and founder of the Hasegawa school of Japanese-style painting during the Azuchi-Momoyama period of Japanese history. He later shifted to decorative standing screen, sliding door, wall, and ceiling paintings, rivaling Kano Eitoku and competing for the favor and patronage of Oda Nobunaga and Toyotomi Hideyoshi. After Eitoku's death in 1590, Tohaku stood alone as the greatest living master of his time. Becoming an official painter for Hideyoshi, producing some of his greatest and most elegant paintings. This is "Shorinzu". It is hold in Tokyo National Museum.  It is a national treasure.

   

           

 

http://www.onmarkproductions.com/html/jurojin.shtml

http://www.learningcalendar.com/this_day_in_history/days_template.cfm?history_id=52251

posted by Shiho Kuwahara

Japanese tea celemony

The Japanese tea celemony

The Japanese tea ceremony is a ritualized way of preparing and drinking tea which was perfected in the latter half of the 18th century by Sen-no-Rikyu. It was inspired by Zen and continues to reflect the Zen ideals of aestheticism, peace, harmony and discipline. Today it is still a popular pastime, and for many it is a welcome respite from the hustle and bustle of busy modern-day life.

During the Kamakura period, many Japanese priests and scholars traveled to China to study

the  high level of culture which typified the Southern Sung Dynasty (1126-1278). Among these priests was Eisai, who after returning to Japan in 1191, established the Zensect of Buddhism and brought with him tea seeds and the custom of ritualistic tea preparation. In 1214, he presented his book, Kissa Yojoki (The Health benefits of Drinking Tea) to the Shogun Minamoto Sanetomo in which he states, "Tea is a medicine which cures diseases and promotes long life." Eisai is also credited with introducing the method of making tea by drying and grinding the young leaves into a fine powder. This type of tea, called matcha is the tea used in the tea ceremony today.

When the Kamakura shogunate fell in 1333, civil wars began in which northern and southern clans fought for control of the government. A new class of nobles emerged whose extravagant tastes turned the tea ceremony into a pretentious affair which was executed in grand banquet style. Great tea parties were held in which guests were invited to sample a wide variety of teas and guess their origin.

Later under the Ashikaga clan of the Muromachi period (1573-1603), Zen Buddhism and the tea ceremony flourished. The Zen priest Murata Shukou (1422-1502), called the father of the tea ceremony, is credited with uniting tea and spirituality and introducing it to the common people. Shukou, believing that a small intimate environment was more consistent with the Zen spirit of the tea ceremony, began designing tea rooms (sukiya) which were 4 ½ tatami mats in size (app. 9 square yards) and accommodated up to five people. Also, unlike earlier tea masters, Shukou began the custom of serving tea to guests himself. He emphasized the spiritual aspect of the tea ceremony stressing three basic rules. The first states that purity of mind should be observed at all times; the second that consideration and self-control between host and guests should always be maintained and the third, that persons of lower social status should be given the same respect as those of higher social status.

While Shukou is credited with being the father of the tea ceremony, Sen-no-Rikyu (1522-1591) is credited with perfecting "the way of tea" or shado. Not only did he become Japan's best known tea master but he was also accomplished in the arts of flower arrangement and poetry writing-both disciplines complimentary to the art of tea. Traditionally, the utensils used in the tea ceremony and the artwork decorating the tea room walls were expensive Chinese pieces. It was through the vision of Sen-no-Rikyu that simple utensils were not only accepted as appropriate but embraced. His own tea-room was a simply adorned thatched hut where he invited people of every social station. Sen-no-Rikyu is responsible for synthesizing aspects of daily life with the highest spiritual ideals and wrote prolifically on the subject.

This information was found here.

   
Nowadays, the tea ceremony is a relatively popular kind of hobby. Many Japanese who are interested in their own culture, take tea ceremony lessons with a teacher. Tea ceremonies are held in traditional Japanese rooms in cultural community centres or private houses.

The ceremony itself consists of many rituals that have to be learned by heart. Almost each hand movement is prescribed. Basically, the tea is first prepared by the host, and then drunken by the guests. The tea is bitter matcha green tea made of powdered tea leaves.

Posted by Miho Katagiri

Ceramic

Japanese Ceramics

As a matter of fact the Japanese ceramics introduced affluent expertise and techniques from China and Korea thankfully. However, by adoption of original traditions and European glazes, the studious potters have refined it to the level where none of the competitors could excel nowadays. The wares began to be exported as early as the seventeenth century when China was in turmoil by wars and Hollander traders found good alternative chinaware at Arita. It was, however, at the Second Exposition in London in 1862 that the Japanese ceramics was officially introduced to the world for the first time. Entering the Meiji era the new Meiji government enthusiasticly promoted the participation in the Vienna Expo in 1873 and received unexpectively favorable reception for the Japanese ceramics, so that the wares began to be widely exported to the world. It might be considered to be a breach for the industrialization in Japan. While Japan is highly industrialized and westernized today, the Japanese ceramics well preserves the nobleness of a dynasty for it is trying to meet the demands from centuries old traditions such as "Sado"(tea ceremony), "Kado"(flower arrangement) and "Kaiseki"(exclusive Japanese culinary art).

　

This infomation is from

http://www.lacma.org/japaneseart/ceramics/porcelain.htm

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

http://www.asia-art.net/jap_ceramic.html

Posted by Yutaka Kobayashi

Calligraphy

Calligraphy

Japanese calligraphy, shodou, is a highly developed art form using brush and black ink to write Japanese and Chinese characters. While similar to the decorative calligraphy of the West, shodou is more deeply rooted as a fine art form, in part because every character has meaning in and of itself and in part because of the great diversity of character shapes. Shodou is increasingly admired by Japanese and foreigners alike.

The kakizome held on January 2 marks the first writing of the new year and is still regularly performed today. Facing an auspicious direction, participants write out felicitous words and phrases. Kakizome competitions are annual elementary and junior high school events.

History

Shodou traces its origins to Chine, where the master calligrapher Wang Xizhi is traditionally credited as the father of the art. It was introduced into Japan in the 8th cenruty. The early Heian contemporaries Kuukai,Emperor Saga, and courtier Tachibana no Hayanari are respectfully referred to as the Sanpisu or Three Great Brushes, and their calligraphy is considered representative of Chinese calligraphy's classic beauty. In the 10th and 11th centuryries these tree were succeeded by the Sanseki (the Three Traces): Ono no Toufuu, Fujiwara no Sukemasa, and Fujiwara no Yukinari. These three masters developed the first uniquely Japanese calligraphy style, known as wayou (also joudaiyou). Fujiwara no Yukinari's style led to the formation of the Sesonji school and Ono no Toufuu served as a model for the Shouren'in school and Ono no Toufuu served as a model for the Shouren'in school which later evolved in the Oie style of calligraphy.The Oie style was used for official documents in the Edo period and was the predominant style taught in the terakoya schools of that period.

Just as calligraphy has changed overthe ages, the revived interest in calligraphy today is characterized by its broad latitude for creativity and the increasing number of women master.

Calligraphy Styles

There are three basic style: kaisho, gyousho, and sousho. Kana might be added as a fouth style. Kaisho, a block style with little movement, is also called shinsho. Gyousho is an intermediate style neither as stiff as kaisho nor as flowing as sousho. Sousho is a highly cursive style written with swift strokes. Its freedom and aesthetic appeal has made sousho very popular with calligraphy masters.

Kana originated in the more extreme forms of sousho. Because it was the primary script for Heian somen, kana was at one time referred to as onnade (women's writing). Kana developed with the growing popularity of waka poetry. Compared to the boldness of Chinese characters kana is elegant and refined. Japanese calligraphy is judged not only by its surface beauty and meaning but also by the calligrapher's character.

This infomation is from

http://www.takase.com/JapaneseCalligraphy/Traditional.htm

http://www.japanese-name-translation.com/site/about_japanese_calligraphy.html

Posted by Yutaka Kobayashi

emakimono

  emakimono-picture scroll

Also called emakimono , or less commonly, ekotoba. Painting format of several genres where a long painting or series of paintings illustrates a narrative; done on paper or silk, wound into a scroll, or around a roller of ivory or wood. Printed versions are also known. The scroll is traditionally unrolled one section at a time in the hands of a single viewer, usually while laid on a low table, and thus is called a handscroll in distinction to the hanging scroll format kakejiku. Typically a text requires a set of several handscrolls. The text might be a romance, a tale, biography, or historical and/or religious account. A passage of text precedes each illustration, with a collophon passage often at the end of the set. In some works the text was bound in a separate scroll or booklet from the paintings. Many emaki average 10m in lenghth and around 25cms in width, but there are no fixed dimensions.

The viewer, unrolling with the left hand while re-rolling with the right hand to expose about 30cms (or a comfortable arm span) at a time, looks at the paintings from right to left in a temporal and spacial progression. The intimacy of the experience and constraints of the format influenced the development of compositional devices and stylistic technique of yamato-e .
The term emaki does not apply to non-narrative painting done in the handscroll format, such as ink landscape painting. This is called by the Chinese derived term for illustrated handscrolls. In Japan, even Chinese narrative handscroll paintings are called gakan, leaving the term emaki exclusively for Japanese examples, most often in the yamato-e tradition.

The handscroll format, originally used for written texts such as sutras, was introduced into Japan from  the Asian continent probably by the 8c., the earliest extant emaki in Japan are several versions/fragments of the "Illustrated Sutra of Past and Present Cause and Effect" KAKO ENZAI INGAKYOU ( 8-9c) a didactic text about the life of the historical Buddha, Sakyamuni (Jp: Shaka ). The text in clerical Chinese script is written along the lower half while illustrations run without interuption in the upper register. This is believed to have been copied from Chinese prototypes and this style was afterwards rarely employed by Japanese artists. By the 9-10c, Japanese used the emaki format to create handscrolls of native tales and romances. The most outstanding Heian period example is the "Illustrated Handscroll of the Tale of Genji" Genji monogatari emaki (Tokugawa Reimeikai Foundation, Gotou Museum and Tokyo National Museum) from the first half of the 12c (ca. 1230) which exists in fragmentary form today. The lyrical or emotional highpoints in the novel were chosen for illustration in tsukuri-e techniques. (see genji-e)

The late 12c narrative handscroll of the "Legends of Mt. Shigi" Shigisan engi emaki; Chougosonshiji ,     Nara, illustrates miraculous tales associated with the priest Myouren and the temple on Mt. Shigi. The painting style of this work stresses movement and action with a clear awareness and skillful manipulation of the possibilities of movement inherent in the format.
In the 13 and 14c the economic and political conditions allowed the emaki repertoire to expand. Popular themes included tales of battles gunki monogatari biographies of high priests kousouden-e and founding stories of shrines and temples shaji engi-e, the latter as a result of popular religions which found this format useful for didactic purposes. The popularity of emaki waned only shortly after its peak in the Kamakura period when hanging scrolls or screen and wall paintings shouheiga took precedence over narrative painting. Nevertheless, this narrative format was still part of the artists' repertory even in the Muromachi period (see otogi zoushi ). At this time a new type of more intimate emaki of narrower width called "small pictures" ko-e was painted, often by amateurs.
In the 15c emaki received new impetus from the creative talents of Tosa Mitsunobu (1434-1525) and continued to be painted, by Tosaha artists up into the 19c.

Until the mid Edo period paintings known today as emaki were called simply e. Futhermore, in the Edo period as the term emaki came into use, the term ekotoba , which derived from kotobagaki, and originally meant "words" or text in an illustrated narrative scroll (or a separate handscroll of such a text), came to be used interchangably with emaki. The titles in Japanese of several illustrated handscrolls, such as "The Courtier Ban Dainagon"Ban Dainagon ekotoba still contain the suffix ekotoba, although careful scholars now try to avoid such usage.

This information was found here.

Posted by Miho Katagiri

Flower arrangement

WHAT IS IKEBANA?

While flower arrangement for many people in the West consists of symmetrically arranging flowering plants in a vase, Japanese Ikebana (literally 'flowers kept alive') is a lot more complex. There are many schools, of which the most popular are Ikenobo, Sogetsu and Ohara. There are also different styles depending on the school and the plants and vase used.

Ikenobo is the oldest school of ikebana, founded by Buddhist priest Ikenobo Senkei in the 15th century. He is thought to have created the rikka (standing flowers) style. This style was developed as a Buddhist expression of the beauty of nature, with seven branches representing hills, waterfalls, valleys and so on arranged in a formalised way. The present 45th-generation head of the school is Ikenobo Sen'ei. The school is based in the Rokkakudo temple in Kyoto, believed to have been started by Prince Shotoku. Among the priests and aristocrats, this style became more and more formalised until, in the late 17th century, the growing merchant class developed a simpler style, called seika or shoka. Shoka uses only three main branches, known as ten (heaven), chi (earth) and jin (man) and is designed to show the beauty of the plant itself. Another old form of ikebana is nageire, used in the tea ceremony.

The first of the modern schools was formed when Ohara Unshin broke from the Ikenobo school in the late 19th century. The Ohara school generally uses moribana (piled-up flowers) in a shallow, flat container. The school was started at a time when Western culture was heavily influential in Japan and the moribana style made good use of Western plants. But it was still a formal style. Influence from the artistic movements of the early 20th century led to the development of jiyuka (free-style) arrangement. Despite all the changes, ikebana was still only for the upper class.

In the 1930's and then more so in the postwar period, interest in ikebana became much more widespread. Ikebana schools opened which attracted people of all social classes. During the occupation, many wives of US servicemen took up the art and later helped it spread abroad. Led by Teshigahara Sofu, founder in 1927 of the Sogetsu school, zen-eibana or avant-garde ikebana introduced all kinds of new materials, such as plastic, plaster and steel.

Today, there are about 3,000 ikebana schools in Japan and thousands more around the world. The Ikenobo school alone has some 60,000 teachers worldwide. Ikebana is practised by about 15 million people in Japan, mostly young women.

This information is from

http://www.japan-zone.com/culture/ikebana.shtml

http://shohfu.com/contentsj/E2.htm

Posted by Yutaka Kobayashi