May this season bring
lots of joy and love upon the family.
May this season bring
lots of joy and love upon the family.
“The groove of Japanese court music draws the shape of the figure eight “8”, while Jazz groove draws the shape of oval. Storing a sound and put it down.”
Yukihiro ATSUMI, a Japanese guitarist said.
Each type of music has a specific formula, kata (型）in Japanese. ATSUMI has moved his base to Kyoto from Tokyo three years ago, in order to learn and analyze such formula of Japanese court music and he there systemized next generation of Japanese music = “Hogaku 2.0” by hoping that it will be a good entry point for the classics.
The new method of Japanese music generated from “Hogaku 2.0″ is used in his recently released album called “Japanese Guitar Song Book”. The album includes cover songs from the period of Nara, Edo, Meiji, Showa, Heisei and newly composed by Atsumi himself, played only with guitar.
Covered songs collected in the album sound new and original, but nostalgic feeling is attached to it.
How do you find it?
If you are interested in the album, you can download the album from this link.
His Japanese guitar song book playlist is available on Youtube.
THE ASAHI SHIMBUNOctober 31, 2016 at 16:40 JST
Via Asahi newspaper
When I saw the painting I felt like there is another world expanding behind the yellow light and I could go deeper into it.
It was at Jun Fukukawa‘s solo exhibition held at Void+ in Aoyama from Oct 7 to 21. In the gallery, he exhibited only a few selected pieces that portrayed his inspiration from the poem of FUJIWARA no Teika. The tile of the exhibition was named out of the poem.
“There are no flowers or autumn leaves around, but heart moves with sadness when viewing small cottage bathed in autumn sunset”
The poem connotes that even after the beauty falls, there still some kind of beauty exists within the empty loneliness.
Fukukawa interpreted that this poem depicted ‘Shikisokuzeku (色即是空)’, which is a concept of Buddhism meaning that very form in reality is empty. Any forms or visible things won’t stay as they are and changing the form in every second, therefore, the situation that looks empty at one time is not really so. On the contrary, what looks empty is energy that is continuously creating those forms.
Fukukawa was interested in Teika’s approach in his poem to capture this ’emptiness=eternal truth’ existing in the dualism of two completely different sceneries aesthetic and loneliness. He purposed to capture the essence and visualize it in his picture by using a composition of small panels.
198cm x 198 cm sized picture is composed by multiple panels painted firstly with acrylic paint and then repainted with a pastel crayon. Although each panel has a different tone and nuance of yellow colour, after combined, it casted one integrated warm glow. Its calm appearance made me feel embraced and relieved.
If I am asked what wabi-sabi means to me, I would answer it is like a shadow in mind that one cannot get rid of (This is only my personal interpretation so that please do not take as a general definition). If the shadow is something what Fukukawa portrayed in his picture, I think it would be a great consolation.
About Jun Fukukawa:
Painter. After graduated from Seijo University, he moved to France in 1991. He made his debut at salon saga découverte 94 at Paris art fair fiac, represented by galarie Alain Veinstein. After 7 years stay in Paris, he returned to Japan. Since then, he has continued his distinguished expression as a painter. He is also active as a saxophone player, mainly collaborating with upcoming Norwegian musicians of improvised music.
If you want to know more about his work, please visit Jun Fukukawa
It is cherry blossom season in Tokyo area. People are craze about the pinky flowers.
Enjoy one minute trip in Bird’s eye view over cherry blossoms in Tokyo.
For celebrating festivities or a moment of wishing good fortune and be superstitious, we have a tradition in Japan to use crafts and wear things like Kimono, which certain patterns so called Kisshō-Monyō (吉祥文様) – auspicious omens motives are applied. Beginning of new year is one of such moments.
There are several motives inspired by living creatures, such as fishes, animals, birds, plants, flowers and fruits, or tools used in a festivities. Living creatures such as dragon, phenix, crane or pine, bamboo, plum and more, often symbolize long lives, good harvest, blessing of rains, eternal love. These pattens are used as a motif of porcelains, lacquer wears or clothes (becomes kimono and obi).
It is unfortunate that the custom has been disappearing and it is not at least something we proactively enjoy in our lives. We only see it in the formalized traditional events without paying too much attentions.
There are many kinds of particular patterns used for celebrating festivities but I would like to pick up a pattern called Hōrai-mon (蓬莱文) this time.
The concept of Hōraisan(蓬莱山) came from China. From 2500 years ago, people believed that there is a utopia island in the eastern see of China. Hōrai mountain is on the island where a legendary wizard lives who is no aging nor death. Hōrai mountain was also believed as high so to extend to the heaven. At the bottom of the mountain, there is a river where dragons live. On the top of the mountain, phenix that can climb to the heaven lives by eating peaches and peers.
Interestingly, at the era of the First Emperor of the Qin dynasty (秦始皇帝, BC259~), Hōraisan – a utopia island was believed to be located where Japan is. The record said that the First Emperor of the Qin sent people to the island in far east to investigate the Utopia and there are more than 10 places that the Qin’s messengers visited in Japan from the north to the south.
Hōraisan that symbolize immortality evolved to be one of auspicious omens motives. Today we can find Hōraisan pattern in crafts, architectures, garden, paintings and fairly tales.
Hōraisan-mon consists pine trees, cranes, turtles and plum blossoms – those are all considered as auspicious. Hōrai mountain is built on the carapace of a turtle. it is therefore, even if one tries to capture the Utopia, it runs away quickly so that one can never be able to acquire it.
In the centre pond of Echigo-Tsumari Satoyama Museum of Contemporary Art / KINARE, a huge mountain was exhibited till September 27, 2015.
This mountain is the artwork, Penglai / Hōrai, by Cai Guo-Qiang (蔡國強), an internationally acclaimed Chinese comtemporary artist. You may know him as a Creative director for the opening and closing ceremony of Beijing Olympics in 2008.
The theme of this dynamic installation is, as you can guess from the title of the artwork – Penglai/Hōrai, the legendary utopia island.
It is only a month from now to unveil the impressive solo exhibition “Cai Guo-Qiang : Penglai/Horai”.
Cali expressed humour and ironies in this installation by responding the recent source of tension around ‘islands’ among countries in East Asia. From the front, the island is covered by rich greenery trees and thousands of straw-made birds and objects are laid around the island. But going around the back, one realizes that the island is just like a standing signboard.
People dream of a Utopia. It is the same now as of old. But if we are tenacious in our pursuit of capturing it, we will only get lost. Remember! a Utopia is on the carapace of a turtle! It just agilely escape and you may lose even a illusion of Utopia completely from your mind.
New wave in the Bonsai world for Bonsai lovers in the world.
Interesting article to read by Christopher Jobson.
Air Bonsai project is supported by Kickstar, cloud funding site in the US until the end of February.
About Hoshinchu Air Bonsai Garden, click here.