INSIGHTS FROM ASIA
Kyoto Journal is an award-winning
quarterly English magazine founded in Kyoto, Japan,
presenting cultural and historical insights from
all of Asia since 1987.
- FICTION, POETRY & REVIEWS
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- IN TRANSLATION
- INSIGHTS FROM ASIA
- OUR KYOTO
A Cabin In The Pines: On Urban Suffering And Chinese Landscape Painting
When I moved to San Francisco, in my early twenties, I got my ass handed to me. Not only was I a newbie in the big bad city, I was also fresh from the woods, from a six-month stint tracking raptors as a US Forest Service biological science technician…
The Manchurian Bodhisattva
In 772 the Tang dynasty emperor Daizong decreed that, for the welfare of the empire, Manjusri should be worshipped in every Buddhist monastery in China. Each of the five peaks (or ‘terraces’) of Wutaishan became associated with a different manifestation of Manjusri; accounts of visionary encounters and apparitions abound.
An oni with a magical hammer comes to tempt her, dressed as a mortal man. He strikes his hammer once, and magnificent kimono appear from thin air, which she accepts with protest and delight.
Italian and Singaporean design duo Francesca Lanzavecchia and Hunn Wai on their latest collaboration, the challenges in taking advantage of new technologies, and the tools the next generation of designers need to navigate their ever-changing field.
Records of a Travel-worn Notebook
During his copious amount of travel, Rowe grew particularly interested in the storytellers he encountered, especially those who are able to embed us strongly in the soil of those places where their stories take root.
Kyoto in the Mid-sixties
Waiting in the snow at the Ryoan-ji bus stop on a Kyoto winter morning in 1964, I was interrupted by a woman who came out of a nearby house and, seeing me standing there, went back inside and returned with an overcoat which she helped me into. It was a three-quarter-length brown coat, and warm…That was my introduction to Kyoto.
Welded from Nature: The Botanical Creations of Shota Suzuki
“In my work, I try to pursue the balance between the beautiful energy and sensual intimacy that I feel from both nature and metals. I can’t explain my love of plant motifs, I just never grow tired of them…”
Andrews doesn’t paint radicals as innocent victims, however. He describes in great detail the violent, sometimes deadly infighting that tore apart the protest movement in the 1960s and 70s, and argues that this self-destructive behavior nudged the general population toward political apathy in the decades that followed.
The Museum of Forbidden Art
The museum’s obscurity, and Savitsky’s own lack of social standing or professional reputation in the art world, meant that no one in authority thought to look at what he was doing. Savitsky took the opportunity to quietly buy up the works of Russian painters who had been killed, sent to the gulags in Siberia, or otherwise fallen foul of the State.