Many artisans of traditional Japanese crafts are facing a growing problem: difficulty attracting apprentices to carry on the work in addition to decreasing sales as younger populations eschew traditional items for cheaper, trendier alternatives.
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Bruce Osborn’s Oyako (parent and child) series of portraits led to the establishment of an annual ‘Oyako Day’ (Oyako-no-hi), celebrated on the fourth Sunday of July in Japan.
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In apparent contrast to ongoing governmental campaigns to internationalize its citizenry and promote futuristic technologies, Japan’s primary education has long endeavored to prepare students to face present-day challenges by imbuing them with mores and practices from a century or more ago.
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The Kumano region was long considered to be one of the most sacred regions in Japan, its three shrines attracting pilgrims so numerous that they were said to resemble a line of ants…
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Although most people think of the ‘traditional’ Japanese cuisine as having its roots in the kaiseki of the late Muromachi and early Edo (1603-1868) periods, Japan and its way of eating are far older. To find out how and why the Japanese came to ‘eat with their eyes,’ it is necessary to cross a bridge of dreams.
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The practice of garden-making in Japan has a long history and over the last 1500 years, there have been many changes in perceptions of what constitutes a garden.
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‘For me, the application of the concepts of budo is the same as we play in jazz music. Musashi Miyamoto said, “Under a sword lifted high, there’s hell to make you tremble.” It’s basically the same principles when you play jazz music.’
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Through its rituals, Japanese society marks both historical time, that is, progressive irreversible time, and natural time, the cyclic eternal rhythm. Historical time was originally reckoned by counting the years from the enthronement of each emperor.
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David Kubiak presents a lively and engrossing romp through Japan’s history of imperial ascension, navigating the motley of plotting, deception, spiritualism, and debauchery that wrought the path to the Throne from the 14th to 20th centuries.
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The Japanese countryside is full of stone walls. They are not freestanding grey lines used for dividing property but rather buttresses that hold back the mountains and shape them into something that can be lived on and farmed.
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“I think all mature people know they have to live with some level of contradiction, especially in our current society. The question is: how do you use your own creativity and resourcefulness to provide for your needs without relying entirely on the cash economy?”
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Sisters Reylia and Johnna Slaby, interviewed for KJ95: Wellbeing, were tasked with creating a stunning cover in a collaborative work of photography and painting.
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“I worry somewhat that people in this country still think that by dropping those bombs we hastened the termination of the war and also saved a million lives of soldiers. I’m a little worried about that perception.”
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A look at the work of foreign artists inspired by Japan: Denis Guidone, Elaine Cooper, Alessandro Bellegarde, David Stanley Hewitt and Deborah Davidson.
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The English-speaking world had had to wait 35 years for the writings of the only trained Japanese scientific observer of the effects of atomic devastation.
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This March 11th, as in recent years, schools throughout the country honored lives lost and a region destroyed through special meals which acknowledge loss and endeavor to strengthen community. The meals are a unique ritual for students to explore insecurity and encourage empathy.
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Portland Japanese Garden’s Waza to Kokoro: Hands and Heart intensive training seminar to share with gardeners outside of Japan the skills, knowledge, techniques and philosophies that have resided mainly in the hands and hearts of Japanese gardeners for centuries.
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If one thinks of Japanese civilization as a great tree, the most brilliant blooms and succulent fruits adorned branches represented by the cities Nara and Kyoto. To fully appreciate those flowers and fruits one must follow the course of investigation right to the roots. These are firmly set in the soil of the inaka, approximately in English, ‘countryside.’
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“The physical form I assume now is but the fruit of what I’ve inherited from those who have existed before me. What, you might ask, has become of our ancestors’ ideas and emotions? Where do you suppose our creativity springs from? There’s no way that it springs forth from our finite and limited knowledge of life.”
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“A revolution of a sort must take place but I am not at all sure that will happen in Japan. Part of the problem in Japan is that in some ways it’s very comfortable. Japan needn’t really do anything and could go right on as it is and no one would notice.”
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We never talked about our own work in aesthetic terms. I never asked, and they never volunteered. We never talked about the “significance” of our work, or its place in society. There seemed to be no place for the pained self-consciousness that afflicts so many American potters and students.
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