Art Archives - Deep Kyoto

A Traditional Live Music Show at Ran Theatre Kyoto

September 13, 2017 By Michael Lambe

A couple of months ago Mewby and I were invited to attend a traditional live music show at “Ran Theater Kyoto”. During the show we were entertained by a large number of talented and enthusiastic musicians playing a variety of traditional instruments from all over the Japanese archipelago. I found the show highly enjoyable, but the audience was a little sparse when we went and it seemed a shame that these hard-working musicians didn’t have more people to see their performance. They definitely deserve to be seen by more people – so of course I want to recommend them on Deep Kyoto!

The show begins with a rousing and passionate performance from two taiko drummers.

After that different instruments from across Japan are introduced in turn and the music and culture they are a part of is explained by an English speaking guide.

Each instrument is given a chance to show its own merits before the musicians come together for ensemble performances.

You will probably recognize some of the classic tunes: predictably they play Sakura, and Shima-Uta but also the theme from Merry Christmas Mr Lawrence, “Zankoku no Tenshi no Teze” from Evangelion, and a sweet rendition of My Favorite Things on the koto and shinobue flute!

There are plenty of other regional tunes and songs I didn’t know though, some heart-rending ballads from Okinawa, minyo folk songs from Toyama and Hokkaido, and plenty of upbeat tunes and sing-along sessions too.

A sing-along session (often accompanied by the waving of hands in the air)

Be warned though that you might find yourself pulled up on stage too for a short taiko drumming lesson!

Ran Kyoto Japanese Music Theatre is performed on Mondays, Wednesdays, and Fridays in the theatre space of the theme restaurant Ninja Kyoto Restaurant & Labyrinth. This restaurant is very central being located a little north of Shijo in the little warren of streets between Shinkyogoku Shopping Street and Urateramachi Dori. Here is a MAP of the location.

Doors open for the first show at 18.00, and the show starts at 18.30. Doors open for the second show at 20.00 and the show starts at 20.30.

Tickets for the show are a bit pricey at 3,000 yen (plus tax) for advance tickets, and 3,500 yen (plus tax) on the door. And the show does not include any food or drink for which you will have to pay extra. However, it is a very good show, the musicians are super friendly, and you will certainly enjoy this introduction to Japanese traditional music. For more details and to make a booking check out the Ran Theatre official website here: https://www.rankyoto.com/

A Close Encounter with Butoh Dance at the Kyoto Butoh-kan

June 30, 2017 By Michael Lambe

Today we have a special guest post from Florentyna Leow on the world’s first theatre expressly devoted to regular Butoh performances.

Butoh is an avant-garde dance style originating in Japan. First developed by Kazuo Ono and Hijikata Tatsumi in the 1960s, one of the central features of Butoh is its very indefinability – it is difficult to attach a definition or set of ‘rules’ to the dance form. There are at once rules and no rules. It is characterized by its exploration of taboo topics, the absurd, and grotesqueness. At the same time, it’s often hard to agree on what Butoh is or isn’t. What is clear, however, is that its emergence irrevocably changed the world of dance from that point onwards.

Given the international acclaim that Butoh enjoys, the lack of a national Butoh theatre or spaces where one can experience Butoh performances, strikes one as odd. This what Art Complex seeks to rectify by establishing Kyoto Butoh-kan, a permanent space in central Kyoto hosting regular professional performances. Here, veteran Butoh dancer and former core member of Byakkosha, Ima Tenko, performs her routine ‘Hisoku’ weekly. The two women who make up Okaeri Shimai – translated roughly as the ‘Homeward Sisters’ or ‘Returning Sisters’ – provide musical accompaniment to her performance on the shamisen. The all-female cast here is somewhat unusual for Butoh, but appropriate as they carry on the long tradition of female performers in Kyoto.

What’s particularly interesting about the Kyoto Butoh-kan is the space itself. Performances take place in a late-Edo period ‘kura’ or earthenware storehouse. According to the staff, it is around two centuries old. Amazingly, though much of Kyoto was set on fire during the skirmish between the rebels and shogunate forces during the Hamaguri Rebellion of 1864, this particular storehouse escaped unscathed. Instead of being demolished, the storehouse has now been reimagined as a space where visitors can experience the magic of Butoh at close quarters.

Walking into the storeroom, one is greeted by the pentatonic melodies of shamisen. The space is slightly larger than the average shoebox apartment in Tokyo, with a perilously steep wooden staircase leading to the upper floor, where the shamisen musicians are stationed. The Butoh-kan only accommodates 8 audience members, though as a preview that day there were 11 of us seated there. It felt quite intimate huddling against the wall together, to say the least.

*Kyoto Butoh-kan – Photograph by Florentyna Leow*

It is precisely the intimacy of the space which makes the Butoh performance more powerful. Sitting in close proximity to Ima Tenko makes you feel as though you are a part of this performance – you are so close to the energy radiating from her movements that you feel yourself being drawn into the dance. It also makes the impact of her performance that much more visceral: to the initiate, Butoh is not conventionally beautiful or graceful, and the expressions and explorations of the human body by Ima can come across as slightly shocking or grotesque. (A note to the uninitiated: her performance doesn’t shy away from partial nudity, either.) The handmade plaster walls of this small space also seem to make the shamisen melodies resonate more richly than they would in a more conventional space.

Each session is around 50 minutes – just right for the intensity of the performance. Any longer and one might be overwhelmed or bored! I’ll be the first to say that I don’t have a deep understanding of Butoh. But I enjoyed the performance nonetheless, and especially the experience of Butoh in such a special space and atmosphere – watching a video of a Butoh dance just isn’t the same. If you’ve always been curious about Butoh, this is a perfect place to experience it.

Kyoto Butoh-kan is located just north of the intersection of Koromonotana Street and Sanjo Street at Nakagyo-ku, Kyoto 604-8202. Here is a MAP of the location. For more information on showtimes and ticket prices, please visit: http://www.butohkan.jp/

Florentyna Leow is a writer and photographer based in Kyoto who has written for outlets such as Lucky Peach, Roads & Kingdoms, and ZenVita. Her interests include food, doors and Thomassons. Her blog is updated at furochan.wordpress.com. She Instagrams regularly at @furochan_eats.

What is “Deep Kyoto”? ~ Some thoughts from Lonny Chick

September 25, 2015 By Michael Lambe

In recent months the Deep Kyoto Group on Facebook has really taken on a life of its own, with members sharing events, photos, info, opinions and even fun little quizzes! It really does feel like it has naturally grown into a vibrant community and a center of friendly discussion. One of our frequent contributors is Lonny Chick, who is perhaps better known on Twitter and Flickr as Rekishi no Tabi, and his photographs and posts on historical matters are always fascinating. A recent discussion about the kind of content we would like to see more of in our group, inspired Lonny to write a wonderful meditation on what “deep Kyoto” means to him personally. It was so beautifully written and so full of heartfelt love for this city that I thought it deserved a wider audience, and I am very glad to say he has given me permission to reproduce it here.

* * *

What is “Deep Kyoto”? What does it mean to you?

I don’t mean this in terms of the Facebook Group, which is a stellar community and I do truly enjoy the posts, but what is “deep Kyoto”?

I ask myself this question a lot, as Kyoto is a very special place that resonates deep in me. It is a destination that allows me to forget the burdens of work and daily life and all the associated stress that really sometimes drags me down both mentally and physically. It is in Kyoto that I can find an inner peace, refresh myself and find the resolve to re-don my samurai salaryman armor to fight in the workplace trenches another day.

So what then is my “Deep Kyoto”? I think the best way to answer that is with a list. In no particular order, here is a portion of that list.

A Quiet Sunday in Kyoto by Lonny Chick — A Quiet Sunday in Kyoto © Lonny Chick – Click to view original.

1. It’s the feeling of joy to see the owners and senior staff of one of my favorite obanzai restaurants, who go out of their way to make me and my wife feel special. It is all about the omotenashi (hospitality) and the relationship that has developed over a decade with these people. It is the fact that the okami-san eagerly WANTS to talk about Japanese history and traditional culture with me. It’s the special sake that they bring out for me to sample. It is the box of chirimenjako or special Kyoto pickles that the okami-san presses into our hands to take back to Tokyo. It’s the master preparing extra special goodies for us, unsolicited. Again, Kyoto-style omotenashi really goes a long way with me.

2. It is the taste of botan nabe (wild boar hot pot) cooked in an iribancha tea-based broth on a cold winter’s night. It’s pure Kyoto and pure delight!

3. It is the smile of recognition and greeting one gets when seeing a geiko or maiko on the street who actually remembers you.

4. It is the sound of a shamisen accompanied by a singer emitting from the open second story machiya window on a hot and sultry summer’s night.

5. It’s running into Kyotoite friends on the street at night by pure chance who are on their way to a bar and drag you along, only to find out you will be drinking with a stunning geiko.

6. It is the sound of “kon-chiki-chin” music of the Gion Matsuri during Yoi-yoiyama up through the big parade every July 17. It just helps set the mood.

7. It is the feeling of being revitalized while walking through the Kibune Shrine complex, especially after a rainfall, or during a light drizzle. Water and the dragon god go hand in hand.

8. It is the feeling of deep relaxation and satisfaction one gets when sitting on the veranda at Entokuin or Eikandō, nearly all alone and undisturbed, staring out into the garden and thinking of absolutely nothing for about an hour.

9. It’s the subtle smile and sideways glance one gets from a favorite Buddhist statue.

10. It’s the conversation one has about “what constitutes the best cup of tea” with an accomplished tea master while sipping whisky in a small Gion bar run by a charming semi-retired geiko, who also has a treasure chest full of great stories.

11. It is being told by the owner of an ancient restaurant to wait until all the dinner customers are gone so you can have nearly a free reign to go and photograph just about every nook and cranny of the historic building.

12. It’s being told by the owner of a restaurant, which you are visiting for the first time, to wait until the last lunch customer is gone so he can show you how hamo is prepared.

13. It is just browsing in an antique store and talking to the owner about the history of a piece when he suddenly invites you to an impromptu tea ceremony in his shop using 15th century utensils.

Akai-san Prepares a Bowl of Matcha © Lonny Chick. Click for original image, and story!

14. It is the wonderful old architecture that co-exists with some interesting new structures.

15. It is a stroll down Kiyamachi at night, holding hands with your loved one, admiring the sakura and soaking up the history of the area.

16. It is stopping to dally around the Tatsumibashi bridge and shrine around midnight, while on the way back to your hotel, just to admire a sudden snowfall and watch the area slowly get blanketed in white.

17. It is the old couple who owns a kissaten, set in an old machiya, who invites you to come back tomorrow to just hang out and watch the carrying of the mikoshi (portable shrine) from their place during the Gion Matsuri and to get tested on Kyoto history knowledge via the Kyoto Kentei books.

18. It’s the sound of thundering hooves and the sight of a mounted archer whiz pass you while firing arrows at targets on the grounds of the Shimogamo Shrine during the Aoi Matsuri.

19. It’s just walking up and down the narrow walkway in the Pontochō at dusk, trying to count the number of languages you hear spoken, catching a glimpse of a geiko or maiko, and wondering how the area must have looked during the Bakumatsu period. Pontochō is magical at dusk.

20. It’s the sudden sense of being overcome with awe and wonderment when you are led upstairs to the Sumiya’s second floor to see the beautiful settings where courtesans and geiko mingled with Edo period literati and elites.

This list can go on and on, but this is just a part of my “deep Kyoto”.

A First View of Kabuki

April 27, 2015 By Michael Lambe

"A Scene from A Play" by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theater in the early 1740s - public domain. — “A Scene from A Play” by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theater in the early 1740s – public domain.

My latest article for Inside Kyoto is about a visit to Kyoto’s Minamiza Theater to see a kabuki show. Going to see kabuki is one of those things I have long wanted to do, but somehow I had never gotten around to – until now. I had strong doubts before going about whether I could enjoy it, as I knew that the language would be archaic and difficult to understand. In the event I couldn’t understand a lot of what was going on in the show, but nonetheless I enjoyed it immensely. Find out why by clicking on the link!

Kabuki At Kyoto’s Minamiza Theater

The refreshment stand in Kyoto's Minamiza Theater. — The refreshment stand in Kyoto’s Minamiza Theater.

The Heiji Monogatari Emaki – Interactive Scroll Now Online

February 8, 2015 By Michael Lambe

“Few paintings of the period capture the force, confusion, and terror of battle as effectively as does the episode of the burning of the Sanjō Palace in the Heiji monogatari emaki.” – The Encyclopaedia Britannica

Sanjō Palace in flames - a detail from the Heiji Monogatari interactive scrolls from Bowdoin College — Sanjō Palace in flames – a detail from the Heiji Monogatari interactive scrolls from Bowdoin College

One night in January 1160, a band of 500 men stormed the retired Emperor Go-Shirakawa’s palace at Sanjō, took the former emperor captive, killed most of his staff and set the palace ablaze. Go-Shirakawa was carried off to join his son, the reigning Emperor Nijō, who was being held prisoner at The Great Palace. Meanwhile the rebels continued to eliminate their enemies. The coup was brief, effective and bloody.

Soldiers blockaded the [Sanjō] Palace on all four sides and set fire to it. Those who fled out they shot or hacked to death. Many jumped into the wells, hoping that they might save themselves. The ladies-in-waiting of high and low rank and the girls of the women’s quarters, running out screaming and shouting, fell and lay prostrate, stepped on by the horses and trampled by the men. It was more than terrible. No one knows the number of persons who lost their lives. – From “The Burning of the Sanjo Palace” translated by Reischauer & Yamagiwa

Kyoto, in the 12th century, was the setting for an intense power struggle between two samurai clans: the Minamoto and the Taira. The leaders of these clans, Minamoto no Yoshitomo, and Taira no Kiyomori, had once been allies in putting down an earlier rebellion, but a bitter rivalry had developed between them. When Taira no Kiyomori left the capital on a pilgrimage, Minamoto no Yoshitomo saw his chance to seize power, and launched his attack on the Sanjō Palace. Ultimately however, the Taira would return and exact their revenge…

This, in short, is the history of the Heiji Rebellion, a brief civil war that resulted in Taira no Kiyomori’s victory over Yoshitomo and the establishment of Japan’s first samurai led government. History buffs and art lovers alike will be delighted to learn that Bowdoin College has now put online the illustrated 13th century Heiji Monogatari scrolls which depict these events, and in a fully interactive format.

From the Bowdoin website:

“A Night Attack on the Sanjo Palace” provides an excellent introduction to the genre of picture scrolls. The scrolls read from right to left, and all action flows to the left. A few people hurrying flow into a confused throng of warriors and nobles, epitomized by a wayward bystander being crushed by an ox cart. Out of the confusion, attention shifts to the palace, where Fujiwara Nobuyori can be seen ordering the retired emperor into the cart. Wisps of smoke appear, leading to a conflagration at the palace, with hapless supporters of the Taira being killed, and women of the palace attempting, with mixed success, to flee. Gradually order is restored, and a band of warriors, including Fujiwara Nobuyori and his co-conspirator, Minamoto Yoshitomo, surround Go-Shirakawa’s cart in a triumphant procession.

tosa — A detail from the Bowdoin College interactive scroll.

The scroll itself is beautiful. The commentary buttons that explain both the narrative flow and specific images are very helpful. There is also a translation button for the opening portion of the scroll, (quoted above) which introduces the unfolding events. The Bowdoin College site is a great learning tool and a fantastic introduction to this dramatic episode in Kyoto’s history.

You can find it here:
The Heiji Scroll
The Interactive Scroll Viewer

Deep Nara #1 – Kojiki Exhibition

December 4, 2014 By Michael Lambe

Last month Mewby and I went down to Nara and took in the Kojiki exhibition currently ongoing at Nara Prefectural Art Museum. I would happily recommend the exhibition as a fascinating and comprehensive exploration of every aspect of Japan’s oldest book. Whether, you are interested in the deepest roots of Japanese culture, ancient mythology and the glorious art it has inspired, or in the very dodgy political interpretations that have attached themselves to the book, it’s all there for you in the Kojiki exhibition. I wrote a bit about it for John Dougill’s Green Shinto blog, and he was kind enough to post my review today.

八岐大蛇退治図　鈴木松年 - Susanoo slays the eight headed dragon. Suzuki Shonen, 1871. — 八岐大蛇退治図　鈴木松年 – Susanoo slays the eight headed dragon. Suzuki Shonen, 1871.

The Kojiki or Record of Ancient Matters is a collection of myths detailing the creation of the Japanese archipelago, along with stories of the first Gods, heroes and emperors. Compiled in 712 it is the oldest book in Japanese. It is also notoriously difficult to read, even in translation. The exhibition’s own stated aim is to overcome this difficulty and help the visitor to look beyond the text’s ancient language and obscure cosmological convictions, to the lives and emotions of the people from whose culture these legends sprang. To do this they have gathered art and archaeological materials from city museums and private locations across Japan that provide a thoroughly immersive Kojiki experience. The result is a comprehensive overview of this book’s place in Japan’s cultural history. We spent a good afternoon at the exhibition learning that the text of the Kojiki, and its mythological contents, have been not only a rich source of creative inspiration, but also historically of propaganda and political influence. In both regards it is a fascinating story!

You can read the rest of this article here: http://www.greenshinto.com/wp/2014/12/04/kojiki-exhibition/

The good news is that the Kojiki exhibition is FREE for foreigners, but you’d better be quick as it finishes on December 14th. You can find more details in Japanese and a map to the Museum are here: http://www.pref.nara.jp/miryoku/daikojikiten/

Honke Owariya with Sean Lotman

June 16, 2014 By Michael Lambe

On Sunday Mewby and I had the pleasure of lunch with writer/photographer Sean Lotman. Sean’s wife manages the Honke Owariya soba noodle business, a family company which is pretty famous in Kyoto. The business actually dates from 1465, though they “only” started making noodles Sean told me about 300 or 400 years ago, as they were originally a confectionary business. They still make confectionary but it is the noodles that have made it famous. We met up with Sean at the main branch of Honke Owariya, a delightful old traditional Kyoto building for a stimulating lunch of hearty food and good conversation in beautiful surrounds. [Read more…]

The Ryōzen Kannon, Kyoto, 1958

March 23, 2014 By Michael Lambe

…suppose there are immeasurable hundreds, thousands, ten thousands, millions of living beings who are undergoing various trials and suffering. If they hear of this Bodhisattva Perceiver of the Word’s Sounds and single-mindedly call his name, then at once he will perceive the sound of their voices and they will all gain deliverance from their trials. If someone, holding fast to the name of bodhisattva perceiver of the world’s sounds, should enter a great fire, the fire could not burn him. This would come about because of this bodhisattva’s authority and supernatural power. If one were washed away by a great flood and call upon his name, one would immediately find himself in a shallow place… — from the Lotus Sutra Chapter 25 translated by Burton Watson

“Some 50 colorfully-garbed Buddhist monks march from the Buddhist goddess of Mercy Statue in Kyoto, Japan on May 11, 1958, after the unveiling of a memorial to Allied dead of World War II on June 8. A white marble tablet, honoring more than 48,000 soldiers who died fighting against Japan, was uncovered in base of the 80-foot-high statue. The Buddha is dedicated to the more than one million Japanese who perished in the war.” (AP Photo)

I found the picture above in a collection of fascinating photographs showing life in 1950s Japan at The Atlantic: http://www.theatlantic.com/infocus/2014/03/japan-in-the-1950s/100697/ It seemed like a timely discovery. [Read more…]

Takeuchi Seihō – Japan’s most important modern Japanese-style painter

March 5, 2014 By Michael Lambe

Takeuchi Seihō (竹内栖鳳 – his real name was Takeuchi Tsunekichi) lived from December 20, 1864 – August 23, 1942. He was an early master of nihonga art, and prior to World War II led a notable circle of painters in Kyoto. His former residence in Higashiyama still stands as The Sodoh – now a restaurant and event space.

Some affiliate links are included in this article. To order art prints of the paintings below simply click on the images.

Ian Ropke writes,

During Takeuchi’s early youth his father said to him, “You are the only boy in the family. So you must succeed me in my business.” The boy replied, “Yes, father. But I would really like to be a painter.” An age-old dilemma in traditional societies, children had very little choice in deciding their career, even if they dreamed passionately of doing something very different. However, Takeuchi was fortunate enough to have an older sister who loved him dearly and who was willing to take his place in the family business. Lucky for the boy, his father agreed. Immediately, Takeuchi started to study Japanese painting earnestly. Only 13 years old at the time, he set out to learn what he could from an established artist in his neighborhood. At the age of 17, he became a disciple of Kōno Bairei, a leading Japanese-style painter of the late Edo period.

Elk painting by Kono Bairei — *Elk by Kono Bairei, 1913*

On Takeuchi’s first day, Bairei gave him model paintings of a pine, bamboo and plum. However, 3 days later Bairei stopped asking him to paint from the models and gave the boy a new first name, Seihō, saying, “Paint the way you feel.” The name Seihō means “phoenix”, an exceptional name for a young, new pupil. But already in the first days, Bairei had seen promising talent in the boy. Takeuchi’s painting skills improved rapidly under Bairei’s direction as the boy concentrated on sketching and studying traditional paintings.

Tabby cat painting by Takeuchi Seiho — *Tabby Cat by Takeuchi Seihō, 1924*

In 1900, when he was only 36 years old and already a leading person in Kyoto painting circles, one of his paintings was selected for display in the modern art section of the Japanese Pavilion at the International Exposition in Paris. This exhibit allowed him to make the long journey to Europe, where he came into direct contact with the European painting tradition. In a chance visit to the zoo in Antwerp in Belgium, he discovered a lion that he just had to sketch. He remained in Antwerp for an extra 3 weeks just to sketch the lion to satisfaction. Profoundly affected by his experiences in Europe, Takeuchi returned to Japan to become a leader of the modern movement in Japanese-style paintings, producing powerful, large-scale pieces year after year. His painting “Lion,” the result of his intense sketching at the zoo, was put on display at a major Japanese exhibition the year after he returned from Europe and won the Gold Prize.

Calm spring painting by Takeuchi Seiho — *Calm Spring in Jiangnan, Takeuchi Seihō, 1921*

While Takeuchi is largely known for his introduction of Western painting styles to Japan, he also inquired deeply into the fundamental elements of Japanese paintings. During the middle of the Taisho period (1912 – 1926), Takeuchi began to shift from large-scale paintings to smaller works which revealed his increasingly keen artistic sensitivity and maturity. In this new style, his paintings, which were quickly executed, impart an energy similar to the poetic compositions seen in haiku. His masterpiece, at the age of 45 — Oh, Rain — is a truly poetic work.

After a Shower painting by Takeuchi Seiho — *After a Shower, Takeuchi Seihō, 1928*

Seihō’s long career came to an end in 1942, but even today his brilliant paintings continue to attract and fascinate people. Many great Japanese painters studied under Takeuchi, such as Tsuchida Bakusen, Uemura Shōen. For his unique achievements, Takeuchi was awarded Japan’s first Order of Cultural Merit, in 1937.

Birds at Roost painting by Takeuchi Seiho — Birds at Roost, Takeuchi Seihō, 1937

*************************************************************************

Text by Ian Ropke. Ian Ropke is the author of the Historical Dictionary of Osaka and Kyoto, and director of Your Japan Private Tours. You can read his previous articles for Deep Kyoto here.

the能.com probably has pretty much everything you need to get started with Noh drama…

February 25, 2014 By Michael Lambe

I have been following Diego Pellecchia’s facinating Noh blog for a couple of months now. Diego is training with the Kongō school of Noh, here in Kyoto and his blog offers a kind of portal into that world. Wanting to learn more, last week I asked him if he could recommend any beginner’s texts as an introduction to the world of Noh. Rather than a text he recommended this website, and I have to say it’s amazing! Not only do they have a wealth of instructional materials and essays on there, not only do they have performance schedules for all of Japan, not only do they have printable texts of the plays in both English & Japanese (new ones added each month!) which you can bring to performances, not only do they have a database of the masks used in performances, but (!) as I have just discovered, they also have photo-stories. Photo-Stories!
I have to say a big thank you, Diego! the能.com is a treasure!

See also:
Japanese Noh Theater – An introductory essay by Ian Ropke
Takigi Noh (Noh by Firelight) – An annual June event at Heian Jingu Shrine

Learn More:

The Secrets of Noh Masks Amazon Amazon.co.jp	Kissing the Mask Amazon Amazon.co.jp
Japanese No Dramas Amazon Amazon.co.jp	Five Modern No Plays Amazon Amazon.co.jp
Noh Masks – The Bernard Le Dauphin Collection Amazon Amazon.co.jp	The Spirit of Noh Amazon Amazon.co.jp
A History of Japanese Theater Amazon Amazon.co.jp	Japanese Plays Amazon Amazon.co.jp

Kawai Kanjiro’s House

November 25, 2013 By Michael Lambe

This is the house of Kawai Kanjiro, a legendary potter and a key figure in the mingei or Japanese folk art movement. His beautiful wooden townhouse has been preserved as a memorial run by his family. The building itself and the garden are wonderful, but you can also see here many of his works: ceramics, sculptures, and woodcarvings. His kilns are preserved at the back of the house. I was there back in September and took some 360 degree pictures which I shall share here as they give a good impression of how much there is to explore in the house. Just click on them to have a proper look around: [Read more…]

Capturing Light ~ The Art of Sarah Brayer

November 15, 2011 By Michael Lambe

The artist Sarah Brayer has a show in Kyoto at the end of this week that promises to be quite exciting. Those familiar with Sarah’s work, know that while consistent in its grace and beauty, over the years it is has also undergone a remarkable series of transformations in both media and styles. Already known internationally for her poured washi paperworks and aquatint prints, recently she has begun to explore the medium of glass. I’m looking forward in particular to seeing her new glass works which she created during her recent sojourn in Beijing.

Sarah Brayer new works in washi and glass — Details of this event are posted at the end of the article.

It was a crisp December evening last winter when Sarah invited me up to her studio in north Kyoto for a private viewing of her “Luminosity” exhibit. Though we had corresponded before, this was my first time to meet her in person, but I found her to be a charming, friendly lady with whom I was quickly at my ease. Arriving at the studio, she asked me to wait outside while she went in and got things prepared. Having done so, she turned off the lights, and ushered me into to that large shadowy space… I gasped. Hanging soft all about me in the dark were great silver-white, luminescent clouds, in which I discerned visions: of dragons, planets, and constellations, the creeping tide and mist over the sea… [Read more…]

Two Views from Yasaka Shrine…

June 3, 2011 By Michael Lambe

…separated by time. Both images give us a “bronze lion’s eye view” down Shijo as seen from the entrance to Yasaka Shrine. The first is a recent image painted by my hopelessly romantic friend Ichsan. Do please visit his website to see more of his wonderful paintings. This is the image of Gion with which we are familiar today.

Ichsan's view from Yasaka shrine — This water colour sketch “City Guardian” is by the artist M Ichsan Harja Nugraha. Click to visit his website.

And now here is the same view, as it was over a hundred years ago:

old view down shijo — Click to view more photographs of 19th century Japan.

Incredible how much it has changed, isn’t it? The man wasn’t kidding when he said “the past is a foreign country”. If we could transport citizens of 19th century Kyoto to the present day and show them what we’ve done to this city, how do you think they would react? Would they see progress or would they weep? In turn, what would it have been like to live in this city then? Can you imagine the sound of the streets without motorized traffic? Can you imagine being able to see the mountains all around you from the very center of the city? Can you imagine waking up in the morning, walking out onto those streets and greeting the people there? If you are familiar with 21st century Kyoto, doesn’t this picture haunt you? Only a few key buildings from that time remain today, and all the rest has changed utterly… How will this scene look in another hundred years?

The Photographs of Jane Lawson

May 26, 2011 By Michael Lambe

Last year on Deep Kyoto we posted a short series of Kyoto-based photographer profiles. Each photographer was challenged to choose just five of their own favorite pictures from Kyoto and tell us a little bit about why they chose them. It’s time to reboot that series! This month I’ve asked Australian foodie Jane Lawson to accept the challenge. Though Jane is not technically resident in Kyoto, she has visited this city so many times over the last three decades that I figured I could bend the rules. Also, her pictures are fantastic! Jane says,

Ok, of course choosing just 5 of my favourite images was near impossible – I must admit to feeling somewhat unhealthily attached to all documented vision of my days wandering beautiful Kyoto. Each moment is special to me for one reason or another – I probably wouldn’t feel compelled to snap away at it otherwise. To make it easy on myself I decided to theme this selection in ode to my favourite season and the most magnificent Kyoto winter earlier this year. We don’t get much snow in Australia so it was an absolute treat to experience a particularly white winter – mother nature gave a rather generous sprinkling in 2011.

winter pattern (Medium) — Winter Patterns

I shot winter patterns on busy Sanjo Dori but it could have been deep in a remote forest. The moody imagery and pattern takes me back to researching one of my books in Scandinavia. I love the contrast of black and white and the shadows of grey in between. [Read more…]