JAPANESE TO ENGLISH TRANSLATION

Book release on Tagore's association with Japan

2012-01-24T08:22:00.003+05:30

After a long expectation the proceedings of the seminar that took place on March last year, has been released. The book will be available at stall no-471 and also at 3rd stall of 3rd pavilion of Kolkata Book Fair.

Dr Masayuki Onishi: An Interview

2012-01-07T20:28:00.001+05:30

Dr Masayuki Onishi is an eminent scholar, linguist and an internationally acclaimed expert of Matuna and Buin language of Bougainville (Papua New Guinea). He completed BA Course in English Language and Literature from Tokyo University in 1975. Later, he did his PhD from The Australian National University in 1994 on Linguistics. Dr Onishi had authored many books, wrote essays, presented papers and delivered numerous lectures on language and linguistics all around the world.

Dr Onishi is also a great admirer of Bengali language, literature and culture. He did Diploma Course on Bengali Language and Literature from Jadavpur University. He regularly translates Bengali literature into Japanese and contributed in bringing out Japanese translated version of Tagore’s works. He was in Kolkata recently and we had the opportunity to meet him. Following is the extract of the interview:

Remembering Professor Kazuo Azuma

2011-08-09T23:14:00.011+05:30

Eminent Indologist and a lifelong devotee of Tagore passed away last month. Following is a write up, in remembrance of his immeasurable contribution to our life. Please visit this link:

Rabindra Follower Azuma Passed Away

2011-08-04T12:59:00.074+05:30

Professor Kazuo Azuma, the eminent Indologist and Japanese Tagore scholar passed away on 28th July, this year, at his birth place Ichikawea town near Tokyo in Japan. He was 80. The death of this legendary Professor ends an era in the field of Japan-Bengal cultural relation.

Memorial Function

Professor Azuma was born on 14 August in 1931. He obtained his Masters in Japanese language and literature from Tokyo University and in Indian Philosophy in 1959. Besides, he learned German Language and Literature. Later, he received D.Lit. (Honoris Causa) on Tagore Studies, from the Rabindra-Bharati University, Calcutta, in 1986.

Kazuo Azuma had a long teaching career in Japan. He started as a professor at Yokohama Public University. He also taught at Waseda University (1972-74) and Tsukuba University (1974-78 as an associate professor & 1978 -1991 as a professor). Afterwards, he went to Reitaku University. He also became professor emeritus of Reitaku University and University of Tsukuba.

Shantiniketan

Prof. Azuma came to Shantiniketan 1967 and served at Visva Bharati as a Reader and Head of the Department of Japanese language and literature from 1967 to 1971. He shaped the Japanese department there. Though he returned to Japan in 1971, his admiration for Tagore impelled him to keep constant touch with the people of Bengal. Shantiniketan was his second home.

Azuma spent most of his life studying Tagore and spreading awareness about the Nobel laureate's works in Japan. His fascination with Rabindranath started in his early life when he read Rabindranath’s Gitanjali, Dakghor, Raktakarabi in Japanese translated from English and got attracted to his writings. Later on, he started reading the English translations of Rabindranath too.

A class is going on under the tree in Shantiniketan

Driven by this admiration, maverick Azuma decided to leave behind a promising career and came to Visva-Bharati as a teacher of Japanese Language and Literature and spent more than two and a half year. This had cost him his permanent job at Yokohoma National University as a teacher of German Language, when he went back Japan in 1971. Both Azuma and wife then began working at NHK-Japan Radio on part time basis. But he stayed immersed in the fathomless waters of Rabindranath and was dedicated to spread Tagore culture in Japan. In his opinion, Tagore was not only for Bengalees, but for the entire world. Japanese reverence for Tagore is like Goutam Buddha. These two noble persons enriched the cultural and spiritual fields of Japan.

Professor Azuma’s biggest contribution lies in bringing out Japanese translated version of Tagore’s works. He was the man behind the translation of Tagore’s complete works directly from Bengali into Japanese which he started in 1973 with a team of Japanese scholars. The work in 12 volumes was published over 20 years by Daisanbummei Publications. Prof. Azuma led this very complicated and serious work with much skill.

Nippon Bhavan

Professor Azuma took a great initiative in establishing Nippon Bhavan in Shantiniketan, the centre for Japanese studies. Tagore had a dream to set up a Nippon Bhaban, devoted to the studies of Japanese, like the China Bhaban at Santiniketan. He had requested Tsusho Byodo (1903-93) of Tokyo Imperial University who was studying Indology at the Visva-Bharati then, to take initiative for it. But World War II started soon after and plans went haywire. Professor Azuma contacted Professor Byodo after returning to Japan in 1971 and the ‘Association for Establishing Nippon Bhaban’ was established in July, 1989. Professor Biyedo became the President, while Kazuo Azuma (1931-2011) became the General Secretary. Two years later Tsusho Byodo laid the founding stone in Shantiniketan. After the hard work of five years, finally Tagore’s dream came true when it was formally inaugurated on 3 February in 1994 by the then Vise President of India, Dr. K. R. Narayanan. The Ambassador of Japan to India and many noted teachers and personalities were also present. Nippan Bhaban came to light because of Kazuo Azuma’s patience and perseverance. To establish the Nippon Bhaban, he had to go through a lot of hurdles.

Library of Nippan Bhavan

Professor Azuma has also played an important role in the foundation of Bharat-Japan Cultural Centre, at Rabindra Okakura Bhavan, an Indo-Japanese cultural centre at Salt Lake in Kolkata. He contributed unreservingly.

Prime Minister of Japan Mr. Shinzo Abe inaugurating the Rabindra-Okakura Bhavan in Kolkata

Prof. Azuma played an important role in creating a condition for the proper appreciation of Rabindranath in Japan. He had authored more than fifty essays on Rabindranath. His book Rabindranath and His Thoughts is a great resource on the poet in Japanese. A greater promoter of friendship between India and Japan, Prof. Azuma translated some diaries and memoirs of Japanese scholars who had some association with Tagore and Shantiniketan. His Shitoko Harir Dinopanji is a translation of the diary of Shitoku Hari, the first Japanese student of Visva-Bharati. This and Kampo Arai er Dinopanji, the diary of the eminent painter who met Abanindranath Tagore and exchanged opinions and artistic views and also came to Shantiniketan and taught painting there during 1917-18; remind us about the rich history of cultural and artistic exchange among a remarkable group of intellectuals and artists of Japan and Bengal. His Ujjol Surjo and Prosongo Rabindranath o Japan are the rich stores of anecdotes and information. Japana O Rabindranatha, satabarshera Binimaya also gained much appreciation.

Rabindra-Okakura Bhavan

Prof. Azuma was conferred many degrees, titles and honours in his life. He was the recipient of the highest honour of Visva-Bharati - 'Deshikottam' and received the Rabindra Puraskar from the government of West Bengal. He was also conferred D. Lit by Rabindrabharati University in 1986, ‘Rabindrachyarya’ by Tagore Research Institute, Kolkata in 1989, Academic achievement Award by Eastern Institute and Indian Embassy, Tokyo in 1993, and Second time D. Lit by Lalbahadur Shastri National Sanskrit Vidyapith in 1994.

Prof. Azuma receiving the Rabindra Puroskar from Chief Minister Sri Buddhadeb Bhattacharya

Prof Azuma has been an icon in respect of Bangla language and Rabindranath. This simple man had dedicated all his life and energy only for the cause of understanding and admiring Bengalee culture & literature. And lion's share of that life’s journey was occupied by Tagore.

We would like to express our heartfelt love and reverence to this lifelong devotee of Tagore and his literature.

Tagore and the introduction of Jujutsu in Shantiniketan

2011-07-04T20:07:00.013+05:30

Tagore's association with Japan and her people is well known. Apart from paying visit to Japan for quite a few times, he also had been instrumental in the introduction of the study of Japanese language and culture. He had brought teachers, artists and judo-instructors from Japan for this purpose. This year being the bard's 150th birth anniversary, the School of Language, Jadavpur University and Sakura Academy, a language school organized a seminar on Tagore and his association with Japan. The seminar gave me an opportunity to read out a paper entitled as, 'Tagore and the introduction of Jujutsu in Shantiniketan '. Later on the essay was published in the English daily, 'The Independent' on 24th June, 2011.

TOROKKO : Akutagawa Ryunosuke

2011-06-25T20:33:00.013+05:30

I did this translation from Japanese to Bengali for fun & also for practice. I've been translating J -> E documents for sometime, but have always wanted to try my hand at some literary work. I chose this story because it is not copyrighted and I could post my translation on the web. This translation may still require a bit more polishing. Any suggestion in this regard would be highly appreciated.

The original Japanese text.

Japan: The New Destination for Indian Students?

2011-06-03T20:37:00.061+05:30

Historical Perspective:

Japan and the India have had a very rich cultural, historical and academic relationship for centuries, and the admiration for Japan on the part of the Indian intelligentsia was well-known. It was Swami Vivekananda, who first c

alled the youth of India to go to Japan for higher studies. Vivekananda visited Japan on his way to America to attend the World Congress of Religions in 1893.

He was so impressed by the advancement that the Japan had made in the field of science and technology and also the development strategy undertaken by the Meiji government that his message for the young students of India was to “Look East”.

Globalization of Japanese Society:

However, until recently Japan was not a very favourite destination for

Indian students in pursuit of higher education and the number of them going to Japan for higher studies was very miniscule.

For Indian students, only one question ultimately decides their study destination. This is – “what are they expected to do after they pr

ocure a degree? What is employment prospect in the receiving country?” And Japan was not a very attractive destination from this perspective.

But times are changing. Two policies taken up by Japan in 2008 have raised the profile of international students. The first is the internationalization of education and making Japan more open-minded. The second is the promotion of highly skilled migration and fostering links between export education and permanent migration. Japan has settled upon the Framework of the

“300,000 International Students Plan”, which aims to welcome 300,000 international stud

ents by the year 2020 and to help them search for jobs after graduation and

thus to facilitate the transition to work from study. This policy will expand the flow of Indian students towards Japan and incentivise them to remain in Japan.

The stages at which the Indian students can join

The Japanese education system follows the basic 6–3–3–4 route. The higher education starts upon completion of a total of 12 years of primary education.

A foreigner in Japan can join the education system after completing 12 years of basic education in her/his own country. There are 5 types of higher educational institutions where international students can be admitted to:

Colleges of Technology
Professional Training Colleges
Junior Colleges
Universities
Graduate Schools

Colleges of Technology(Technical Colleges):

These colleges offer comprehensive 5-year education programs (5 and a half year for mercantile marine).

Most international students enter the colleges of technology straight into the third year program onwards.

Most of the colleges of technology are related to the industrial field. The purpose of colleges of technology is to conduct in-depth learning in specialized disciplines and to a develop student's abilities necessary for employment.

Graduates of colleges of technology are awarded the "associate d

egree” and their rate of employment is almost 100%.

Colleges of technology also offer higher 2-year major programs. Graduates of these major programs are awarded the "bachelor's degree", upon passing the examination set by the National Institution for Academic Degrees and University Evaluation (NIAD-UE). Of late, many of the students are opting for further studies in the major programs or transfer into the universities (the third year of the university programs).

Professional Training Colleges:

Specialized training colleges offering post-secondary courses are called professional training colleges.

The special feature of the professional training colleges is the variety of courses offered according to the skill and certification required. The common fields include motor mechanics, hairdressing, architecture animation, medical care, system engineering, hotel management fashion designing, interpretati

on and the like.

Those courses usually take 2 years to complete but more than 30% of the students are taking the 3 and 4-year course. The students are awarded the “diploma” (2 years course) or “advanced diploma” (4-year course) when they complete courses recognized by the National Institution for Academic Degrees and University Evaluation (NIAD-UE). “Diploma” graduates are eligible to enter a university’s undergraduate program while “advanced diploma” graduates are eligible to enter graduate schools.

The aim at these educational institutions is to teach the know-how, technology and skills required for a profession.

Junior Colleges:

Junior colleges offer two year (3 years in the case of nursing courses, etc.) "Associate Degree". One third of junior colleges are for women only. Half of the course subjects are related to arts, home economics, education and social studies.

The purpose of junior colleges is to conduct in-depth learning and research in specialized disciplines and to develop abilities necessary for employment and daily life.

Universities:

The universities are the centres of advanced learning. University education puts emphasis on scientific principles or theoretical research and education in specialized academic disciplines.

A standard course is 4 years, but undergraduate study of medicine, dent

istry and in some cases pharmacy and veterinary science goes on for 6 years.

A student will be awarded the “bachelor’s degree” upon graduation.

Graduate Schools:

A university may also have a graduate school offering master courses (two-year standard term of study) and doctoral courses (five-year standard term

of study, four years for medicine, dentistry and veterinarian medicine) or professional degree courses (two-year standard term of study; however, depending on the field in some cases it can take between one and two years or more than three years).

Those who have completed the graduate course are awarded a master’s, or a doctorate or a professional degree.

Japanese Language Institutions:

The programs offered exclusively in English are limited. So, international students do not have adequate Japanese language proficiency, have to study Japanese before entering institutes of higher learning.

There are various Japanese language institutes for all proficiency levels, and courses of different durations. These include Japanese language schools and private universities offering special courses for international stude

nts. The study duration is from 1 to 2 years for both types.

But only a school recognised by the Association for the Promotion of Japanese Language Education (APJLE) is allowed to offer courses to students with a student visa (shugaku visa).

Entry Requirements

Japanese Language Skills:

Normally, lectures in Japanese higher educational institutions are conducted in Japanese. In professional training colleges, there are no courses which can be taken in English. So, following are the criteria to get admission:

Applicants who have received six or more months of Japanese language education at an educational institution certified by the Association for the Promotion of Japanese Language Education
Applicants who have passed level 1 or 2 of the Japanese Language Proficiency Test (JLPT)
Applicants who have scored 200 or more points (combined total for reading, comprehension, and listening) in Japanese on the Examination for Japanese University Admission for International Students (EJU)
Students who have scored more than 400 points in their Business Japanese Proficiency Test (BJT JLRT) conducted by the Japan Kanji Aptitude Testing Foundation.

However, under the “Global 30” project initiated in 2008, the Ministry of Education, Culture, Sports, Science and Technology strives to make more and more programs available in English for international students. Under this project some 300 courses will be offered fully in English in 13 leading universities. One these universities, Ritsumeikan University has recently opened their overseas office in New Delhi.

So, those who have adequate Japanese language proficiency or those who are planning to take courses offered in English need not enter a Japanese language institute in Japan and can directly seek admission to the institutes of higher learning.

Other Criteria:

Professional Training Colleges, Colleges of technology & Junior Colleges: Applicants must have completed 12 years of full time school education (which includes meeting the requirement for completing secondary education) and is over 18 years old.

Universities: To enter an undergraduate program, you are required to have completed 12 years of full time education and must have reached 18 years age. You will usually be required to take the "Examination for Japanese University Admission for International Students"(EJU).

Almost all national universities, about two thirds of the public universities and roughly half of the private universities use the EJU as admission criteria for international students, while the others apply their own entrance exams.

Graduate Schools: Completion of an undergraduate degree is required for acceptance onto a graduate program in Japan. Universities have their own entry requirements, and there is no standardised entrance exam as at the undergraduate level. Some universities may allow holders of undergraduate degrees to enrol on a Doctoral program, but almost exclusively you will require a Master's degree before you can enrol in a Doctoral program.

For More Information:

Japan Student Services Organization
Ministry of Education, Culture, Sports, Science & Technology
"India-Japan: Changing Perceptions" by Savitri Vishwanathan
Mombusho Scholars Association of India (MOSAI)
Study in Japan
Japan Study Support

Higher study in Japan can no longer be dismissed simply as an option for Japanophiles. If you’re looking for quality educational institutions, for conducive learning environment, safe and friendly everyday life, Japan is the place for you.
The modern Japanese culture and society is a diverse mix of old and new, eastern and western. The students will have plenty of opportunities to sample this best of the Japanese culture & have a deep and positive impression. Everyday life will become just as meaningful as studies.

"Tagore and Japan: A Retrospection" - Proceedings

2011-04-30T19:59:00.069+05:30

As a part of the events commemorating the 150th anniversary of the birth of Rabindranath Tagore, Sakura Academy and The School of Languages, Jadavpur University held a seminar, Tagore & Japan: A Retrospection, on 22nd March, 2011. The seminar was held at the auditorium of the Indian Institute of Chemical Engineers, Jadavpur and was supported by theRabindranath Studies Centre, Jadavpur University.

A minute’s silence is being observed by all

Inaugural Address by Swami Vedaswarupanandji Maharaj

Introductory Remarks by Hon. Mr. Mitsuo Kawaguchi

Ms. Akiko Kubota, Hon. Vice-Consul is being felicitated by Mrs. Kazuko Nigam

Welcome Address by Prof. Supriya Chaudhuri

Keynote Address by Prof. Abhijit Mukherjee

The seminar was attended by a reasonably large cross-section of people from the academia and general enthusiasts about Japan in Kolkata. At the beginning, a minute’s silence was observed by all in remembrance of the earthquake and tsunami victims of Japan. Next, Swami Vedaswarupanandaji Maharaj of Ramakrishna Mission, GolPark, Kolkata, lit the inaugural lamp and delivered a short lecture of encouragement. Hon. Mr. Mitsutake Numahata, Deputy Consul General of Japan at Kolkata, thanked India as a nation for expressing solidarity with Japan in these hours of crisis. Prof. Supriya Choudhuri, Director, School of Languages, Jadavpur University in her welcome address expressed her wish that the seminar would be a fruitful one to bring out new perspectives of Japan – Bengal relation that dawned with Tenshin’s visit to Kolkata.

Swami Vedaswarupanandaji Maharaj & Hon. Mr. Mitsutake Numahata

The first part of the seminar consisted of three lectures. Prof. Abhijit Mukherjee in his keynote address titled “Tagore’s First Visit to Japan – An Interpretation of Its Impact on Tagore”, threw light upon Tagore’s remarkable appreciation of Japanese culture but relative unpreparedness to grasp the political tradition and the role of Emperor, going into details of the prevailing situation in 1916 mostly as depicted in Japanese literature. Next, Prof. Nabin Kumar Panda of Dept. of East Asian Studies, Delhi University, in his speech talked about the history of the introduction of Japanese Studies in India that began with Jinnotsuke Sano, the Jujutsu teacher who started teaching in Shantiniketan in 1905. The next paper was of Dr Kyoko Niwa, her paper titled “Rabindranath Tagore and Noguchi Yonejirou” was read out in absence of her. This paper is interesting in bringing out new perspectives of the well known debate that followed between the poets Tagore and Noguchi, following the Sino-Japanese war in 1938.

News Paper Review: "Global Mail" 28.03.2o11

Dr. Satyanarayan Bhattacharya, Prof. Abhijit Mukherjee, Prof. Nabin Kumar Panda, Mr. Bipul Krishna Das, Mrs. Sumita Bhattacharjee & others

News Paper Review: "Paribartton" 26.03.2011

In the second part of the seminar five speakers presented their papers on different issues relating to Tagore’s association with Japan. The first speaker was Dr. Satyanarayan Bhattacharya, the title of his paper was, "Tagore and Japan: An Aesthetic Bond". The next speaker was Mr. Prabir Bikash Sarkar. He intended to talk about the history of Japan’s cultural tie with Bengal, and the role of Okakura Tenshin. Two more informative papers were presented by Sri Pratyay Banerjee and Sri Debanjan Ghosh respectively. The first speaker spoke of Tagore’s initiative in introducing Judo in Santiniketan. The next speaker presented a paper titled “Tagore’s Literature in Japanese Language”. The last speaker was Mrs. Suparna Chakraborty and the title of her paper was “Japan‑Jatri as a Travelogue”.

Prof. Nabin Kr. Panda

Invited Lecture by Prof. Nabin Kr. Panda

News Paper Review: "Bikeler Protidin" 05.04.2011

Tagore’s appreciation of traditional Japanese culture is well known. The poet not only visited Japan quite a few times, but also played a significant part in bringing about a new wave of cultural relation between Bengal & Japan.

Dr. Satyanarayan Bhattacharyay

Mr. Pratyay Banerjee

News Paper Review: "News Bangla" 25.03.2011

Mr. Debanjan Ghosh

Mr. Probir Bikash Sarker

However this cultural relation between undivided Bengal and Japan lost its vibrancy due to the changed perspective in the post war period. Viewed from this historical perspective this seminar turns out to be a meaningful attempt to remember a historical period that has almost passed into oblivion.

News Paper Review: "Kolkata Saradin" 05.04.2011

Mr. Bipul Krishna Das meeting the Press

Please Pray for Japan

2011-03-13T19:15:00.018+05:30

OUR THOUGHTS AND PRAYERS TO ALL THE VICTIMS OF
THE DISASTER

HOPE THE LIVING ARE SAFE

HOPE THE MISSING ARE FOUND

HOPE THE DEAD ARE AT PEACE

Ambassador of India to Japan Mr. Alok Prasad, handed over relief material to Japanese State Secretary for Foreign Affairs Mr. Yutaka Banno on 16 March 2011, on behalf of the Government and people of India.

Tagore and Japan: A Retrospection

2011-02-06T19:59:00.032+05:30

A Seminar on Tagore and his association with Japan

India has a long history of cultural relations with Japan. This dates back to 1902, the year which marks a historical meeting between two great intellectuals, Tenshin Okakura and Rabindranath Tagore in Calcutta. Tenshin, the forerunner of Japan-Bangla relationship, was deeply impressed by the revivalist movement on culture and an art, going on at that time in Kolkata. It is interesting to note that, Tenshin Okakura, the eminent art scholar whose nationalistic ideals are well known, during his short stay in Kolkata came into contact with nationalist leaders of Bengal. It is said that Okakura Tenshin played a significant part in the formation of the revolutionary group ‘Anushilan Shamity’ which waged violent anti imperialist movement in Bengal.

On returning to Japan he sent two distinguished artists, Yokoyama Taikan and Shimomura Kanzan to Kolkata, where they met Rabindranath Tagore and Abonindranath Tagore and exchanged opinions and artistic views. In 1905, Jinnosuke Sano, an ex-student of Keio University came to Santiniketan. He was a Judo instructor. During his three years of stay at Santiniketan, he also taught Japanese language, apart from teaching Jujutsu.

The relation was further enhanced by the five visits of Rabindranath to Japan (1916, 1917, 1924, 1929-twice). Since then there have been an intimate and lingering cultural and artistic tie between the two countries. These encounters had brought into contact a remarkable group of intellectuals and artists of Japan and Bengal.

On the eve of Tagore’s 150^th Birth Anniversary, we, Japanese language Department, Jadavpur University & Sakura Academy, wish to organize a seminar on Tagore’s visit to Japan and its lingering cultural and artistic impact on both the nations.

This seminar will include lectures and oral communications.

Venue:
Auditorium, Indian Institute of Chemical Engineers
Dr. H. L. Roy Building, Gate No: 3, Jadavpur University Campus
188, Raja S.C. Mullick Road, Kolkata – 32

Date & Hour:
March 22, 2011, 10.30 AM – 5.10 PM

Aims of the Seminar:
This seminar can do justice to a period which has almost receded into oblivious past. It is a pity that, the spirit of cultural exchange that existed between Japan and Bengal in the time of Tagore and Tenshin, was thwarted after the 2^nd World War. Tagore’s association with Japanese intellectuals of his time turns out to be a forlorn chapter in our cultural history. It is therefore useful and purposeful to organize a seminar on the subject which will allow the participants to share their knowledge and understanding. We hope that, this seminar will be profitable in bringing out new perspectives of this fraternity between Bengal and Japan.

Speakers:

Keynote Speaker:

Dr. Abhijit Mukherjee
Professor & H O D, Department of Electrical Engineering, Jadavpur University & Joint Director, School of Languages, Jadavpur University
[An interpretation of the impact of his first visit to japan, on Tagore]

Other Speakers:

Dr. (Ms.) Niwa Kyoko
Professor, Tokyo Foreign Studies University
[Rabindranath Tagore and Noguchi Yonejiro]

Dr. Nabin Kumar Panda
Assistant Professor, Dept of East Asian Studies, Delhi University
[Tagore and Sano Junnosuke - a Study of Japanese Language in India]

Presentation of Papers:

Tagore and Japan: An Aesthetic Bond
by Dr. Satyanarayan Bhattacharjee
Japan-Bangla Relation: Role of Okakura Tenshin
by Mr. Probir Bikash Sarker
Tagore's Literature in Japanese Language
by Mr. Debanjan Ghosh
Tagore and The Introduction of Jujutsu in Shantiniketan
by Mr. Pratyay Banerjee, and
"Japanjatri" as a Travelogue
by Ms. Suparna Chakraborty

Follow-up after the Seminar:
It is proposed to bring out a compendium of papers presented in the seminar.

For more information and registration
email: anindya.partha@gmail.com
phone:9903528232

Poster design: Arunabha Chakraborty

The Way of Nirvana: An Exhibition by Mizue Kato

2010-12-05T18:00:00.010+05:30

The cultural exchange between India and Japan dates back to 6th century AD., when Buddhism was transplanted in Japan via Korea and Japan. It is said that Bodishena, an Indian priest was present at the inauguration of the renowned Todaiji temple at Nara in 752. Many Japanese Buddhist scholars had also visited Tagore's Shantiniketan.

Mizue Kato's paintings like the 'Lord Buddha', the 'Silk route', the 'Gandhara' can exhibit a mind fostered by the principles of Lord Buddha. This wonderful exhibition took place at the Bharat-Japan Sanskriti Kendra, Salt Lake, Kolkata.

The inaugural ceremony was presided by eminent poet Sri Nirendranath Chakraborty. The Japanese Consul General also visited the exhibition. The exhibition which remained open from 20th November-4th December, was attended by many art lovers, Japanese language students of the city.

Touching souls: Painters who portrayed India

2010-09-05T20:47:00.088+05:30

India has a long history of cultural relations with Japan. It started in 1902 through a historical meeting between two great intellectuals, Tenshin Okakura and Rabindranath Tagore in Calcutta. Tenshin, the Forerunner of Japan-Bangla relationship, was deeply impressed by the revivalist movement on culture and arts, going on at that time in Kolkata. On returning to Japan he sent two distinguished artists, Yokoyama Taikan and Shimomura Kanzan to Kolkata, where they met Rabindranath Tagore and Abonindranath Tagore and exchanged opinions and artistic views. The relation further enhanced by the five visits of Rabindranath to Japan (1916, 1917, 1924, 1929-twice). Since then there have been an intimate and lingering cultural and artistic tie between the two countries. These encounters had brought into contact a remarkable group of intellectuals and artists of Japan and Bengal. They not only influenced Indian artists but also got influenced by the new line initiated in Bengal and gave contemporary Japanese art an Indian touch.

The paintings presented here represent the impressions the Japanese painters received while they were in India and have been produced by the characteristic method of the Japanese Art.

Nanpu Katayama:

Shôkin Katsuta (1879-1963):

Shôkin Katsuta was born in Kawagoe in 1879. He went to Tokyo and entered the Tōkyō Bijutsu Gakko to study painting. There, he studied under famous Nihonga painter Hashimoto Gahô (1835-1908) and successfully graduated in 1905.

Katsuta went to India after his graduation to study ancient Buddhist painting. Rabindranath invited him to his school in Shantiniketan. Responding to Tagore’s invitation Katsuta went to Shantiniketan and joined as art teacher there. He stayed in Shantiniketan from 1905 to 1907. His trip to India inspired some of Katsuta's most important work.

Katsuta was an exhibitor with the first official Bunten in 1907. His work was shown at the Bunten six times, at the Teiten thirteen times and at the Nitten two times. He was also a judge at the Teiten. Katsuta had a rich collection of paintings by Abanindranath Tagore who is regarded as the father of modern Indian art.

Kosetsu Nosu: (1885- 1973):

Portrait of Tagore by Kosetsu Nosu with Tagore's autographed poem

The Enlightenment of Buddha under a Sacred Fig (Bo tree) while attacked by Mara devils, the wall painting of Kosetsu Nosu, Mulagandha Kuti Vihara Buddhist temple founded in 1931, Sarnath, India.

Kousetsu Nosu was born in 1885 in Kagawa prefecture, Shikeku. He went to Tokyo to study painting and entered the Tōkyō Bijutsu Gakko and successfully graduated from there. He was also associated with Nihon Bijutsuin.

Nosu came to India for the first time in1918 to study ancient Buddhist arts. He met Kampo Arai who was also in Kolkata at that time. Arai offered him to work as his assistant to copy the famous frescoes at the cave shrines of Ajanta. Arai and Nosu completed their work on 17th March 1918.

In 1932, Nosu come to India for the second time to paint his own frescoes in the new Buddhist Vihara at Sarnath near Benares. The frescos were supposed to be painted by Senren Kiriya. Unfortunately Kiriya passed away suddenly on 19th July 1932. Felt drawn to India as the land of Buddha, Nosu expressed his interest. He reached Kolkata on 25th of November, 1932 with his assistant Mr. Kisho Kawai and his son Mr. Yoshiaki Nosu. After visiting Sarnath he went to Shantiniketan to pay a visit to Tagore and also to seek his advice. Nosu went there once more to learn fresco at the Kalabhava(the school of arts) when he found it difficult to paint the frescos in Japanese technique. In the next five years, Nosu painted 17 frescos based on 17 tales of Bouddha-Jatakas on the walls of the Mulagandhakuti Vihara.

Life long devotee of Lord Buddha, Nosu is revered as one of the stalwarts of Buddhist painting in Japan. He had a deep respect for ancient India art and his artistic mission leads to closer unity and friendship between nations, India and Japan.

Yokoyama Taikan: (1868-1958):

Taikan was born in Mito city, Ibaraki Prefecture. He entered the Tōkyō Bijutsu Gakko in 1889 and graduated in 1893. There, he studied under the Kano school artist Hashimoto Gahō and had classmates who would also become leaders in Nihonga, Shunso Hishida, Kanzan Shimomura, and Kogetsu Saigo.

After graduation, Taikan spent a year teaching at "Kyoto Shiritsu Bijutsu Kogei Gakko" in Kyoto. He returned to Tōkyō in 1896 as assistant professor at the Tōkyō Bijutsu Gakko, but resigned only a year later together with Tenshin Okakura because of a confrontation in the school and joined Okakura in establishing the Japan Fine Arts Academy (Nihon Bijutsuin).In 1914, Yokoyama along with Kanzan Shimomura concentrated on reviving the Nihon Bijutsuin (The Japan Fine Arts Academy) which had closed down upon Okakura Kakuzo's death in 1913.Taikan Yokoyama was an important leader in the Nihonga, or "Japanese traditional" school of modern Japanese art. He was extremely influential in the evolution of the Nihonga technique, having departed from the traditional use of the line drawing. His style was called "Mourou-tai (Blurred style)". He became a teishitsu gigeiin (imperial artist) in 1931. In 1935, he was appointed as a member of Teikoku Bijutsuin (the forerunner of the Japan Art Academy), and in 1937, He was one of the first persons to be awarded the Order of Culture.

Taikan came to India along with Shunsō Hishida in 1903. He, along with Hishida was one of the first modern Japanese painters to visit India. They worked in Abanindranath's studio at Jorasanko in Calcutta.Taikan's presence gave the Indian artists, especially Abanindranath and Gaganendranath an opportunity to study and adapt the Japanese techniques. The Japanese wast tecnique, demonstrated by Taikan and Hishida left a deep impression on Abanindranath's art.

Taikan also was very willing to explore Indian themes in his work, for example the Ras Lila or 'love-play' of Radha and Krishna. Taikan and Hishida also visited Ajanta and carried their impressions back to Japan. His trip to India, jointly with Hishida inspired some of Yokoyama's most important work. Noted painter Mukul Dey during his sojourn to Japan in 1916 was able to observe the influence of the Ajanta frescoes on Taikan's work. He describes seeing a painting "Of the beautiful girls of life size with flower hair dressing of the type of Ajanta Cave paintings". And also says that Taikan's technique by 1916 "Resembled that which was employed on our ancient wall paintings of Ajanta, Bagh and other places".

Kampo Arai (1878-1945):

Portrait of Tagore by Kampo Arai

Kampo Arai

Kampo Arai was born in Ujiiie of Tochigi prefecture. Enamoured by the paintings of Yokoyama Taikan and Kanzan Shimomura, the two most famous Japanese 'Nihonga' painters of the period, Rabindranath Tagore, during his stay in Japan in 1916, wished to have a few of their works copied for him to take back home. Arai, a painter of the Nihon Bijutsuin at that time, was commissioned by Tomitaro Hara (an art connoisseur) to copy two paintings by tailkan and Kanzan for Tagore to be taken to India. Ari Kampo copied the paintings and came to Kolkata in 1916 on Rabindranath Tagore's invitation. In Calcutta Arai worked in Vichitra studio.

Kampo Arai visited Calcutta and Santiniketan and travelled around India from 1916 to 1918. Arai went to the ancient cave shrines of Ajanta to copy the famous frescoes there. He also visited Puri, Konarak and several other places of historical and artistic interest in Orissa along with Nandalal Bose.

Akino Fuku: (1908-2001):

Indian Woman

Akino Fuku

Akino Fuku was one of the three great Japanese women painters. She began her study of Nihonga under Suisho Nishiyama in 1929. And her work was first accepted by Teiten in 1930.After the World War II, Akino decided to leave Japan Fine Arts Exhibition (Nitten) and participated in the foundation of Sozo Bijutsu (the present Soga-kai), non-official group of Japanese painters, with Uemura Shoko, Fukuda Toyoshiro and Yoshioka Kenji among others. In 1962 she was invited as a visiting professor of Visva-Bharati University in India and spent one year there. This experience gave her painting a new scale. She found herself drawn to India. Famous for her landscapes of the eternal soil of India and for her vivid portraiture of the people living there, she created new horizon for the Japanese style painting.

Ikuo Hirayama: (1952 - 2009):

Ikuo Hirayama

Ikuo Hirayama, one of the Japan's most celebrated painters was born in Setoda-chō, Hiroshima Prefecture. In 1952, he graduated from the Tōkyō School of Art (today’s Tōkyō National University of Fine Arts and Music, popularly known as "Geidai"). His 1959 work "Bukkyo Denrai" depicting an ancient Buddhist monk who introduced Buddhism to Japan, first gave him widespread recognition. A traditional Nihonga-style painter, Hirayama's career has been built largely on his Buddhist-themed paintings, as well as "fantasy" and "the holy dream." The paintings epitomize a sense of hopefulness and cooperation, peace and tranquillity. His Silk Road paintings convey Hirayama’s belief that the road, with its exchange of commerce and ideas, showed that cultures can interact constructively. Hirayama’s efforts to create beauty have reached well beyond the canvas. As a campaigner for the preservation and restoration of the world's cultural heritage and recognition of the importance of these sites, he devoted much of his resources and energies. As an honorary UNESCO ambassador, he has travelled the world promoting and personally funding the preservation of historic Silk Road sites.

Nishida Shun'ei (April 20, 1953):

Pushkar no Rojin

Under a Linden

Nishida Shun'ei was born in Ise city, Mie prefecture, in 1953 Born. In 1977, he graduated from Musashino Art University, Department of Japanese Painting. There he studied under Togyu Okumura, Hideo Shiode. Nishida was greatly inspired by Indian culture and in 1993 came here to study painting as an overseas research personnel of the Japanese Agency for Cultural Affairs. Whilst in India he was shifted to portraiture and in 1995 received the Nihon Bijutsuin (Japan Art Institute) Award as well as the newly established Adachi Museum of Art Award for “Pushkar no Rojin” (Old man of Pushkar), depicting the face of an Indian village chief. In 1996 he won the Tenshin Memorial Ibaraki Award for “Jakko” (Serene Light) depicting a young monk of Ladakh. 1998 Shun'ei was recommended for member of Nihon-bijutsuin. Currently he is working as a professor of Hiroshima City University.

Korehiko HINO:

Hino at Shantiniketan

Korehiko Hino, the well known contemporary Japanese painters, was born in Ishikawa in 1976. He graduated from University of Tsukuba, majoring in Western painting and then completed his masters in 2001 from there. Currently he is attached with the Tama University of Fine Art as an instructor. Hino has built up a solid reputation both in Japan and abroad. His pictures depict amazingly expressionless human forms with really big, creepy eyes. It is difficult to make out whether they are adults or children and therefore they grow the anxiety which all of us in the contemporary era sense in a vague, nebulous way. In 2006, Hino visited Santiniketan in India.

Sources:

http://www.arttowermito.or.jp/index.php
http://www.nishida-shunei.com/pg98.html
http://www.japanlink.co.jp/ka/bunk1.htm#Ink painting
http://www.chitralekha.org
http://www.artindiamag.com
Amar Katha by Mukul Dey
Prashanga Rabindranath O Japan by Kazuo Azuma
Art and Nationalism in Colonial India, Occidental Orientations by Partha Mitter

Photo Courtesy:

Rabindra-Okakura Bhavan, Salt Lake
Jyoti Eri
Archer10(Dennis)

Basho: Frog Haiku

2010-08-07T23:24:00.109+05:30

古池や

蛙　飛び込む　

水の　音　

Matsu Basho , an eminent Hyjin or Haiku poet of the 17th century Japan, wrote this famous poem, known as Frog Haiku in English. Basho's Frog Haiku is regarded as a paradigmatic Haiku as it follows, the 5-7-5 syllabic pattern of a traditional Haiku. The firs line, ' 古池や' , consists of 5 syllable, the next line ' 蛙　飛び込む', is of 7 syllable and the last line '水の　音' is again of 5 syllables.
Tagore has given us a wonderful translation of Matsu Basho's 'Frog Haiku ' in his celebrated work 'Japan Jatri ', or his travelogue on Japan. According to Tagore brevity can be taken as an essential feature of Haiku. The existence of a 3 lined verse is hard to be traced out anywhere. These 3 lines are enough both for the poet and for the reader.
Going through the Internet I came across numerous versions of Basho's 'Frog Haiku '. Here I would like to refer to a few of these English translations:

"Into the ancient pond
A frog jumps
Water's sound "
-D .T. Suzuki

Eminent American poet Alan Ginsberg has brought out another translation . This is as follows :

"The old pond
A frog jumped in
Ker plunk-"

Another is of Robert Hess -

"The old pond
a frog jumps in
sound of water ."

How enormous was the impact of one short poem on the literary minds, we can easily comprehend from these translations. There is one word in Japanese which can well express the beauty of a Haiku - it is 'Kawaii (かわい）、), meaning pretty. Just as Sakura or Cherry Blossoms are, which bloom only for a short period of time, so is Haiku. Kawai indeed.

焼酎: The Next Big Japanese Drink

2010-06-23T21:17:00.063+05:30

Nihonshu (日本酒) (often referred to as sake) has been playing a central role in Japanese life and culture since the ancient times. But recently Japan's love affair with Nihonshu (日本酒) seems to be on the wane. Japanese people now are more interested in another indigenous alcoholic beverage, shōchū. Once a rough country spirit, shōchū is now the most sought-after drink in Japan, particularly among the young generation.

Shōchū Glass with Tenmoku Finsh

Indo-Japan cultural tie down the ages: A wonderful exhibition

2010-05-01T08:54:00.008+05:30

If you are having some free time or musing on paying a visit to the Salt Lake City Centre shopping complex, do visit this exotic photo gallery at the 3rd floor of Rabindra-Okakura Bhavan, Salt Lake. It is close to the City Centre and within commutable distance from any part of the city. This permanent exhibition on the legacy of Indo Japan Cultural tie remains open throughout the day, everyday. The variegated picture gallery represents all aspects of Indo-Japan relation, cultural, political and spiritual. Subhas Chandra Bose's Japanese associations, Tagore's successive visit to the Land of Rising Sun, Justice Radhabinod Pal's dissenting role at the Tokyo Tribunal, eminent Indian painter Nandalal Bose attending a tea ceremony in Japan , Satyajit Ray and Professor Kazuo Azuma's epistolary correspondence, all comes within the purvey of this wonderful exhibition. Also remarkable are the prints of paintings of contemporary Japanese painters like Ikuo Hirayama and Korehiko Hino who have depicted Indian life.

Rabindra-Okakura Bhavan

Block-DD-27/A/1, Sector-1, Salt Lake, Kolkata-700091

Near City Centre

お絞り: A taste of good old Japanese tradition

2010-04-18T20:16:00.010+05:30

Oshibori

Japanese Sliding Doors: Shouji & Fusuma

2010-03-29T20:18:00.008+05:30

Hikido

JLPT N1,N2 N3.... Old wine in a new bottle?

2010-03-07T20:32:00.010+05:30

Goodbye JLPT 1Q, 2Q, 3Q & 4Q. The Japanese Language Proficiency Test is undergoing a significant change. Not only could an examinee appear this examination twice a year, but, the mode of these tests is also undergoing a change.

Following are certain aspects of the New Test which makes it different from the older one:

Total five Levels: In contrast to the previous tests, 5 levels have been designed.

N1 Approximately the same level as the current Level 1 test, but designed to measure slightly more advanced abilities.

N2 Approximately the same level as the current Level 2 test.

N3 Positioned at a level bridging the current Level 2 and Level 3 tests.（ newly established）

N4 Approximately the same level as the current Level 3 test.

N5 Approximately the same level as the current Level 4 test.

(“N” stands for both“Nihongo” and “New”)

In India this year, N1, N2 N3 tests will be conducted twice a year, one in the month of July, and the other in the month of December. N4 & N5 will be conducted once a year, in the month of December only.

More emphasis has been given on the listening part:

The Guidebook for the New JLPT has rightly pointed out that more emphasis has been given both on practical Japanese communicative competence and on knowledge of the Japanese language, in almost all the levels the time allotted for the listening part has enhanced.
The marks ratio has too changed, the listening part comprises of 60 marks out of total 180 marks, whereas, in the previous test it was 100 out of 400.

The division of the test too under goes a change:

N1& N2 have 2 divisions, a vocabulary, grammar and comprehension paper comprising of 110 minutes for N1 and 105 minutes for N2 and listening paper of 60 minutes for N1 and 50 minutes for N2. There will be 3 papers in the other 3 levels N3, N4 and N5.
Criteria for passing in the exam have too changed. The requirements for passing have changed so that examinees must now exceed the minimum acceptable score for both the total as well as each scoring section. Failure to exceed the minimum acceptable score in any scoring sections will result in a fail for the entire test, even if you’re total score is above the minimum acceptable score.

For Further Information:

The official website of the Japanese-Language Proficiency Test

Sakura Academy and the New JLPT Examination:

The Sakura Academy, a Japanese language school located at Barasat was established in the year 2005, and since then, it has been promoting Japanese language courses in the eastern India. At present Sakura Academy is running three branches located at Santoshpur, in South Kolkata, at Barasat in 24-Parganas(North), and at Rabindra Okakura Bhavan in Salt Lake in collaboration with Bangla Akademy. Admission for regular Japanese classes is going in full swing. Keeping in view of the requirements of the Japanese language students, Sakura Academy have introduced specific orientation classes for the respective levels of the New JLPT examination.

Those interested to take admission may contact at 9830737935 or at 9903528232 .

Ikebana Worshop . Rabindra Okakura Bhavan .Kolkata

2010-02-27T20:04:00.003+05:30

Ikebana, the tradational Japanese art of beautification with flowers is appreciated allover the world. Thanks to the effort of the Japanese Consulate and the Bharat Japan Sanskritik Kendra at Rabindra Okakura Bhavan, Saltlake Kolkata, that we Calcuttans could experience the magficience of this art. An Ikebana Workshop for Ikebana enthusiasts was organized at Rabindra Okakura Bhavan on 9th February, 2010. Eminent Ikebana Sensei Mr. Katsuhito Kurata demonstrated the craft of Ikebana in the workshop. The Ikebana Workshop was inaugurated by the Honarary ConsulGeneral of Japanin Kolkata. Following are some pictures taken at the workshop ...................

The making of today's Japan: An Extensive review

2010-01-08T19:57:00.017+05:30

JANA OJANA JAPAN PART II

A Review

The history of a nation often takes a meandering path like a river. The curves she creates during her course are interesting aspects to be studied. The history of Japan, a group of islands (the Japanese word for a group of islands is Shimaguni) lying in the Pacific seems to be one such. No where in human history we have witnessed such amazing development as we have seen in case of Japan during the phase of post-war reconstruction. Japan having diminished to ashes took her rebirth in the second phase of the Showa Period (1926-1989). Probir Bikash Sarker’s Jana Ajana Japan Part 2 contains many such half known, or forgotten facts about contemporary Japan. There is a whole essay which tells us how Japan succeeded in becoming the world’s leading manufacturer of automobile and electronic products, during the Showa Era, which accounted for this stupendous development. As in the case of the 1st part of this text the essays the books contain can be divided into two groups, one on contemporary Japanese history and culture, the other on Japan’s long relationship with India more particularly, with both parts of Bengal of our subcontinent. The diversity of the subjects of these essays is no less interesting.
As in the first part 1 of the book Sarker begins his ambitious journey of retracing the link between Japan and Bengal from the time of Tenshin Okakura, an eminent writer and art critic of Japan, who came to Kolkata and met Tagore during his stay. For the writer, this union of two great mind marks the genesis of Indo Japan ties which was later strengthened by people like Subhas Bose, Rashbehari Bose and Dr. Radhabinod Pal. In this essay the author touches upon the celebrated texts written by these two writers, namely, Gitanjali by Tagore and The Book of Tea by Okakura. Another interesting prose piece is The History of the popularization of Indian Curry in Japan. We all know that Rashbehari Bose took shelter in Japan but the fact that, he was probably the pioneering one to start an Indian restaurant in Japan, is less known. This particular essay gives us an interesting recounting of how with the help of Nakamura family he started the first Indian restaurant in Japan. Sarker has given us an amiable description of how Indian food became so popular in Japan, from the time Behari Bose setup his restaurant in Japan to the present time. Another essay in this book is a tribute to Professor Kazuo Azuma, the eminent scholar and researcher of Tagore’s writing. From this essay we learn how commendable had been his efforts to establish Japanese language institutes in both the Bengals as, the Nippon Bhavan in Shantiniketan and the Okakura Bhavan in Kolkata. His other two essays on Bengal- Japan tie which have been included in this section, are those on Soka, a Japanese Magazine on Bangladesh first brought about by a Japanese writer named, Suzuki Kikuko and another essay on Japanese scholars of Bengali literature.
The essays on contemporary Japan included in this book are no less attractive. Together they constitute an informative discourse on the making of modern Japan in the last century . These include an essay on the life of a woman novelist of the 19thcentury Japan named Higuchi Ichiyo, an essay on the poetic creations of Aida Mitsuo, a prophetic poet who has written Haiku to inculcate his message to the world, another wonderful essay on the National Diet Library and finally a long essay on Tojo HideAki, the prime minister of Japan during the last war, who was sentenced to death by the International Military Tribunal for the Far East. Sarker’s personal view on the history of the last world war may be contradicted, but the writer’s bold criticism of the Tokyo Tribunal which turned out to be victor’s justice (a phrase coined by Dr Radhabinod Pal , the Indian judge providing a dissenting note on the tribunal ) deserves praise. Besides, the essay provides valuable information regarding the history of Japan of the last century. To conclude, there are some unconscious typing mistakes which need to be rectified. The cover page and the back covers containing photographs of great men associated with Japan have been well constructed. The book has been published by Manchitro, a publishing house of Bangladesh.

The price of the book is 300Taka, 1000 Yen and 15 $.

JANA OJANA JAPAN PART II

Prabir Bikash Sarker

Manchitro Publication
Price: 1000¥, 300Taka, 15$
Language: Bengali

Japanese language course at Sakura Academy

2009-11-23T20:59:00.021+05:30

In an era of Globalisation when we find more and more business houses of the 1st world are relocating in the Indian subcontinent, learning a global language seems to be the crying need of the time. In the last couple of years we have seen business ties between Japan & India have strengthened and the year 2007 has been observed by both countries as In do-Japan Friendship Year. Japanese investment has taken place in fields as the software industry, automobile and manufacturing industries and also in the field of tourism. Needless to say, possibilities lurking in the last one has remained unexplored even today.

The Sakura Academy, a Japanese language school located at Barasat was established in the year 2005, and since then, it has been promoting Japanese language courses in the eastern India. At present Sakura Academy is running three branches located at Santoshpur, in South Kolkata, at Barasat in 24Pargana(North), and at Rabindra Okakura Bhavan in SaltLake in collaboration with Bangla Akademy.

The different courses provided are Junior Certificate Course & Senior Certificate Course in Japanese. Students are prepared to appear at the JLPT Examination conducted by the Japan Foundation. Students from Sakura Academy have taken part in the JENESYS students' exchange programme in 2008 and 2009, held in Japan.

Japanese language classes will commence at Sakura Academy on and from January 2009. Admission for Japanese Language Course is in full swing. Those interested to take admission may contact the Director of the said institution at 9830737935.

Raku: Pottery that captures the essence of Zen

2009-11-21T11:20:00.060+05:30

In Japanese society, art, craft and everyday life are inextricably mingled. Especially ceramics have a very unique place in Japanese life. Japanese ceramics have many diverse and distinctive styles which are concentrated in towns and areas all over Japan. Potteries such as, 常滑焼き(Tokoname-yaki), 萩焼き(Hagi-yaki), 有田焼き(Arita-yaki), 瀬戸焼き(Seto-yaki),唐津焼き(Karatsu-yaki), 薩摩焼 satsuma-yaki and many others are now known worldwide.

Japanese ceramics have long history. But development of ceramics in Japan really began in the late 16th century during the Momoyama Period (1568-1615). This was also the time when the Tea Ceremony became very popular amongst the aristocracy and the military class. Kyoto wares 楽焼き(Raku-yaki) was introduced at this time as well, much influenced by the taste of the tea masters. Raku-yaki has been closely connected with tea ceremonies since those olden days.

楽焼き(Raku-Yaki):

Raku (楽) literally means "felicity". The term 楽焼き (Raku-Yaki) is used to define a style of pottery invented in the 16th century in Japan. Raku tea bowls are considered by some to be the height of Japanese ceramic art. It was the first pottery that was specifically created for the art and culture of Japanese tea ceremony 茶の湯 (cha-no-yu). The pieces are undecorated and modest in shape, devoid of any luxury. Each piece is handcrafted without a wheel, which gives it a slightly uneven but unique shape and style. Each one has its own special look. Traditional Raku bowls have a thick lead glaze usually in black or dark red colors. They seem primitive, but their apparently accidental beauty is of a kind to excite an art connoisseur. The name and the style of ware have become influential in both Japanese culture and literature.

Red and Black Glazed Raku Pottery – Tea Cup Set

Origin of Raku-yaki (楽焼き):

Raku pottery originates out of Japan from the Zen tea ceremony during the Momoyama period (1573-1615). Today, Raku ware is known worldwide as a form of ceramic technique. However, it was initially referred only to the wares made by the Raku family.

The technique of Raku ware was developed by a potter named Sasaki Chojiro (長次郎). Chojiro came under the patronage of the tea master Sen-No-Rikyu (1522-1591), the "official aesthete" of “shogun" Toyotomi Hideyoshi(1537-1598), the leading warrior statesman of the time (and eventually “Lord Chancellor of Japan”). Sen-no-Rikyu was the most well-known—and still revered—historical figure in tea ceremony and was largely responsible for bringing the sensibilities of Zen and Taoism to the Japanese tea ceremony. Sen was among the first Japanese aristocrats to recognize the beauty in "wabi-sabi" 詫び寂び (humble simplicity) aesthetics, which celebrate simplicity and imperfection in the things created by man. At first, the tea ceremony was performed with smooth ceramic天目茶碗 (tenmoku tea bowls). Sen commissioned Chojiro to design stoneware bowls that would match the aesthetics the Japanese tea ceremony.

At that time three-coloured glazed potteries, san-cai ware, based on the technology originating from the Fujian region of China were produced in the region of Kyoto. Chôjirô employed this technique to produce tea bowls for the tea ceremony. The exclusive use of monochrome black or red glazes - in marked contrast to the brightness of the generic san cai wares from which they evolved became one of the main characteristics of this ware. That Pottery was well suited to the wabi-sabi aesthetic, and was naturally favoured by Sen no Rikyu. Thus Raku ware came into existence.

Tea bowl with designs of pine boughs and interlocking circles

At first however, this special type of san-cai wares, made by Chôjirô, were not called Raku wares, but Ima-Yaki, literally means "now wares" or "contemporary ware", that is to say, wares produced at the present time. Subsequently, They were distinguished as Juraku-yaki ("juraku wares") derived from “Ju-raku-dai”, the name of a palace in Kyoto built by Toyotomi Hideyoshi, one of the great symbols of the Momoyama period.

Hideyoshi presented Chōjirō with a seal bearing the Chinese character for Raku. (The term Raku is a shortened form of Rakuyaki, derived from the term “Jurakudai”). Chojiro adopted the name Raku as his family name, as well as started stamping the emblem into all the new pottery. Both the name and the ceramic style have been passed down through the family (sometimes by adoption) to the present 15th generation in an unbroken line. Raku Cho-jiro's descendents still make these tea bowls, although they are extremely expensive. The current Raku headship is with Raku Kichizaemon XV. The house and the workshop are located on the west side of the former Imperial Palace in Kyoto.

Characteristics of Raku:

Pleasing to the eye, calming to the spirit and bringing joy and harmony to your heart and life are part of the Raku tradition. The main characteristics of the Raku yaki are simplicity of forms and absence of decoration in a perfect harmony with the spirit of the tea ceremony. It is traditionally characterized by hand-molding of the clay, resulting in each piece being "one-of-a-kind"; low firing temperatures (resulting in a fairly porous body) and lead glazes. Hand-forming allows the spirit of the artist to speak through the finished work with particular directness and intimacy. It is rough-textured and has a very thick surface, but it also has a soft tactile sense.

Raku Jar with Turquoise Flash

Present Trends:

The Raku continues to flourish and tea bowls and other pieces for “cha no yu” continue to be made and used. Additionally, innovative sculpture with western influence and ultra modern style also flourishes. Raku is at the same time very traditional because of its down-to-earth, low-tech features and very modernistic because of the spontaneity involved in its creation.

Today, Raku pottery comes in a variety of finishes and patterns. Ceramic artists from all over the globe have been trying new variations. Raku Ware can now be found in many bright and brilliant shades such as lapis, aqua, persimmon, red, coffee, amethyst etc., with the unique cracked glaze that is the signature of the method. The distinctive patterns are created using special glazes that crack or craze.

Many contemporary Western potters have adopted modified Raku pottery. However the western style Raku only shares the techniques of Raku making, such as low- temperature firing, removing the pieces from the hot kiln, with the glaze still molting hot. But, it lacks the rich culture and spirituality that the ancient style of Raku pottery inherits.

Raku Hagi Karatsu

References:

1> e-yakimono

2> THE RAKU MUSEUM, Kyoto

3> Wikipedia

4> New world encyclopedia

5> Studio-international, UK

6> Asia Art

SUGIHARA : The Good Samaritan

2009-11-08T19:30:00.012+05:30

Stories of war time atrocities committed by Japanese Army are well known facts. Often they have been to some extent exeggarated by Western and Chinese authorities. But during the same time, Japan inspite of being an ally of Germany, turned out to be a refuge for Jewish refugees coming from Lithunia. Needlessto say, this fact is lesser known. The man who did this humane job was Chiune Sugihara (1900-1986), who had been the Vice Consul for the Japanese Empire in Lithunia. He provided transit visas to more than 6000 Jewish refugees, enabling them to escape the horrors of the Hollowcast and to settle in Japanese territories. It was July, 1940. Germans were progressing towards Lithunia.The Jews of Kaunas and their surrounding areas of the Lithunian province were desperate to obtain visas to leave the country. Their plightful condition appealed to Sugihara's conscience. He provided them visas against the orders of his commanders in Tokyo risking his life and those of his family members.

JLPT Level 3 & 4: Question papers and Preparatory Book

2009-09-24T21:55:00.036+05:30

JLPT III, 2004:

Download the Audio files for the Listening test here

JLPT III, 2005:

Download the Audio files for the Listening test here

JLPT III, 2006:

Download the Audio files for the Listening test here

JLPT III, 2008:

Download the Audio files for the Listening test here

Another Useful Book for JLPT III

Title: The Preparatory Course for The JLPT, Level 3. Grammar

Publisher: Unicom Year: 2003 ISBN: 978-4-89689-432-5

Download:

Grammar IV ch02 – Scans

Grammar IV ch01 – Scans

Grammar IV ch01 – Audio

Grammar III ch01 – Scans

Grammar III ch01 – Audio

Grammar II ch02 – Scans

JLPT IV, 2008:

Download the Audio Files for the Listening test here

SUMIYA: The Pleasure House of Edo Era

2009-09-19T19:55:00.016+05:30

Sumiya: The last remaining Ageya

Sumiya was a typical traditional restaurant Ageya of Shimabara, the former entertainment district of the Edo Period (1603-1867) Kyoto, and was finally closed in 1985. It is the last surviving masterpiece of "ageya" architectural style. There are no other comparable buildings surviving in Tokyo or Osaka—or anywhere in Japan. In 1952 the Sumiya was protected by the government as the only remaining ageya in Kyoto. The building was designated as an Important Cultural Property and has been maintained as it is by Kyoto city government. It is now used as a museum open to the public.

Purpose

Sumiya was a place for well-heeled to come to be entertained. It was an elegant restaurant and pleasure house where banquets and dinner parties were held accompanied by the entertainment of geisha and taiyu (the top level of courtesans), who performed tea ceremonies, sang and danced. There were both ageya and geisha-dwellings Okiya in Shimabara. The geisha and taiyu lived in the Okiya, meaning "storehouse," and were summoned to the ageya, houses of assignation to perform at banquets and dinner parties.

The Cultural and Historical Significance

But to label the Sumiya to a "brothel" is to limit its significance and function. Most of the entertainment was of a very different sort and the women who performed here were not to be bought. Sumiya figures prominently in several phases of Edo Period artistic and political history. During the middle of the Edo Period, this building served as a meeting place and cultural salon where elite and powerful men gathered. great artists, writers and politicians of the day met. It was for example the meeting place of Shimabara Haidan, a well-known haiku group. Many poems were created about Shimabara, and in rememberance of the most famous there are 7 memorial stones scattered about the neighbourhood. It was also a showcase for some of the most talented artists and artisans of the era.

Amazingly, the same Nakagawa family has owned and managed Sumiya for 13 generations, since 1641. In 1787 Sumiya was expanded to about its present scale.

The Architecture

Sumiya is the finest extant example of Edo Period (l603-1868) Ageya architecture: plain on the exterior but sumptuous within; elegant and spacious like palaces of the samurai, but refined and casual like tea rooms. It combines the taste and craftsmanship of the sukiya-tsukuri (Sukiya style) with the elegance of Shoin-tsukuri (Shoin style).The rooms contain artwork by famous artists of the time Maruyama Okyo and Yosa Buson.

From the street, one can see the outside of three rooms on the upper floor, the Ogi no Ma, Suiren no Ma, and Donsu no Ma. It is a two story building roofed with tile, copper plates and shingles. It has three main parts:
The lattice work exterior and entry way

The huge, open kitchen

The interior rooms
The interiors of Sumiya surprise us with their freshness and originality. After passing through the front gate of Sumiya, you first enter a pleasant & large courtyard. Going through a small area where there are storage lockers, you come into the original kitchen and food and drinks preparation area. It is very spacious and has five “stoves” for cooking. Above, slats in the ceiling were used to ventilate the smoke that floated up from the fires. In the foreground, a large tatami area remains. Further in are the rooms for customers. In the rear of the Sumiya there is a gracious garden. Behind it are two teahouses, one with a copper roof, the other thatched. The house contains the characteristics of a traditional house as well as the characteristics of Kyoto culture. It is quite dark inside the Sumiya. However, darkness does not necessarily represent inconvenience. The dimness of incandescent or candle lighting has a relaxing effect on people. This dimness is part of the essence of Japanese architecture. Its fusuma (sliding paper doors) and byobu (folding screens) are decorated by some of the greatest artists of the Mid-Edo Period, such as Yosa Buson (l716-84), Maruyama Okyo, Kishi Ganku (1756-1836), Yamada Gazan and Emura Shumpo. These and other artifacts are now showcased. Among these works is the famous National Treasure, "Plum Blossoms", by Buson.

Sumiya is a precious heritage, retaining the essence of Japanese culture, lightness and the darkness and the decorativeness of Kyoto culture.