2015年10月29日 星期四

Kawanabe Kyōsai (Japanese, 1831–1889)

The Metropolitan Museum of Art, New York
Happy National Cat Day! Celebrate by downloading our Google Chrome extension ‪#‎MeowMet‬, which features images of cats from the Met’s collection. http://met.org/1E8N7FM
Kawanabe Kyōsai (Japanese, 1831–1889) | Cat Catching a Frog | ca. 1887

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遠藤利明 (Toshiaki Endo)


日本奧運大臣「遠藤利明」，今天啟程到英國倫敦，希望學習二○一二年倫敦奧運經驗。遠藤說，倫敦奧運是一次小而美的成功奧運，他希望倫敦奧組委，能夠給予二○二○年東京奧組委大力協助。

遠藤利明表示，希望能夠好好學習倫敦奧運的經驗，活用在二○二○的東京奧運。

Toshiaki Endo (遠藤 利明 Endō Toshiaki?, born 1950) is a Japanese politician of the Liberal Democratic Party, a member of theHouse of Representatives in the Diet (national legislature). A native of Kaminoyama, Yamagata and graduate of Chuo University(where he played Rugby), he was elected to the assembly of Yamagata Prefecture in 1983, serving there for one term. In 1993 he was elected to the House of Representatives for the first time as an independent after an unsuccessful run in 1990. He is overseeing the2020 Summer Olympics preparations on behalf of the Japanese government.[1]

 遠藤利明（えんどう としあき  1950年1月17日－），日本政治家，自由民主黨黨員。出身於山形縣上山市。眾議院議員（當選7屆）。在自民黨內屬於有鄰會（谷垣集團）。現任東京奧林匹克運動會及東京殘疾人奧林匹克運動會擔當大臣

東京奧林匹克運動會及東京殘疾人奧林匹克運動會擔當大臣
2015年—

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2015年10月27日 星期二

日本發展核武？ (江春男)

1027
上禮拜，中國駐聯合國裁軍大使傅聰，忽然指責日本囤積1.2噸濃縮鈾，可以製造1350顆核彈，日本著名政客謀求核武裝，只要作了決定，日本在極短時間內就可變成核武國家，中國對此表示憂慮。日本裁軍使佐野利男當場反駁，日本輿論為之譁然。
上個月，習近平和安倍兩人出席聯大時，都承諾巨額捐款給維和部隊和難民救濟，好像競標對世界和平的貢獻，這種軟對抗，對長期陷入財務危機的聯合國很有利。但是這次以核武作題材，中共不一定討到便宜。
半世紀以前就擁有核武器的中國，攻擊至少沒有核武的日本，道理上站不住腳。
事實上，日本所有的核物質都在國際原子能機構的監督下，嚴格而透明，備受國際所肯定，何況，社會上的反核力量深入各階層，去年政府決定恢復原有核電廠，就受到很大批評。
今年5月，選區在廣島的外相岸田文雄，在聯合國提議把廣島、長崎當作外國元首到訪城市，以增加世界對核武禍害的認識，進一步推動核裁軍，這個呼籲得到25國支持，中國卻堅決反對，「你問中國領導人會不會去廣島之前，我想問日本領導人去不去南京大屠殺紀念館？」此說一出，此議即被刪除。 
把反核和南京大屠殺相提並論，藉機羞辱日本，大陸網友一片叫好，日本輿論再度譁然，最失望的莫過於反核公民團體，但是主張核武的右翼政客反而竊喜，因為聯合國如通過這提議，非核三原則更無解禁之日。 
1964年中國核試成功，日本佐藤榮作也探討發展核武構想，但因美國提供核傘保護，而放棄，代之以不製造、不武裝、不持有核器的非核三原則，佐藤榮作也因此得到諾貝爾和平獎。 
其實，無論在技術上、財政上，日本要發展核武並不困難。但是除了反核民意無法克服，美國不會支持，周邊情勢也有失控之虞，甚至引發中國的報復。日本會發展核武嗎？現在連想都不敢想。
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2015年10月22日 星期四

東京小石川後樂園



明朝遺臣朱舜水

朱舜水（1600～1682年）與黃宗羲、王夫之、顧炎武、方以智一道被梁啟超稱為「清初五大師」。不過，朱舜水如果泉下有知，一定會從棺材裏跳出來拍梁啟超板磚。因為他根本不認同什麼「清」。
自清兵入關以後，他便輾轉於舟山、越南、日本之間為抗清奔波。他為籌集軍費也曾做過貿易，也曾聯合鄭成功、張煌言共同抗清。
在所有努力都失敗後，他恥於做清朝臣民，1659年亡命日本長崎。得到日本學者安東省菴的幫助，在長崎居住下來，並開始講學。
1666年，朱舜水被德川光圀聘為國師，赴江戶講學。德川光圀執弟子之禮親往迎接。以後，朱舜水在水戶、江戶公開講授儒學。他提倡「實理實學、學以致用」，所以日本的儒學一開始就沒有走迂腐的道路。
朱舜水的許多學生和好友，如安積澹泊、木下道順、山鹿素行等人，都參加了《大日本史》的編撰工作，水戶學便是以這些人為核心逐漸形成起來的。

諸多中國元素

小石川後樂園原是水戶藩主江戶邸宅的庭院，初代藩主德川賴房（德川家康的第11子）開始建造，二代藩主光圀時期完工。現在占地面積7萬多m2。
圓月橋。朱舜水設計建造，橋拱與水中倒影正好構成圓月，故名
光圀採納朱舜水的提議，園中加入了許多中國景觀，如圓月橋、西湖堤、小廬山等。園名也由朱舜水命名，取自北宋范仲淹《岳陽樓記》中的名句「先天下之憂而憂，後天下之樂而樂」。
明治維新後，藩主德川昭武將邸宅及庭院都交給了政府。幾經沿革，如今成為都立公園。
這裏每天都有許多遊客，大部分是日本人，也有不少歐美人。可是與之最有淵源的中國遊客卻罕見。
我想來日旅遊不應該只是「爆買」，也應該多看看這類史蹟名勝。
標題圖片：小廬山（攝影：廖八鳴）



小石川後樂園
廖八鳴 [作者簡介]
[2015.10.22]

鬧市中的幽境

東京的環線電車山手線，圍繞東京的中心畫了一個不太規則的圓。這個圓的圓心，大致就在地鐵東西線和南北線交匯的飯田橋。可就是在這樣一個喧囂繁亂之地的附近，卻有一處隱秘的幽境──小石川後樂園。
鬧市中的幽境，遠處是東京圓頂飯店／公園入口
該園的宣傳冊上寫道：「大江戶　東京內僅存的深山幽谷」。雖然有些誇張，卻也一語道破了妙味所在。除了四季變化的自然和園林風景外，豐富的人文內涵也是其聞名的一個因素。它被國家指定為特別史蹟和特別名勝，全日本擁有這雙重稱號的景點，其它就只有金閣寺、濱離宮等屈指可數的幾處了。
說到其人文內涵，須先介紹兩個影響了日本歷史的人物。

水戶黃門

日本有一部由松下電器公司提供播出的長盛不衰的電視連續劇《水戶黃門》，從1969年開始邊拍邊播，一直播到2011年，主演演員就換過5任。有消息說，今年又將重新開拍了。
水戶黃門（1628～1701年），名叫德川光圀（「圀」是「國」的異體字，唐代武則天創造），是德川家康的孫子、水戶藩的第2任藩主，因為曾任黃門官，人稱「水戶黃門」。
劇中的黃門微服漫遊全國，所到之處抑惡揚善，罰貪官，治惡霸，伸民冤。就像包公在中國一樣，他是日本婦孺皆知的傳奇人物、百姓心中的青天大老爺。
歷史上的德川光圀的最大功績是獎勵儒學，開設彰考館組織編纂了397卷的《大日本史》，奠定了水戶學的基礎。
水戶學，是以中國儒學思想為核心，結合了日本傳統的國學、史學、神道而形成的學派。它主張的「愛民」「敬天愛人」「尊皇攘夷」後來極大地影響了幕府末期的眾多志士，成為明治維新的原動力。
而啟迪了水戶學的就是明朝遺臣朱舜水。
園中稻田，右邊的稻草人是水戶黃門造型
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2015年10月21日 星期三

Sengai Gibon (仙厓 義梵?, 1750 - 1837)

Sengai

From Wikipedia, the free encyclopedia
In this Japanese name, the family name is Sengai.
Sengai Gibon's "Kanzan and Jittoku" - Japan, 18th-19th century.
Sengai Gibon (仙厓 義梵?, 1750 - 1837) was a Japanese monk of the Rinzai (臨在宗) school (one of three main schools of Zen Buddhism in Japan, the others being the Soto school and the much smaller Obaku school.). He was known for his controversial teachings and writings, as well as for his lighthearted sumi-e paintings. After spending half of his life in Nagata nearYokohama, he secluded himself in Shōfukuji (located in Fukuoka), the first Zen Temple in Japan, where he spent the rest of his life.
Though the Rinzai sect is particularly known for its hard-to-understand teachings, Sengai tried to make them accessible to the public.
One of his famous paintings shows a circle, a square and a triangle. Sengai left the painting without a title or inscription (save for his signature), however the painting is often called "The Universe" when referred to in English.
"My play with brush and ink is not calligraphy nor painting; yet unknowing people mistakenly think: this is calligraphy, this is painting." Sengai Gibon (1750–1837)
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Kantei (鑑貞; fl. second half of 15th century)

Two Views from Eight Views of the Xiao and Xiang Rivers (瀟湘八景)
Click to enlarge
107-combined
 
107-1
 
107-2

ARTIST

Kantei
(鑑貞; fl. second half of 15th century)

CATALOGUE INFORMATION

Muromachi period
Pair of hanging scrolls; ink and light color on paper
Scroll i (left): 47.6 x 30.1 cm (18 3/4 x 11 7/8 in.)
Scroll ii (right): 46 x 30.1 cm (18 1/8 x 11 7/8 in.)
Donated to The Metropolitan Museum of Art, New York by the Mary and Jackson Burke Foundation in 2015
Ex Coll.: Kusaba Akira, Tokyo; Hachisuka Yoshiaki, Tokyo

LITERATURE

“Kantei hitsu Sansui zu” 1898, pp. 167, 169
; 
Hasumi Shigeyasu 1935
; 
Matsushita Takaaki 1960, no. 35
;
Muraki Chii 1960, fig. 4
; 
Matsushita Takaaki 1967, fig. 121
; 
Shimada Shūjirō 1969, vol. 1, p. 121
; 
Stanley-Baker 1974, fig. 17
; 
Murase 1975, no. 34
; 
Shimizu and Wheelwright 1976, no. 15
; 
Shimada Shūjirō 1979, no. 63
; 
Tokyo National Museum 1985a, no. 16
; 
Avitabile 1990, no. 39
; 
Murase 2000, no. 64
; 
Tsuji Nobuo et al. 2005, no. 42.

SEE ALSO

This artwork was published as catalogue entry 107 in Volume I ofArt through a Lifetime.
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Watanabe Kazan (渡辺 崋山, October 20, 1793 – November 23, 1841)

Watanabe Kazan (渡辺 崋山?, October 20, 1793 – November 23, 1841) was a Japanese painter, scholar and statesman member of the samurai class.
Posthumous portrait of Watanabe Kazan (1853)
字號
B00823
正字
【崋】山-08-11
音讀

ㄏㄨㄚˋ
釋義
同「華」，山名，在今陝西省。說文解字：「崋，山，在弘農華陰。」
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Kanō Sanraku (狩野 山楽, 1559 – 1635)











Kanō Sanraku
From Wikipedia, the free encyclopedia
(Redirected from Kano Sanraku)


Set of sliding doors of Plum tree by Kanō Sanraku

Pair of screens with tigers and storm-dragon by Kanō Sanraku, 17th century, each 1.78 x 3.57 metres.[1]
In this Japanese name, the family name is Kanō.

Kanō Sanraku (狩野 山楽?, 1559 – September 30, 1635) was a Japanesepainter also known as Kimura Heizō (his birth name), Shūri, Mitsuyori, andSanraku.[2][3][4] Sanraku's works combine the forceful quality of Momoyama work with the tranquil depiction of nature, and they have a more refined use of color typical of the Edo period.[5]



Contents [hide]
1 Life
2 Works
3 Notes
4 References
5 External links


Life[edit]

His father was the painter Kimura Nagamitsu[2] who flourished circa 1570, and he was born in Shiga Prefecture and died in Kyoto.[4]

Sanraku worked for Toyotomi Hideyoshi[2] in the 1570s,[4] which lead to him studying under and being adopted by Kanō Eitoku.[2][4]Sanraku was the half-sibling and teacher of Kanō Sansetsu,[4] and became Eitoku's son-in-law and later the head of the Kanō school.[2] When Sanraku had no son he married Kano Sansetsu (1589–1651) to his daughter and adopted him. Sansetsu and his school remained in Kyoto when most Kanō artists moved to Edo (often after a summons from the shogun), and he continued to adhere to the brightly coloured style of the Momoyama period. His son Einō painted in the same style, but is better known for a biographical history of Japanese painting, which gave the Kanō school pride of place.[6]

Sanraku's patrons included Tokugawa Hidetada.[2] Like most Kanō artists of the period, he painted in a variety of styles, including both large works for decorating castles (like the two illustrated), and smaller scrolls, often in a monochrome style derived from Chinese ink-wash painting.
Works[edit]
The three laughing men of the valley of the tiger, screen, color, India ink, and gold on paper. Tokyo National Museum.[2]
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Tani Bunchō (谷 文晁,1763 - 1841)


谷文晁（日語：谷文晁，1763年10月15日－1841年1月6日），日本江戶時代的畫家和詩人，他早年即開始學習繪畫技巧，成年後漫遊於日本各地。 他的作品不拘一格，充滿創意。在德川幕府時期影響深遠。[1]

From Wikipedia, the free encyclopedia
8 Daoist Immortals by Tani Bunchō.
In this Japanese name, the family name is Tani.
Tani Bunchō (谷 文晁, October 15, 1763 - January 6, 1841) was a Japanese literati (bunjin) painter and poet. He was the son of the poet Tani Rokkoku (1729–1809). As his family were retainers of the Tayasu Family of descendents of the eighth Tokugawa shogun, Bunchō inherited samurai status and received a stipend to meet the responsibilities this entailed. In his youth he began studying the painting techniques of the Kanō school under Katō Bunrei (1706–82). After Bunrei's death, Bunchō worked with masters of other schools, such as the literati painter Kitayama Kangen (1767–1801), and developed a wide stylistic range that included many Chinese, Japanese and European idioms. He rose to particular prominence as the retainer of Matsudaira Sadanobu (1759–1829), genetic son of the Tayasu who was adopted into the Matsudaira family before becoming chief senior councilor (rōjū shuza; 老中首座) of theTokugawa Shogunate in 1787. Bunchō is best known for his idealized landscapes in the literati style (Nanga or Bunjinga). Unlike most bunjinga painters of his time, however, Bunchō was an extremely eclectic artist, painting idealized Chinese landscapes, actual Japanese sites, and poetically-inspired traditional scenery. He also painted portraits of his contemporaries (such asOno Ranzan and Kimura Kenkadō), as well as imagined images of such Chinese literati heroes as Su Shi and Tao Yuanming. Since travel outside Japan was forbidden under the Tokugawa shogunate, Bunchō was unable to study in China; he spent many years traveling around Japan, studying Chinese, Japanese, and Western art (洋画, Yōga). Watanabe Kazan, Sakai Hōitsu and Takaku Aigai were among his disciples.[1] One of his pupils was the renowned painter Okuhara Seiko.[2]

References[edit]

  1. Jump up^ Frank L. Chance, "Tani Bunchō and the Edo School of Japanese Painting," Ph.D. Dissertation, University of Washington, 1986.
  2. Jump up^ Gordon, Brenda G. (2003). Copying the Master and Stealing His Secrets: Talent and Training in Japanese Painting. University of Hawaii Press. pp. 4, 7, 116–118. ISBN 0824826086.

External links[edit]

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Sakai Hōitsu (酒井 抱一, 1761-1828)

酒井抱一（日語：酒井抱一，1761年8月1日－1828年1月4日），日本江戶時代的藝術家之一，為宗達光琳派的重要畫家之一。 他曾參予於光琳的相關活動並從中發揮了巨大作用。後落髮為僧，亦常於進行詩歌創作。[1]
From Wikipedia, the free encyclopedia
"Autumn Flowers and Moon" by Sakai Hōitsu
Sakai Hōitsu (酒井 抱一?, 1761-1828) was a Japanese painter of the Rimpa school. He is famous for reviving the style and popularity of Ogata Kōrin, and for creating a number of reproductions of Kōrin's work.

Family background[edit]

Hōitsu was born in Edo; his father was the lord (daimyo) of Himeji Castle inHarima Province.
The Sakai daimyō clan originated in Mikawa province. They claim descent fromMinamoto no Arichika. Arichika had two sons: one of them, Yasuchika, took the name of Matsudaira; and the other son, Chikauji, took the name of Sakai, and this is the ancestor of the Sakai clan. Sakai Hirochika, the son of Chikauji, had two sons as well; and the descendants of these two sons gave rise to the two principal branches of the clan.[1]
A cadet branch of the Sakai is composed of the descendants of Sakai Masachika, who was a vassel of the Tokugawa -- Nobutada,Kiyoyasu et Hirotada. In 1561, Masachika was installed at Nishio Castle in Mikawa province, and the security of the castle was confided in him.[1] In 1590, Sakai Shigetada, the son of Masachika, received the domain of Kawagoe in Musashi province (15,000koku); then in 1601, he was installed at Umayabashi in Kōzuke province (35,000 koku).[2] In 1749, Sakai Tadakiyo (1626–1681) and his descendants were transferred to Himeji in Harima province (150,000 koku); and they remained daimyō at Himeji until the Meiji period.[2]

Artistic career[edit]

Moving to Kyoto, Hōitsu began his studies in art in the Kanō school before moving on to study under Utagawa Toyoharu of the ukiyo-estyle. He later studied under Watanabe Nangaku of the Maruyama school and So Shiseki of the nanga style before finally becoming a painter of the Rinpa school.
Hōitsu became a Buddhist priest in 1797, and spent the last 21 years of his life in seclusion. During this time, he studied the work of Ogata Kōrin extensively, as well as that of Kōrin's brother Ogata Kenzan, and produced a number of reproductions of the brothers' works. He also produced two books of woodblock prints of the brothers' work, as well as one book of his own; these were titled Kōrin Hyakuzu (1815), Kenzan Iboku Gafu (1823), and Oson Gafu respectively.
Hōitsu's style shows elements of the realism of ukiyo-e, but resembles particularly the decorative style of Ogata Kōrin, which Hōitsu took major steps to revive.

Critical analysis[edit]

According to critic Robert Hughes, the core achievement in painting during the Edo period was the allusive and delicate work of the Rinpa artists; and in Hōitsu's large folding screen Flowers and Grasses of Summer and Autumn, he says, "you can almost feel the wind bending the rhythmical pattern of stems and leaves against their silver ground."[3] In another screen, Flowering Plants of Summer, Hughes suggested that Hoitsu "possessed epigrammatic powers of observation," as demonstrated in another screen,Flowering Plants of Summer, in which "the fronds bend and bow under the summer rain, weaving a delicate lattice of green against the now tarnished silver ground."[4]

Notes[edit]

  1. ^ Jump up to:a b Papinot, Jacques. (2003). Nobiliare du Japon -- Sakai, pp. 50-51; Papinot, Jacques Edmond Joseph. (1906). Dictionnaire d’histoire et de géographie du Japon. (in French/German).
  2. ^ Jump up to:a b Papinot, p. 51.
  3. Jump up^ Hughes, Robert. "Style Was Key," Time. June 24, 2001.
  4. Jump up^ Hughes, Robert. "Spare Clarity," Time. October 30, 1972.

References[edit]

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