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A Prehistoric Calculators Reflect Archaeology; Stonehenge and the Jōmon Period.
Stonehenge is recognised by the world as one of the top tourist spots in the United Kingdom. In fact, google maps reviews commonly show numerous comments saying that Stonehenge is absolutely worth visiting in their lifetime. My MA coursemates and I were lucky to acquire a chance to visit the site there on the 10th of May 2023 and experience the atmosphere in person. In this post, I discuss my experience at Stonehenge and the significance of researching archaeology.
Stonehenge is currently hosting an archaeological exhibition on Japanese and British stone circles ‘Circles of Stone: Stonehenge and Prehistoric Japan’, organised by Dr Simon Kaner, Executive Director of the Sainsbury Institute for the Study of Japanese Arts and Cultures and Director of the Centre for Japanese Studies at the University of East Anglia. With more fortunate, I was allowed to participate in his lecture before reaching out to the historical place. In practice, what I learnt from the lecture and the exhibition was that even though the Japanese prehistory period and the Stonehenge period had no connection physically with each other, there were some similarities. For example, in Japan at the same time as Stonehenge was supposed to be built, people were building stone circles commonly found in the Tohoku region, northeast Japan. The exhibition also displays elaborate pots and used flaked stone tools. These historical heritages are critical items to reveal the lifestyle of the time.
© Sainsbury Institute Official Twitter One of the items on display that interested me was the calculator used during the Jōmon period, which started 15,000 years ago and ended 2,600 years ago. The presence of calculators provides a lot of research potential, proving that the concept of numbers existed at that time. The calculator at the exhibition showcases an indication from one to six with its appearance, and people at that time could recognise the numbers from one to six. Even in modern life, many things are related to the number six, such as the shape of snowflakes and the eye of a dice. Suppose the analysis of the use of the calculators of this era can be revealed. In that case, it is possible to clarify the route to the mystery based on the number six, which could be a further possibility for research in aspects of mathematics, physics and more.
In conclusion, it is vital for making progress in archaeological research to visit and study the researchable sites in person. Furthermore, understanding this discipline offers the prospect of developing another field of study. As Dr Simon Kaner stated at the end of his lecture that there are several perspectives and controversies regarding the distributional tendency to construct stone circles. One researcher notes environmental conditions and natural resource issues, while another argues a relationship with the site as a tourist destination. Analysing archaeological sites from different points of view and making an argument will enrich human activities.
A shortcut to discovering the life of a certain period is to study the existing archaeological sites. The archaeological research would also offer the prospect of developing another field of study. It may also be that the study of archaeology can be deepened by considering its connections with other areas, histories, etc., rather than sticking only to a particular field of study. While history is said to follow documents, archaeology is a field of study that reveals mysteries from what we actually see and experience. Flying around the world and gaining practical experience, as Dr Simon Kaner did, is the best way to analyse human activities and to conduct future research.
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The interactional reflection between the past and the present through urushi
Kazumi Muroi is was born in 1950, and he has been engaged as an urushi, or lacquerware artist as well as one of the most admirable Living National Treasures in Japan, being overseas. His works fascinate a bunch of people with their beauty and creativity. In this blog, I will discuss him and his works as seen in a video of a TED talk lecture he gave in 2013. When it comes to the word selection in this post, I adapt ‘urushi’ as implying ‘lacquer’ without the translation of lacquer because of his speech in this video mentioning the functionality and special qualities of urushi have potentiality that go beyond the word just ‘lacquer’.
Urushi and Japanese Culture: Kazumi Murose at TEDxTokyo In his presentation, he discussed how he acquired lacquer, its history and the relationship of urushi with outside of Japan. What intrigued me on the first hand was its primary encounter with foreign countries. It is well-known history to introduce Western culture into the nation in the late 16th century, such as Christianity, weapons, wine and more. Behind the simultaneous situation, in fact, urushi exported to various countries. Thus, you can still see urushi objects in some western churches, which is still sensitively maintained to these days. In addition, his presentation concluded with a picture of very simple family Japanese meal showcasing a rice, a miso soup and a broiled salmon piece served with urushi coated dishes. He mentioned to enrich not only the meal time, but also the whole life thanks to the material. These two essences emphasise that urushi coating was highly regarded and possess an identical affect in some ways.
Now, it is not difficult to observe many of his urushi works even in online. When I first reached out to his works, I was impressed by the originality, and several questions also came out. 1. How he comes up with his beautiful designs. 2. What meaning or message his work conveys. I felt that these questions will enhance my curiosity toward understanding and interest in his works.
One of the distinguishing features of Muroto’s work is the exquisite fusion of delicate technique and artistic design. In his hands, urushiware becomes more than just a container or decorative object. His works are decorated with meticulous attention to detail and pattern, appealing the viewers. The technique has been developed over many years and years of experience, giving the impression of his mastery and creativity.
Furthermore, his work is an interaction of Japanese tradition and modernity. In my personal opinion, he respects traditional lacquerware techniques and designs as well as incorporates her own unique approach. As a result, his work exhibits a traditional beauty and a contemporary atmosphere, showing the importance of exploring new possibilities while respecting tradition.
Encountering Kazumi Murose and his work is a valuable experience for me. His skill and creativity not only tell the story of traditional Japanese kogei or craft, but also give us new perspectives and impressions. Conveying a genuine background of Living National Treasure like him allows the next coming generations to enhance a correct understand and a significantl interpretation of the nature.
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Calligraphy in Japanese Education
Shinso senjimon(真草千字文) is a calligraphic art created by a Chinese calligrapher, zhì yǒng(智永), who lived around the 6th century. This calligraphy is an artwork where both the standard script, kaisho(楷書)[1] and the cursive script, sōsho(草書)[2] written next to each other. This artwork is adapted to some calligraphy textbooks at schools in Japan. This post argues how advantageously this artefact affects the audience to develop their possibility aesthetically and educationally.
In the first place, I mention three points that develop their aesthetic aspects.
The first element is the brush pressure variation. As they can see, the brush pressure remains unchanged in writing kaisho, while it is varied in possessing sōsho style. The part of kaisho is written with the same pressure levels to make the character expressive and shape. In contrast, in sōsho, the pressure is unstable to produce how thick or dark the letters and lines are, which creates unique and original character forms.
The Second one is the different brush strokes. In the kaisho part of this artwork, the lines are straight, and the brush strokes are even and orderly. On the other hand, in sōsho part, the direction of the brush is more unrestricted, and the lines are drawn spontaneously, resulting in curved and wavy lines. Therefore, the cursive part of the work was completed with more dynamic brushstrokes than Kaisho writing.
The third one is the different character forms. Kaisho part in this piece expresses a regulated character forms in a margin so that it does not fluctuate. In contrast, sōsho has stranger shapes than typical appearance due to changes in writing pressure and dynamic brushwork and each letter is characterised to be more artistic by the extensive use of curves and wavy lines.I’d like to introduce three beneficial points for fostering artistic creativity and expression through learning this work as educational material.
The first point is to provide technical benefits for practising calligraphy. Both kaisho and sōsho scripts are basic calligraphic styles for learning the fundamentals of calligraphy techniques. This artwork is a valuable resource for learning basic calligraphy skills because it comprises a combination of both scripts. For example, the audience can compare their appearance in them at the same time, which can contribute to learners practising the letters when writing in ink. Thus, when people create their calligraphic art, they are given magnificent practical skills for writing.
The second is to enhance their expression. This artwork also benefits from the different expressive qualities of kaisho and sōsho, each of which has identical expressive qualities, which will help people be more imaginative and creative. Kaisho script is well-arranged and can express precision and neatness. As for the sōsho part, on the other hand, it is free in its brushstrokes and can produce unique and rich expressions. Such expressiveness is a crucial attraction of calligraphy, and this calligraphic art helps us appreciate and produce the diversity of expressiveness in calligraphy by comparing the expressiveness of the kaisho and sōsho.
The final one is to understand the calligraphic history. It is also essential to know the background lying behind artefacts. This piece is a significant work in the history of Chinese calligraphy, where it originated in the past. This work has an intriguing aspect in the history of calligraphy as it blends kaisho and sōsho script. Studying this masterpiece can provide insight into the history of calligraphy and the development process. Additionally, it will help to deepen the understanding and appreciation of calligraphy. As a result, it is advantageous to be closer to this work.In conclusion, Shinso senjimon possesses significant educational value in learning calligraphy. The possibility to compare both kaisho and sōsho writing simultaneously fosters an understanding of the art and promotes learning about brush pressure, brushwork, and letterforms. Furthermore, it can enhance artistic qualities, such as improving calligraphy skills technically, fostering expressiveness, and providing historical context on calligraphy.
[1] Kaisho(楷書) is the most basic style of calligraphy. The characters are well-formed and beautifully organised. This is the prototype of the modern Japanese printing style, and the kanji learned in school are also written in this script.
[2] Sōsho(草書) is a cursive style and a boldly simplified version of kaisho, with a freewheeling, unstructured style of writing. As a result, it is characteristically unique, but also difficult to read. This style is partly used in older books. -
a Japanese traditional craft accepted all over the world; Kumihimo
An exhibition of Kumihimo, a braided cord in Japan, titled “KUMIHIMO: Japanese Silk Braiding by DOMYO,” is being held at JAPAN HOUSE LONDON from the 23rd of February to the 11th of July. This traditional craft, which has a history of around 1,300 years, is created by combining brightly coloured strings. The white walls of this exhibition are decorated with several items ranging from historical products such as armour (甲冑) and westernised garments to contemporary commodities like fashionable bags and phone straps. The vivid and vibrant colours of the Kumihimo on display strike visitors’ eyes. They are unique and made from thousands of different colours combined to create a single piece. The fact that Kumihimo is exhibited abroad is evidence that this traditional Japanese craft is fascinating and accepted not only in Japan but also abroad. However, due to mass production, this traditional handmade craft is now at risk of extinction.
Several countermeasures have been implemented to tackle these problems. School education programs and workshops have been conducted to promote Kumihimo to the younger generation [1]. Additionally, The Agency for Cultural Affairs of Japan provides funds to preserve traditional crafts [2]. Moreover, many craftspeople have been innovating by combining traditional Kumihimo techniques with modern designs to create new products that appeal to a diverse audience. These efforts have ensured that Kumihimo remains accessible to people of all ages.
In the well-known film named ‘Your Name’ by Shinkai Makoto, the protagonist wears a Kumihimo head rope in her hair. This depiction was a very effective means to break through the decline and undoubtedly promoted the product worldwide, reaching various countries, and numerous products based on the film were released.
Regarding my personal experience associated with Kumihimo, I learnt about it practically in a home economics class at primary school, where I made a small bag attached to the handles with an ornament using the same process as Kumihimo. This valuable experience provided me with an intrinsic appreciation of such traditional works.
In conclusion, Kumihimo faces challenges in modern society, but it also presents opportunities for its development. Through education, innovation, and promotion, Kumihimo can continue to be a craft loved in Japan as well as worldwide.
[2] https://www.bunka.go.jp/seisaku/bunka_gyosei/yosan/pdf/93858001_01.pdf
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Tracing the history and background of some artefacts
Once they start exploring the Sainsbury Centre in Norwich, a piece of pottery from Edmund de Waal’s collection will likely catch their eyes. This post highlights one of his collections, netsuke (根付).
From the Collection og a Private Man, 2011
Edumund de Waal (b.1964)
Sainsbury Centre“The Hare with Amber Eyes” is an autobiographical novel by Edmund de Waal that describes how he became fascinated and involved with netsuke. Netsuke is a small ornament that originated in the early Edo period in Japan, and is usually attached to a sash called an obi(帯). They were made of various materials, including ivory, copper, iron, gold, silver, wood, bamboo, and ceramics, and had shapes varying with motifs of humans, animals, and symbols from some anecdotes from the past. I will discuss these valuable artworks and how to appreciate them.
In a class, I had an opportunity to touch a genuine netsuke in person. I held one that was shaped like a frog perched on a flower stem. The netsuke was lighter and smaller than I had imagined, yet it was also impressive in its intricately detailed construction, attracting those who see the work. If it were to appear in modern society, it would likely be popular among children because of its appearance, which is similar to capsule toys. This experience made me reconsider where to store netsuke and how much they cost when collecting them that Edmund de Waal did.
Provenance research is one of the effective ways to investigate historical artworks in detail, including netsuke. The term “provenance research” describes the study of an object’s history of ownership, which aims to uncover the history of an item by investigating how a particular work of art or cultural object changed ownership and came into the hands of its current owner. Revealing the background yields beneficial information for many exhibition venues and their curators. This research can be implemented to trace artefacts and cultural objects lost due to historical events such as theft or looting during wars, or for procedures to return them to their rightful owners.
I wondered how netsuke collectors appreciate them in relation to the relationship between provenance research and netsuke. As I mentioned earlier, netsuke has permeated our lives extensively, from the Edo period to modern capsule toys. Therefore, the existence of netsuke reflects the trends in each period regarding the way of life at the respective time. As a result, many modern capsule toys resembling netsuke are based on anime characters and manga, which are symbols of current Japanese culture. They are likely precious for a study through provenance research.
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Discussion two materials from a Japanese calligraphy textbook
In Japanese school education, calligraphy is taught at different levels. During compulsory education, students learn basic skills such as correct writing, brush usage, and posture. In high school, calligraphy is treated as an art subject, with a focus on appreciating historical expressions and establishing their own style of calligraphy. In this article, we focus on two works from high school calligraphy textbooks: Kyūsēkyūrēsenmē (九成宮醴泉銘) and Kōshibyōdōhi (孔子廟堂碑).
http://www.shodo.co.jp/blog/kohijou/166/
Kyūsēkyūrēsenmē is a representative early stele that is still highly admired today as a model of block writing calligraphy called Kaisho (楷書). The lines in this work are vivid and sharp, and the characters are tall and stylish, exuding masculinity. In contrast, Kōshibyōdōhi has a mild, blurred line, and the letterforms are rounded, giving it a feminine impression.
One of the goals of the high school art curriculum is to study various calligraphic expressions and establish their writing style. This approach emphasizes appreciating the essence of calligraphy, as opposed to the focus on writing during compulsory education. Compared to Western artworks of the same era, calligraphy may not attract an audience with its use of colours, but it provides an opportunity to appreciate the art through the form, space, and dynamics of brushwork.
Japanese calligraphy textbooks provide opportunities to study works from around the world and from various periods. However, for students who learn calligraphy during compulsory education, the focus is on writing letters neatly and correctly, with less emphasis on the artistic aspect. Nonetheless, some argue that learning the basics during compulsory education is vital for understanding the aesthetic aspect of calligraphy, as it is a part of traditional Japanese culture. By learning about its beauty and deeper meanings, one can feel a sense of identity as a Japanese person.
Calligraphy is more than just the art of writing letters; understanding its beauty and deeper meanings allows people to learn about Japanese culture, history, and aesthetics. The approach of learning the basics during compulsory education and pursuing self-expression in upper education is considered adequate for understanding calligraphy from multiple perspectives. Calligraphy education needs further attention in the future and is an essential field of education for preserving Japanese culture and passing it on to future generations.Reference
書道Ⅰ,東京書籍
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Examining the Balance of the Japan Self-Defense Forces: A Societal and Gender Perspective
On the 16th of February 2023, I was allowed to participate in the CJS Research Webinar ‘Manga and Handscrolls: Alleged Origins, Overlooked Correlations’. The speaker was Dr Jaqueline Berndt from Japanology at Stockholm University. She introduced an overview of the aspects of Japanese manga linguistically and visually, describing how they are revised into another published style, for instance, foreign language versions and digital versions. Specifically, I was intrigued by its digitising process. Information technology development made it accessible to reach manga anywhere with smartphones. Thanks to this achievement, the educational use of manga has been becoming widespread. In this post, I discuss how manga contributes to language acquisition with visual aids.
Numerous Japanese manga studies have been conducted today. When learning a second language, conversations between manga characters are dramatically advantageous because they are more realistic-based talking, where speech bubbles are helpful to recognise who is speaking visually, much longer interaction than conventional model dialogues used in textbooks. Thus, it has been adopted in learning materials due to their ease of reading and comprehension. As well as the effectiveness for language concentration, I want to mention in this article the impact of cultural understanding from visuals on learning overall linguistically. The cultural background knowledge where they desire to acquire the language is essential for fostering a second tongue, and the cognitive element called schema that can be used in such a situation also plays an important role. The research about schema is well-known and proven. [1] In this situation, Japanese manga is vital content that benefits language learners. As for Japanese ceremonial events, cultural adaptability is more important than language competence. Suppose to participate in a formal ceremony such as a wedding and a funeral; it requires more adaptive experiences than discourse skills. Japanese manga depicts everyday life visually and a lot of Japanese culture and traditions, which helps the readers to act correctly depending on situations. Understanding a culture beyond language through Japanese manga subconsciously and intrinsically motivates learners to enhance language learning owing to its attraction. I believe that it has an immense effect not only on practical language learning, but also on the development of cultural adaptability and motivation.
Japan is a country that has historically developed and evolved independently. It also exhibits its unique culture and lifestyle. Therefore, for international learners, manga with its realistic portrayal is beneficial for both language acquisition and cultural adaption. This aspect has a proactive impact on language understanding and motivation reciprocally. I showcase this blog featuring everyday scenes from Japan with being drawn by Japanese manga creators. However, I am curious to see what local people in the country outside of Japan think of works produced by Japanese manga artists whose works are based on another culture.
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Week 4 : Your recognition makes arts
In this post, I would like to introduce one of the works of Islamic calligraphy with an attraction that artworks visually present to the audience.
Islamic calligraphy
https://en.wikipedia.org/wiki/Islamic_calligraphyOnce you look at this picture, what will impress you? This image reminds me of a face of a human or a monster because the parts in the middle look like eyes, and in the centre, I can take a straight line as a nose. There is a curvy horizontal line under the nose, which depicts a mouth. Maybe the face is smiling at me from the unique figure. What interests people is the variety of recognition depending on people.
I am not familiar with Arabic, which means this artwork gives an image of the shape rather than the letter. In contrast, this image may be perceived as a text by Arabic users. If you haven’t experienced the language written here, you can recognise it as just a cluster of unknown letters. Interestingly, the gap exists depending on the audience, considering this difference between recognising it as a letter or a work of art.
This kind of work using Arabic is called Basmala. Basmala is a specific Arabic expression of Koran. However, there are some shapes or sequences of them and there is no settled form. Therefore, many forms can be created using this Arabic phrase.
This type of work is often seen in Japan as well. For example, the ten hiragana characters ‘Arigatougozaimasu’, meaning thank you very much, are well placed to create another kanji word ‘, 感謝’, appreciation.
I don’t know if the person who produced this face-like Basmala tried to produce a human face intensively, but to me, I don’t understand Arabic at all; I can only recognise it as a face no matter how many times I see it. To sum up, it is pretty interesting that interpreting such artworks depends on who made them and who saw them.
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Week 3 : The preservation of ingerited traditions
An online seminar, ‘Crafting community: Cooperative relationships behind the sustenance of the Tamba pottery (tanbayaki) industry’, was held by Sainsbury Institute for the Study of Japanese Arts and Cultures on the 16th of February 2023. The presenter was Dr Shilla Lee, from Robert and Lisa Sainsbury Fellow 2022-2023 Sainsbury Institute, and she explained her research field, Tamba pottery and its community. In the early part of her presentation, she mentioned the pottery tradition and its origins, the Nihon Rokko Kilns (Nihon rokkoyō, 二本六古窯). It is the collective term for six representative ancient ceramic kilns in Japan (Echizen, Seto, Tokoname, Shigaraki, Tanba and Bizen), whose production has continued from the Middle Ages to the present. [1] On a personal note, I am originally from Aichi Prefecture, where Seto and Tokoname from the six potteries are located and have been produced historically. This valuable presentation from Dr Shilla reminded me of the opportunity to experience each of these kilns on excursions during my childhood. I believe that the physical experience provided people to learn the importance of these inherited traditions to young generation.
https://en.sixancientkilns.jp/about/ Source: Japan Heritage Six Ancient Kilns website
Tamba pottery is produced in Tamba region of Hyōgo Prefecture in Japan, used with local materials and techniques in the production process. It is also positioned as part of the region’s cultural identity and plays an important industry for the people there. However, several problems have been raised in modern times, which may lead to the vanishment of tradition. The expected problems are as follows
- Declining demand caused by demand has been declining due to cheap imported materials and the loss of price competitiveness
- Lack of successors due to the ageing of craftspeople with traditional skills and the lack of generational shift carrying over to young people.
- Delays in technological development because of the introduction of new technologies and materials delayed, leading to a decline in competitiveness.
Tamba pottery is one example, and according to UNESCO, a bunch of regions around the world are becoming more active when it comes to the preservation of their tradition and inherited culture.[3] In order to prevent these problems above, craftspeople in Tamba Sasayama City are working together to keep the disappearance of their tradition. As I mentioned earlier, in my childhood, I experienced Tokoname pottery as a local tradition. The experience was a direct way of preserving the traditional heritage physically that has been handed down from the past. Thanks to Shilla’s presentation, I recognised the importance of the traditions of my hometown again.
Reference
[1] Nihon rokkoyō 1000 nen tsuzuku tōjikigama no miryoku. (2019, 8 26). Retrieved from Premium Japan: https://www.premium-j.jp/spotlight/20190826_2948/#page-1
[2] UNESCO. (n.d.). Retrieved from https://www.unesco.org/en
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The Role of Manga in Shaping Schemas
On the 16th of February 2023, I was allowed to participate in the CJS Research Webinar ‘Manga and Handscrolls: Alleged Origins, Overlooked Correlations’. The speaker was Dr Jaqueline Berndt from Japanology at Stockholm University. She introduced an overview of the aspects of Japanese manga linguistically and visually, describing how they are revised into another published style, for instance, foreign language versions and digital versions. Specifically, I was intrigued by its digitising process. Information technology development made it accessible to reach manga anywhere with smartphones. Thanks to this achievement, the educational use of manga has been becoming widespread. In this post, I discuss how manga contributes to language acquisition with visual aids.
Numerous Japanese manga studies have been conducted today. When learning a second language, conversations between manga characters are dramatically advantageous because they are more realistic-based talking, where speech bubbles are helpful to recognise who is speaking visually, much longer interaction than conventional model dialogues used in textbooks. Thus, it has been adopted in learning materials due to their ease of reading and comprehension. As well as the effectiveness for language concentration, I want to mention in this article the impact of cultural understanding from visuals on learning overall linguistically. The cultural background knowledge where they desire to acquire the language is essential for fostering a second tongue, and the cognitive element called schema that can be used in such a situation also plays an important role. The research about schema is well-known and proven. [1] In this situation, Japanese manga is vital content that benefits language learners. As for Japanese ceremonial events, cultural adaptability is more important than language competence. Suppose to participate in a formal ceremony such as a wedding and a funeral; it requires more adaptive experiences than discourse skills. Japanese manga depicts everyday life visually and a lot of Japanese culture and traditions, which helps the readers to act correctly depending on situations. Understanding a culture beyond language through Japanese manga subconsciously and intrinsically motivates learners to enhance language learning owing to its attraction. I believe that it has an immense effect not only on practical language learning, but also on the development of cultural adaptability and motivation.
Japan is a country that has historically developed and evolved independently. It also exhibits its unique culture and lifestyle. Therefore, for international learners, manga with its realistic portrayal is beneficial for both language acquisition and cultural adaption. This aspect has a proactive impact on language understanding and motivation reciprocally. I showcase this blog featuring everyday scenes from Japan with being drawn by Japanese manga creators. However, I am curious to see what local people in the country outside of Japan think of works produced by Japanese manga artists whose works are based on another culture.
レペゼンなごや 