|
|
Sedo no kusa ("Grass in the backyard")
|
For
the exhibition in Paris, France commemorating the 150th anniversary
of diplomatic relations between Japan and France
"Hangiga" - Appeal of the flatland
Since woodblock prints known as "Ukiyoe" created
by Japanese artists such as "Hokusai " and "Hiroshige"
were brought into France 150 years ago, Japan and France have
shared a broad flow of art as represented by the significant
impact of Ukiyoe on many artists including Monet and Gogh.
"Hangiga" which will be presented in France for
the first time with this exhibition was created by me more
than 20 years ago by refining the traditional techniques of
Ukiyoe to create delicate and high quality woodblock prints.
Its most outstanding characteristics in addition to the expressions
of motifs and space, are the translucent and vivid colors
and natural texture of the wood surface, which remain on the
prints and which cannot be duplicated by other types of woodblock
prints or drawings. I think that it is a crystallization of
the components which play an important role in Japanese traditional
culture, which are wood, paper and water.
The quality of woodblock prints depends on the printing technique.
It is the essence which allows prints to come to life. Good
printing depends on various factors including weather, quality
and conditions of materials and tools such as Japanese paper,
woodblocks, paints, and "baren" (a tool for printing
woodblock prints), as well as physical strength and mental
conditions; if I can complete one satisfactory print per month,
it is a great success for me. It must be difficult in other
countries with different weather, different climates and different
history.
Since the birth of Ukiyoe, Japanese woodblock prints have
only been duplicates of Ukiyoe or copies of ordinary paintings
or so-called "creative" woodblock prints with poor
techniques. I believe that "Hangiga" will change
the recognition of such existing woodblock prints.
In the era when the global environment is in danger, we are
expanding the scope of our activities from three-dimensional
space to four-dimensional or even to five-dimensional space;
however, the appeal of drawing which is consolidated in the
flatland (two-dimensions) is still sufficiently mysterious.
The title of my exhibition, "Memories of Japan",
does not mean nostalgia, but "a form or shape of Japan"
which existed, still exists and will remain in existence as
a two-dimensional culture.
Last but not least, I would like to express my deepest gratitude
to the Japanese craftsmen who provide me with woodblocks,
Japanese paper, carving knives, brushes, baren and paints,
the people in Japan and in other countries who have supported
me by purchasing my works, Ms. Yuko Hattori of Espace Hattori,
Mr. Akio Uozu, a woodblock print critique, and the government
and =people of France.
May 2008 - Tsuzen Nakajima
During my three exhibitions starting from
the one in Seigetsudo Gallery in Ginza in March, the one in
Shimonoseki from March to April, and the one in Hirosaki at
the end of April which were held in less than two months,
I enjoyed warm support from many people. On this occasion,
we would like to express our sincere gratitude to all of them.
After I returned from Hirosaki after the exhibition in early
May, I felt a little tired and had some rest. Now I am totally
refreshed and am preparing for the exhibition in June in Paris.
I will report to you about the exhibition after I return.
At home in May with a balmy breeze.
|
Khorosho
rabota (good laborer)
I always remember a certain man whenever
it snows in Tokyo. It is Mr. Ando who worked as a janitor
at the National Institute for Japanese Language where I worked
as a part-timer for about a year after I graduated from my
university 40 years ago. He was one of the people who returned
to Japan from detention in a Siberian labor camp. He always
proudly told me like this. "I was called 'khorosho rabota
(good laborer)' by Russian soldiers". "khorosho
rabota" means something like "good labor",
and in short, means a "hard worker". He did not
have the gloomy atmosphere which was common to the people
who were caught up in the war and were forced to work hard;
he was a really cheerful person with a small build, and always
moved around. He often told me about his life in Siberia like
a good elderly father in a short story by Dostoyevsky when
we were alone together; "I was the best at digging holes.
I am so lucky because I can still work like this". When
there was a heavy snow in Tokyo in March, we shoveled snow
together. Young me was totally beaten by the tough "good
laborer" in the hard labor. I do not know what happened
to the "khorosho rabota". We do not have much snow
recently in Tokyo due to global warming which is fading like
a piece of my memories that fade away.
The same applies to our memories in history. Russia seems
to have drastic changes to be a wealthy state, but the northern
territories, which were stolen by Stalin like a thief at a
fire during the confusion immediately before our losing the
war 63 years ago, have not yet been returned to Japan. The
only occasion we become aware of this issue is when we hear
the news about seizures of Japanese fishing vessels by Russia;
it is terrible that the issue is getting out of our memories.
We can never beat tough Russians by using armed forces and
negotiations. The only possibility we can win is by using
language. I do not mean the Russian language. I mean to disseminate
the Japanese language thoroughly in Russia. We do not have
time to play with mobile phones. We cannot leave this to civil
servants and politicians who are "good loafers".
Mass media has just been chasing trends and we cannot rely
on it, either.
"The weaker the men, the greater they are miserably affected
by the superficial convenience in their lives" was a
wise comment about 150 years ago by Mr. Gertsen who was a
great Russian speculator in the 19th century. Viva, "khorosho
rabota"! I wish the people who work with sweat luck!
Incidentally, my exhibitions this year will be held in Ginza
and Shimonoseki in spring, and then in Paris in June. Some
people suggested that I have one in Russia, but I am worried
if my physical strength is enough.
On New Years' day in
2008 after having a dream decorated with a slight snow,
Tsuzen Nakajima
Bokyo (longing for the sight of home)
|
Becoming
a terrible wind
It seems that we can never stop the negative effects of TV.
50 years have passed since a famous Japanese critic coined
a phrase about all Japanese becoming idiots due to the bad
effects of TV, and that phrase became the phrase of the day
at that time. Now, we seem to be going further and we may
all become beasts. TV has become craftier about generating
delusions, fabrications, biases and misleading opinions. The
nation may indeed go to ruin without there even being a war.
We do not need any weapons to kill ministers. All TV has to
do is just to gather irresponsible, anonymous opinions of
the people on the street and from the people who are called
"intellectuals," and set fire. From the ancient
times, the Japanese have had a tendency to fuss about trivial
things which has led them to losing sight of the main topic.
Kafu Nagai, a famous Japanese writer, once said that the world
may become better or worse according to the level of the "wishes"
of females. "Watching TV makes us an idiot" - those
were the last words of Ms. Akiko Ikeda, a philosopher who
died in February at age 46. This is something we need to think
of as a the word of a philosopher.
One of the trendy things that has been popular recently in
Japan is a song in which the lyrics say that we become something
like a thousand winds after we die. It seems that the lyrics
say that we will become a wind after we die, but in mym opinion,
we will return to the soil and not become a wind. The Japanese
have been especially caring about the remains of the dead,
and have been carefully picking them up, arranging them into
the shape they were when they were alive to return them to
the soil. We do not treat the bodies like objects, and just
leave them, as is, in a hole. This is our culture and each
nation has its own culture. We have created graves even if
we only had wild chrysanthemums as materials, and recycled
all objects with a belief that everything has a soul. By acquiring
a convenient, throwaway culture, we are losing our long-established
thinking of carefully recycling all objects and our valuable
resources. We need to know that we lose two if we get one!
If things go on like this, global warming must become worse.
Now, it is autumn, the harvest season. I am worried about
the impact of global warming on the soil. How about the harvest
of rice and apples in your fields? I heard that our food self-sufficiency
has been decreasing. Cultivation is a very important job to
foster our food and soil (environment.) Now we have to think
more about self-support than liberalization. What saves the
earth is "self-support" and not love.
Incidentally, two types of calendars for the next year are
now ready.
Most of my works that are used in them are new ones. I hope
you will like them and have one around you.
In early September 2007,
before the equinoctial week, Tsuzen Nakajima
|
Hakushu (white autumn) |
Hakuu (shower)
|
What
on earth is so "terrific"?
The Japanese language has been deteriorating
so terribly. Languages are the bases of nations and cultures.
It is a crucial situation for the Japanese culture which is
proud of the emperor and its long history as a sole ancestry
that is unique in the world. The media has been fussing about
"metabolic syndrome," and "spiritual,"
but they are just replacements for a "big belly"
and "emotionally manipulative sales techniques"!
There have been so many translations to conceal their true
motives, and finally, the Prime Minister started to use English
words such as "innovation," and "manifest."
How can he make Japan a beautiful country by corrupting our
national language?
Thanks to "democratization" after the war, the current
Japan has become an abnormal country represented by an increase
of parenticides. Recently, "corporatization" has
been added for globalization.
To begin with, globalization is just an event-oriented foreign
policy which disregards our own history, tradition and culture
in exchange for an efficient money making strategy. The event-oriented
culture has been trying to arouse our purchasing desires by
destroying our ordinary lifestyles. In such an era, war, politics,
elections and judicial trials have been taken up as events,
and the media and corporations have been fussing about how
to stand out in numerous events. Beefhead politicians say
that we must increase national holidays.
They do not seem to notice the subconscious mind in the world
which desires to calm down rather than to be activated. I
desperately hope that the young female TV announcers who are
used to events and do not know any acclaim other than saying
"Terrific!" wake up and read beautiful Japanese
poems such as the one written by Toson Shimazaki which beautifully
expresses about a young lady and apple trees every morning.
Incidentally, I had a one-man exhibition in Hirosaki which
is famous for apples at the end of April. The weather was
snow in the early morning with cherry blossoms in full bloom
at noon under the blue sky, and a full moon at night with
"Neputa" (floats used for festivals.) In rural areas,
local languages and festivals take hold in the peoples' daily
lives which make me want to shed tears. I told a seventeen-year-old
girl who works in a restaurant, "Please appreciate your
'Tsugaruben' (a Japanese dialect prevalent around the area
called Tsugaru)." She strongly nodded which made me so
relieved. The people in the Tsugaru area are earnest and hard
workers. I have become so healthy and haven't been caught
a cold since eating apples grown by those honest people in
their apple orchards.
In early June when apple
flowers are at full bloom Tsuzen Nakajima
|
Say
No to happy-go-lucky people!
The weather this winter was so strange probably due to global
warming. The woodblocks I use for my work were curved due
to the dry weather which caused me much trouble. I am sure
that other people who are in the field of manufacturing felt
this abnormality in their bones. During this time, happy-go-lucky
politicians, companies and media have just been focusing on
peace and welfare, meaning "gentle," "cute,
and "pitiful" things to them, they have not been
looking at the reality that, Japan and the earth are in an
unbelievable situation. Newscasters on TV with smiling faces
are always reading only happy news such as that about millions
of people visiting their hometowns or foreign countries on
consecutive holidays and summer vacations, but they never
tell us how much energy is consumed and how much emissions
and garbage are generated by their activities. Energy-related
problems and garbage-related problems have the same cause.
It is the same for problems concerning discrimination. If
we regard something unnecessary as garbage, it always leads
to bullying and wars. We had a concept of dirt which was called
"chiri" in ancient Japan, but we had no concept
of garbage. Forests of skyscrapers will be garbage, too, if
they become unnecessary. Unless we create a drastic rationing
system for our annual consumption of energy, there will be
no solution for global warming. I hope that such a policy
may increase our birthrate.
When I was in the third grade of junior high school, a student
who sat next to me (I will call him "T"), suddenly
muttered to himself, "Do you know who built the Horyuji
Temple?" during a social study class. Our teacher and
the other students did not know what to say to his sudden
question. Then he said "it was carpenters!" The
classroom was filled with laughter. T did not proceed on to
a high school, but succeeded his father's business, and became
a superior carpenter. To earn a living by ourselves must be
the happiest thing for us.
Incidentally, I am truly grateful to all of you who visited
my one-man exhibition at the Seigetsudo Gallery in Ginza in
March. Many visitors, including a lady who came from Kajima,
Ibaraki Prefecture after a 10-year interval and a person I
taught woodblock printing to 35 years ago, also came after
a long interval, and sent me a color copy of my old New Year
greeting card which surprised me very much. As I did not erase
their names on my list, I was rewarded with such happy reunions.
Such relations with people are so mysterious.
April 2007 on the birthday
of Buddha Tsuzen Nakajima
Ranman (Spring at its best)
|
Moral
jam-up
Recently, drink and driving has become a big issue. It does
not matter to me because I do not have a driver's license,
but I bet drunken drivers are car lovers. They like to drive
wherever they go. There is a department store close to my
place. A lot of people who live not so far from here come
by car, so there is always a traffic jam on weekends and on
holidays. Pedestrian crossings may not be safe. My apartment's
block is used as a byway, and they conspicuously drive through
at a high speed. Traffic signs such as "Slow" or
"No parking" are just useless.
The Setagaya Ward Office put signs up mentioning "Smoking
while walking and littering cigarette butts are prohibited
in this area" on the street, but they are ignored, too.
Smokers do not stop smoking on the street. They never fail
to litter their cigarette butts on the street. A vicious circle
of littering and collecting of cigarette butts does not seem
to end. I made a proposal to the ward mayor about this a half
year ago. "Why don't you use senior citizens to work
as walking signboards in a costume of a cigarette butt at
an hourly rate basis?" An official gave me a polite call
about my proposal, but they haven't done anything. It is the
same about unruly parking of bicycles on the street. Public
officials and companies uselessly glad-hand and give cosmetic
answers, but do nothing constructive.
Banks do not imagine how many people visit them to withdraw
or send money on December 25, and only have gentle-looking
clerks handle customers gently, and keep customers waiting
endlessly. Teller windows are closed exactly at 3 o'clock.
After that, they charge additional fees for transfers and
withdrawals. Banks make a lot of money, so why can't they
open teller windows on weekends and at night as weekdays?
But they do not intend to do that. Signboards and a recorded
voice will answer customers after 3 o'clock. What is the source
of their defensiveness and arrogance? Furthermore, politicians
and media do not see reality which is hidden by advertising
agencies' superficial recognition. I am afraid how long Japan
will last in such a situation. The New Year started with degradation
of our senses and a moral jam-up!!
Incidentally, what is your opinion about the new Kakejiku
calendar for 2007? It was designed by a young designer, Ms.
Akiko Iyoda. I am truly grateful about the heartwarming letters
and mails which were received from home and abroad. I did
not create desktop calendars this year because I was too occupied
on miscellaneous things in Japan and in other countries to
concentrate on the creation of works. I am going to create
both types of calendars for the next year. I hope you will
like them.
My next exhibition will be in March before we have cherry
blossoms at Seigetudo Gallery in Ginza. Please come to see
me there.
At the beginning of the New Year before the exhibition in
spring.
Tsuzen Nakajima
|
Yukitagai |
The
situation of mobile phone users
I find mobile phone ("ketai") users often look blue.
It does not seem that the huge mobile phone charge deprive
them of enough money to eat decent food, but everyone looks
pale. 70% of the people who are sending mails by mobile phones
on the trains are females. They do not appear energetic. The
babies who are with them do not have flushed cheeks. Apparently,
male mobile phone users do not look satisfied with their jobs.
I do not have a mobile phone or a personal computer. I do
not have a fax machine, and my TV is broken, so people treat
me as an odd person. I just do not need to have them because
they do not seem interesting to me at all. These kinds of
equipment are certainly convenient and simple, and may save
me troubles, but on the other hand, I feel they are a form
of "cheap" convenience. I think buying products
directly from people in the field and writing them letters
is much richer, and we think many things when we do these
things. Troubles in the world are interesting and atmospheric
because they take time. My mother often told me, "Do
not follow trends!"This is the wisdom of Edokko (the
people who were born and raised in Tokyo by families who have
lived in Tokyo for three or more generations.)
The other day, I went to buy woodblocks after a half year
interval. I was told that the shop could send them to my place
the next day, but as usual I carried them in my hands even
though it caused much difficulty when going up and down the
stairs in the subway stations, and sometimes almost being
kicked by other passengers. I have been doing the same for
more than 40 years. As you can imagine, it is getting harder
and harder for me, and it takes me a while before I can catch
my breath. I always think like this when I carry woodblocks
with me. "Why on earth have I become a woodblock print
artist?" It has been a while since I started to tell
myself that I would be in this field throughout my life. I
am happy because I am still able to carry woodblocks by myself.
Recently the press started to say that they should go and
look at the field, but it is just a principle. Even if we
look around the field where people are struggling and living
in poverty, it is impossible for us to understand their feelings
without actually being in their position. It is a real self-education
in the field. I think this is what we call "life in the
field."
Now the world is covered by an invisible field. It is an electromagnetic
field! I hope that the electromagnetic waves from mobile phones
and ticket wickets at stations do not relate to the increase
of ademonia (depressive psychosis) and a decrease in the birthrate.
On this occasion, I would like to express my deepest gratitude
to PHP ahd Mr. Takao Yoshino, the Editor-in-chief, for using
my works for the whole year on the covers of the monthly magazine
"Voice." Again, it's time for calendars for the
next year. It is a little early, but I wish you a happy New
Year!
November 2006 - On the
occasion of the sale of new calendars - Tsuzen Nakajima
Fuyuki (winter trees)
|
Akatonbo (Red dragonfly)
|
Divine
power
When the week of the equinox approaches,
I always remember my father who was a Buddhist monk. My father
had a kind of divine power, and he brought down a B29 of the
U.S. Army with his willpower. I knew of many more mysterious
experiences concerning him including his not being harmed
at all when he was hit by a car, and when he visited a shop
with no customers, soon many people came.
Until several weeks before he passed away, he never failed
to read a sutra every morning and evening. He also made me
pray every morning and evening at a Buddhist altar, and asked
me to clean a Buddhist altar and a Shinto altar every day.
My father habitually repeated these phrases. Never fail to
take care of your Buddhist and Shinto altars. It is no use
praying to the Buddha and Gods just for a day or two. If you
pray for them every day without fail, and if you are lucky,
the Gods and Buddha will accept your wishes. At this age,
I know that my father's sayings are applicable to the job
as a craftsman like me. If I take even a day off, my skills
will surely become rusty.Divine power comes from extraordinary
efforts which can be done by ordinary people. That means keep
on doing what you believe every day without fail!
It is the same for all the commotion about the visit of Prime
Minister to the Yasukuni Shrine. It's so ridiculous to have
such a big discussion about whether we agree or not with his
visit of only once a year. Both sides that have such a ridiculous
discussion make a fool of the Gods. I would like all the numerous
"so-called" commentators, politicians, mass media,
and the governments of China, Korea and Japan to have their
say after they pray for Gods 365 days in a row without fail.
If a war begins by such a difference of views, it is a real
bad karma, and if there is no war, we should be grateful to
the Gods for answering our prayer. I think this is what we
call "religious faith."
In Japanese, "kami" which means Gods, also means
"paper" which represents what is essential to us.
We have been having honoring for Japanese paper which is essential
to woodblock prints. "Kami" is a mirror which reflects
our mind, and we know if a specific era was good or bad by
looking at the papers which were produced during the period.
If the era had much turbulence, the quality of papers deteriorated.
How does the Japanese paper which was created in this era
reflect our times? I have to leave it to the judgment by the
people of later ages. Paper is not the only item which reflects
the time. So do females. I wish that sophisticated females,
like chic and robust hand-made Japanese paper in the Edo and
Heian Periods which do not deteriorate, will not decline in
number in comparison to an increase of females like bleached
toilet paper.
Incidentally, the calendars for 2007 featuring my works are
now ready. They came out very well. I hope you will like them
and have one for display near you.
Looking at ears of rice
in September 2006 - Tsuzen Nakajima
|
At
Tanabata (Star Festival)
When I went to a nearby bookstore, I noticed that a young
lady enthusiastically entered texts on her mobile phone from
a brand-new title which she held open in her hands. Being
unable to stand by as a former editor, I said "it is
an act of stealing," but it only resulted in her staring
at me with a questioning look. Today, again, I heard news
that cherries which were just before harvest time have been
stolen in Aomori Prefecture. Where has our sense of justice
gone? Don't you ever see how hard working self-employed individuals
who sweat to create and trade products from their own work
only gain a small amount of profit?
Shoeki Ando, a philosopher from the Tohoku region in the middle
of the Edo period, did not appreciate anyone including Buddha
and Jesus Christ who only dwelled on the virtues without actually
working up a sweat in the mud to produce crops. We can boast
to the world that he was one of the greatest men ever.
Talking about sweat and mud, our current educational system
really seems to be in the mud. Since the ancient times from
the Edo period, the basis of Japanese education has been reading,
writing and calculation by using an abacus, but I think it
is better to include sumo. Sumo should be one of the basic
elements of our education. Sumo seems to be a simple sport,
but in fact, it is very profound in nature. It is a type of
sports where athletes sweat in the mud standing barefoot and
naked and without weapons on the Dohyo (sumo ring) which represents
the shape of the Sun. There is no room for trickery, and there
is no one to rely on except ourselves. By fighting in such
a situation, we can realize the strengths and the weaknesses
of ourselves and others through our own experience directly
from the match. There is no room for quibbling. Immediately
after the winner and the loser are decided, the barrier between
the friend and the foe is gone. Both fighters let themselves
down, and the fight ends by bowing to each other. There is
no room for an evil mind to sneak in. Where on earth can we
find such a culture in the world?
I can say that the young people, more specifically, young
men are full of fear, timid and sometimes cowardly because
perhaps they did not become familiar with sumo when they were
children. It is best for them to have a Bon Festival Dance
and sumo competitions together on school yards or on the field.
I am ashamed to say, but I, who am small in stature, had the
experience of being awarded a set of crayons when I beat five
persons in a row during a sumo competition which was held
in summer in the town where I lived when I was in the first
grade of elementary school.
By the way, I upset my health probably because of accumulated
fatigue since last year, and I gave up my plan to visit London
and Hirosaki, and actually had to return from the boarding
gate of Narita Airport. I do not have any plans for exhibitions
this year, so I am going to refresh myself.
The calendar for next year will be in a little different style
from the previous ones. I hope you will like it.
At Tanabata (Star Festival)
in July 2006 - Tsuzen Nakajima
|
Firefly |
Before
the exhibition at Tamagawa Takashimaya
Thanks to the courtesy of Ms. Makiko Uchidate, a scriptwriter, I
went to see sumo at Kokugikan in Ryogoku after a long interval on
May 15. I became nervous when I sat in the seat called the "sunakaburi"
which was located on the front side and was very close to the "dohyo"
(sumo ring). Looking at the efficient movements of the "gyoji"
(judge) and the "yobidashi" (persons who call out the
names of sumo wrestlers before each match) and imagining the mental
conditions of the "rikishi" (sumo wrestlers) by watching
their serious faces before the match, I was moved to tears.
Many sports in the world are for competing to win, and it is not
very interesting for me to watch them without having any athletes
or teams to support, but when I watch authentic sumo matches at
Kokugikan, I have never felt that way. I think sumo is a sport with
which we can fully appreciate sophisticated traditional beauty which
has been fostered in Japan, and the skills and characteristics of
each sumo wrestler.
It is said that the popularity of sumo has been decreasing recently,
but I do not think that it is because of the advancement of "gaijin
rikishi" (foreign sumo wrestlers.) As long as rikishi, gyoji,
yobidashi, the Sumo Association, and the society of sumo-related
craftsmen try to maintain our good old tradition, we do not have
to worry about its future. I think the problem is on our side. It
also applies to art, and if the audience is serious, athletes and
artists do a good job. But recently, many of us watch sumo and arts
only on TV, so we tend to focus on a facade such as who wins or
loses or superficial beauty which can be easily recognized on TV.
TV, and thosoe of us who only watch sumo and view arts on TV should
be blamed. If we would like to protect the authentic, we have to
go and see the real sumo and real arts sometimes. That's the only
thing we can do.
It is the same about the interest and preferences in foreign cultures;
from my small amount of experience, people in the United States,
England and Australia who became fond of Japanese culture were those
who saw the real Japan.
Recently, we tend to evaluate things which can be expressed in numbers
or just a facade, and people try to become confident in themselves
by maintaining good numbers in such areas as incomes, audience rates,
support rates, the decrease in the number of children and so on,
but numbers do not prove anything. They are only the virtual reality
and virtual values, and not the authentic.
Recently, our society tends to appreciate "new" more,
and disregard "old," but as another pronunciation (koi)
of the kanji which represents "old" describes, "old"
is not just old, but means "rich."
May 2006 - before the exhibition
at Tamagawa Takashimaya - Tsuzen Nakajima
Shokei (adoration
At
the earliest spring in March 2006
Various types of people visit my exhibitions. Some people never
come regardless of how frequently I send them notices, but mostly
I have long-term and marvelous relations with the people who became
acquainted with me by chance.
A young male police officer who happened to know me six years ago
came to the exhibition in February with his colleague after a long
interval. Both of them are age 26 and single. They have good postures
even while off-duty which clearly indicate their good nature. I
heard that they have limited chances to meet women, and many of
them get married either with female police officers or nurses of
police hospitals. Are there any ladies who are going to be the brides
of such nice guys?
On the first and fourth day, Ms. Mariko Iwata of ANA Learning, which
is one of my good supporting companies, came with her subordinates.
The whole atmosphere in the long and thin shaped gallery changed
gracefully as if we had been on an airplane. Now she works "on
the earth" as an instructor of services and speech for various
companies and clinics. I really feel that this kind of job is very
important in this era because we tend to forget about the importance
of good manners.
On the first day, Mr. Soyu Itami who is an instructor of the tea
ceremony of the Urasenke School gave me a chic greeting. In the
same evening, Ms. Makiko Uchidate, a scriptwriter, came and said
she liked a small work that I thought nobody would pay much attention
to. Later on, I told her, "The small work you liked was very
popular. Even with such long-time experience as mine, it is still
difficult to read people's mind," and she had a big laugh.
At the last minute of the last day, a 30-year old ex-employee of
a big trading company who said he was cheered by my works which
were exhibited at the Furusato Bijutsukan came, and told me that
he was going to establish a company in Kyoto. I am happy that I
have come to have another good relation.
Incidentally, a doll we used as a decoration at the venue attracted
attention. It was made by Ms. Harue Fujikawa, a clay artist. She
is young at 34 years old. I believe she is a one-in-several-decade
talent. Please cheer for her.
http://www.haruefujikawa.com/
My exhibitions seem to have become somewhat routine, but I'm going
to continue as long as I have visitors who come to see me, and I
have enough energy to see them once a year.
Last, but not least, I would like to thank all of visitors who came
to see my exhibition in such cold weather.
At the earliest spring in March
2006 - Tsuzen Nakajima
Kunpukaisei (balmy breeze in a fair weather)
|
At
the beginning of the New Year
I was very amazed at the unexpected number
of reactions from various people regarding my exhibition which
was held at the end of last year in Sydney. I had a lot of
visitors who live in Australia, but surprisingly, there was
a young lady who knew about my exhibition when she flew with
Qantas Airways and came to see it from as far away as Virginia,
US. During the opening event, Mr. Tsukasa Kawada, Consul General
of Japan in Sydney, and Mr. Leigh McClintock, President of
the Japan-Australia Society made detailed presentations which
covered a wide range of topics from culture and history of
Japan and Australia to my "hangiga," which beat
me at my own game.
I was especially surprised to learn that there were Australian
people who became interested in Japan and wanted to visit
Japan after visiting my exhibition, and I learned this after
I returned to Japan through a letter I received from Ms. Shoko
Ohno who played koto at the venue and Ms. Mieko Fukakusa,
a calligrapher. I also heard that there were Japanese people
who felt like returning to Japan, and who would like us to
organize another exhibition again soon, because they missed
the one last year. These comments made me feel a little embarrassed,
because I thought that Australia was the best place to live
with friendly people and a comfortable atmosphere. This year
falls on the 30th anniversary of Japanese-Australian formal
relations, and another exhibition is being planned in Sidney
in May, but I have not yet made up my mind, because I am a
little worried if I have enough strength to create enough
works by then.
Last, but not least, I would like to express my sincere gratitude
to the staff of JAL and JALPAK who took care of our round-trip
and accommodations, Mr. and Mrs. Azuma of the Japanese restaurant
"AZUMA," who served us superb cuisine everyday,
KIRIN in Australia which offered us a huge amount of beer,
reporters of the NICHIGO PRESS, and members of the Toumonkai
who are active in Australia. I am also truly grateful to Joe,
the owner-director of the gallery, Rachael, the gallery curator
& manager, Ms. Yoko Aizawa Carr and Ms. Haruko Sumi from
the Opal George who gave me strong support.
I have another exhibition at the Seigetudo Gallery in Ginza
starting from February 7. Please come and join me at ease
with a glass of wine! It seems that this winter is so severe
for the people in Sapporo, Hirosaki, Sendai, Toyama and Shimonoseki.
Please take good care of yourselves. I am looking forward
to seeing you again soon.
Starting from the January issue, my works will be used for
the covers of the monthly magazine "Voice" in 2006.
Please take a look when you see the magazine at a book store.
At the beginning of the New
Year - Tsuzen Nakajima
|
In
Tokyo on a warm autumn day
It is amazing that the government has given us so many consecutive
holidays. After three consecutive holidays, we never fail to see
a lot of long queues at hospitals, banks and post offices. Nowadays,
people move between shopping and entertainment districts and their
homes differently; a lot of people go downtown on holidays, but
downtown turns into a ghost town on weekdays. Politicians have always
been yelling "Reform! Reform!" since ancient times, but reform always
creates new corruptions. All through the ages, politicians can only
create more holidays, or black markets or swings and roundabouts
at the best.
I remember when the company I worked for went bankrupt 31 years
ago; the company and the labor union were only talking about reform
then. It seems that the Japanese tend to be too attracted by words
like "reform" or "innovation." It is helpless, because we may forget
about other things when we listen to these words, afraid that we
may fall behind the times even if we actually do not want any reform.
After all, true reform is self-reform. Conveniences and technical
innovations only contribute to create more hustle and bustle in
the world, and do not have any impact on our true nature. After
all, stupid people are stupid and naughty people are naughty, and
reform cannot change them. It is beyond all help, because the tendency
that we are too attracted by reform is getting worse.
I noticed that when I visited the United States five and a half
years ago for the first time. The United States won out over Japan,
but the only thing they went under Japan was education. They felt
really frustrated, and have intellectuals in various fields analyzed
Japan and the Japanese, and the result of their "reform" is our
current "yutori kyoiku (education free from pressure)." Now, both
pairs of pants and the academic skill of the young Japanese are
slipping down, and they bleach their hair which leads to an awkward
style.
I will have an exhibition from November 10 to December 4 in Sydney.
I will report to you about the exhibition later.
In Tokyo on a warm autumn
day in 2005 - Tsuzen Nakajima
 |
Listening to the chirping of
autumn insects on "Nihyaku-tooka" (the 210th day
from "Risshun" (the first day of spring))
My 101 works are now being exhibited at
the Furusato Bijutsukan, Asahi Town, Toyama Prefecture until
September 25. I visited Asahi Town on the first day of the
exhibition, July 22.
I was very surprised at the big welcome from all the people
including Mr. Ryuichi Uozu, town mayor, townspeople, and media,
and am deeply grateful to them.
I would especially like to express my sincere thanks to Mr.
Akio Uozu, who accepted all the troubles related to the planning,
exhibition and receipt of visitors at this exhibition.
I have known him for as long as 20 years since he gave me
significant support when he ran a woodprint shop in the Yaesu
Book Center located inside the premises of Tokyo Station.
Several years ago, he returned to Asahi Town, his hometown,
to sum up the results of his research, and exerted himself
in the opening of the Furusato Bijutsukan.
Different from the many monotonous architect-oriented art
museums which prevail in Japan, this art museum uses a wooden
residence which gives us a warm and soothing impression. I
believe his way of operating exhibitions which cannot be made
by ordinary museum attendants who only know textbook-like
methods depends absolutely on his deep insights on artists
and visitors as well as art works he acquired through his
experience in publishing and sales over the years.
I admire his acute sense fostered through his long years of
experience, because we have more and more commentators who
have nothing but know-it-all attitudes with no on-site experience.
I will probably not be able to have an exhibition with such
an amazing way of exhibition at such a marvelous venue anymore.
If you have time, please visit there by getting off at Tomari
Station of the Hokuriku Honsen Line. There are a lot of things
you can enjoy in the town, such as comfortable Japanese style
hotels with hot springs, the beautiful ocean, mountains and
delicious rice.
Incidentally, my postcard calendars for 2006 have been completed.
I will have an exhibition for about a month in Sydney in November.
I have been trying to compensate the decline of my physical
strength with my mental toughness. Regardless of the changing
of times, like other people, I probably am the type of person
who understands myself least.
Listening to the chirping of
autumn insects on "Nihyaku-tooka" (the 210th day
from "Risshun" (the first day of spring))
- Tsuzen Nakajima
|
| At the Vega Festival in 2005
After the new collection of my works was published in May,
I have received many letters from many people. Postal mail
is my only communication method to receive reactions to
my works, because I do not have a PC, or a mobile phone,
and do not have an access to the Internet.I especially feel
attached to hand-written letters, and I frequently read
them again at night at my bedside, and go to send my replied
to a post box.
It is completely my self-applause, but after I sent my new
collection to Ms. Makiko Uchidate, a scriptwriter, during
Golden Week, she sent me a hand-written thank-you letter
telling me that "Tsuzen-san, your new collection was
so terrific, and just so amazing! I feel ashamed that I
can only think of such ordinary praise in spite of my profession..."
I feel really grateful to have such great praise.
I have known her since I met her during a job for NHK after
she wrote a famous drama series "Oshin." So our
friendship has continued for more than 20 years. We have
never talked to each other on the phone, but have always
been exchanging hand-written letters. She is "amazing,"
too, because she has never broken her style by sending me
only her hand-written letters even though she has a very
busy schedule. I truly hope that she will educate Japanese
people what the true Sumo spirit is through her assignment
as a member of the Yokozuna Promotion Council, and would
like the people in the sumo world and our nation to tighten
up our loinclothes turn over a new leaf without being moved
by immediate trivial things.
In connection with loinclothes, my work titled "Uminoko
(Children of the Ocean)" in which I showed boys running
on a beach with red loinclothes about 20 years ago had never
been sold before, so I felt so happy when the members of
the Beach Boys came to my exhibition two years ago during
the Sakura Festival in San Francisco, and bought that work
telling me that they were going to make it as their symbol.
It was wise for me not to throw the wood blocks for the
work away. The Beach Boys reached milestone in the history
of rock music similar to the Beatles, and are almost the
same age as me, so I am very impressed that they are still
so active now. I read in the Sankei Newspaper that they
are coming to Japan after a 14-year interval. I am going
to listen to their records at home.
I will have an exhibition for two months from July 22 at
the "Furusato Bijutsukan (Hometown Art Museum) in Asahi
Town, Toyama Prefecture. If you have a chance, please visit
and take a look at "Uminoko" which will be exhibited
for the first time.
At the Vega Festival in 2005 - Tsuzen Nakajima
|
|
|
At the end of Spring
I am sorry that I could not see even one bud of cherry trees
open in Hirosaki during my exhibition at the end of April,
because the cherry blossoms were a little late than usual.
But the female taxi driver on my way to the Aomori Airport
on my return trip made my heart warmer. She seemed almost
as old as me. She mentioned she wanted to become a taxi driver
when she was young, and finally got into the business 15 years
ago. She said she was happier than ever everyday since then.
About a 40-minute driving went by so fast with our happy chat.
Meeting such people who really love their job makes me so
happy. Such people drive safely, and they make others happy
by just their existence.
I often go to the Meijiya grocery store for my daily shopping.
It is the best shop for a person living alone, because we
can buy good food in a small amount without being worried
about having leftovers.All the staff at the shop work very
crisply, and never give a dirty look regardless of whatever
customers ask. They look very elegant during work, and I feel
that they make the food I buy there more tasty.
It has been mentioned by many people, but I recognized anew
that the most important thing in business is the character
of people.
At the beginning of the cherry blossoms in Tokyo, I saw the
Noh play "Kumano" performed by Mr. Reishi Okamoto
after a long interval. He sent me an invitation, but I bought
a ticket as an ordinary member of the audience, and they gave
me the best seat. There were a lot of ladies who dressed up
beautifully around me. I could not help but shed tears at
his magnificent and subtle expressions, but a lady who was
armored in brand goods snored in her sleep in front of me.
It is said that we are in a bipolar era, but the bipolar trend
is not just in terms of wealth, but of our brains.
My second collection was published on May 10. Please take
a look.
Tsuzen Nakajima, in May 2005 at the end of Spring
|
Before my birthday
The exhibition at the Seigetsudo Gallery in early February
was held in Tokyo after a two year and two months' interval.
Different from the ones held at department stores, the atmosphere
for the whole week was very family-like, and evoked my great
sense of gratitude. I am truly grateful to all of the visitors
and staff for their kindness. I am thinking about having another
exhibition at the same gallery next year. I hope to see you
in good health again, and to have a nice chat.
On such an occasion, I always feel my deep ties with other
people. One of the visitors said to me, "All the visitors
to your exhibitions were born again to come to see you after
a 600 years' interval, and all of them lived together then."
Such a comment gives me a comfortable sense of tension. After
celebrating my 60th birthday last year, I feel like accepting
all visitors, and I cherish the chance to meet people as frequently
as possible. If you have time, why don't you come visit me
and have a nice talk and drink with me? People retire at my
age, but it seems to be the contrary with me. Unfortunately
it was after my exhibition ended, but Mr. Jonathan Warr, who
is one of my good supporters, came to my house in the middle
of February from England. I was really happy to find that
he loved Japanese sake. On New Year's Eve, Dr. Ko Sasaki,
who is a dentist living in Nishi-koyama, came to give me a
record player shaped like a gramophone. Since then, I picked
out my favorite old LP records from a closet, and played them
during my work every night.
Tonight, my selection is Brenda Lee and Mieko Nishijima, a
Japanese pop singer.
At the end of April, I will have another exhibition in Hirosaki
during the Sakura (Cherry Blossom) Festival. A new collection
of my works will be published by Nichibou Shuppan Publishing
in May. A big exhibition is kindly being scheduled for me
for two months from July 22 at the "Furusato Bijutsukan"
(Hometown Art Museum) in Asahi Town, Toyama Prefecture. I
am looking forward to your visit!
Tsuzen Namajima, in March 2005 before my birthday
|
|
In autumn with fragrant orange-colored olive
In early summer, I went to the Edo-Tokyo Museum to see the
old chadansu (chest) my family owned, which is now displayed
at the museum, to get an idea for next year's calendarWhat
amazed me a lot was the top-heavy, inorganic appearance of
the building, and its superficial exhibition space which looked
like a set used for shooting of TV programs. I had no idea
how to escape this building in case of an emergency like an
earthquake or fire, so I rushed out of the museum after staying
less than 15 minutes.Ryogoku, where the museum is located,
was severely damaged by catastrophic fires including one in
the Edo Period, the Great Kanto Earthquake, and the air raid
on Tokyo.The windowless building made me think that the building
might make me die there in a fire like the ones they had in
the past. In the first place, the people who built such a
building did not understand the beautiful taste Edo had, and
good old Tokyo had. I dare say they didn't like Edo nor the
good old Tokyo. They did not actually feel the "taste"
in their own lives.The biggest characters of Edo and good
old Tokyo werthe alleys and water channels. I really regret
that they could not have kept more alleys and water channels
untouched instead of building such an inorganic building.
For a change, I got off the train at Sakura-shinmachi Station,
two stops before the station closest to my house,and went
to the Hasegawa Machiko Museum established by the popular
Japanese cartoonist Ms. Machiko Hasegawa who was famous for
the character "Sazae-san."There were no visitors
except me, but the place made me feel better.
"Sazae-san"
was one of the most popular Japanese cartoon characters from
the post-war period, and still is. I saw Ms. Hasegawa on the
streets, but did not have a chance to meet her personally.She
seemed to be a typical traditional Tokyo person, who are shy
and do not like to distinguish themselves too much. She was
really famous, and her works were so impressive, but she had
not received any noteworthy prizes like the Order of Culture,
or the National Medal of Honor. That fact made me very surprised,
but at the same time, made me realize she did not like bureaucracies.
Sometimes I see the "Sazae-san" cartoons broadcast
on TV. I think her greatness was that she did not change her
lifestyle and life cycle even after she became so famous and
popular.
A little walk from the museum got me to the temple where a
monument built in remembrance of Ms. Chiemi Eri, a singer
who became famous by for recording the "Tennessee Waltz"
and also famous as a voice actor for the "Sazae-san"character.
I visited her grave and the monument before going home.
In November, I will finally visit Washington D.C. for my exhibition
at the House of Representatives' library, which was postponed
for so long due to fear of another terrorist attack and so
on. I am going to listen to the authentic Tennessee Waltz
in the United States.The severe heat this summer was so terrible.
It dried my paint, and bent the wood.I don't use an air conditioner
during my work, so you can imagine how hard it was.Please
see the achievements in the calendar for next year.
In autumn with fragrant orange-colored olive - Tsuzen Nakajima
|
 |
 |
On a day close to the Greenery Day
In January 2004, the wife of the shopmaster of the Kaneko
Shoten in Moto-Asakusa from which I have been buying bamboo
leaves for my "baren" (a tool used for woodblock
prints), sent me a letter to inform me that she would
close the shop because of the sudden death of her husband.
Five years ago, Mr. Itakane, who made printing blocks
and lived in their neighborhood, died and his wife and
daughter came and advised me of their giving up the business
which had been operated since the Edo Period. It's sad
to see businesses with such long histories go away one
after another, and I feel that it becomes more and more
difficult to keep doing my job the way it used to be.
It is a very big issue for me to lose such shops. I like
shops run by couples. Whatever they deal with, fish or
fruits, shops mainly kept by couples usually do business
fairly. They have taste, substance and heart, which cannot
exist with mass merchandise outlets or large companies
which only seek better sales and efficiency.
They have life in its original meaning, where the job
and life are merged into one, which maybe called culture.
Many people have been lifting their voices loudly to help
us realize the significance of our culture and tradition.
But, originally, our culture and traditions have been
grown in our ordinary, routine lives in a slow pace, which
I feel in such businesses. The present situation is that
we are in a dangerous point where our "ordinary"
traditional culture is being destroyed by speed-oriented
performances and events.
By the way, I became sixty in March. This means the end
of the traditional sexagenary cycle. I have been working
with woodblock prints for 44 years. I cannot leave my
work to other persons, so I have to give it up if I become
short on physical strength. If I can complete one satisfactory
print per week, it is fine with me.
Thanks to the assistance from Mr. Jun-ichi Kamiyama, a
DVD was released on April 10. I'm sure you will enjoy
his beautiful music. An exhibition is scheduled in Washington
in the autumn of this year. If I am given an opportunity
to talk to the President, I would like to tell him about
the relationship between Japanese traditional culture
and our daily life.
Tsuzen Nakajima - On a day close to the Greenery Day
|
|
