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Metropolis Japan
25-06-2025
- Metropolis Japan
Experience a Timeless Sanctuary of Prayer: 'Unkei: A Space of Prayer – Kita‑En‑dō Hall of Kōfuku‑ji Temple'
Step into the spiritual aura of Kōfuku‑ji's Kita‑En‑dō Hall this autumn, as Tokyo National Museum presents Unkei: A Space of Prayer – Kita‑En‑dō Hall of Kōfuku‑ji Temple. Celebrating the recently restored masterpiece of the Maitreya Buddha (Miroku Nyorai), flanked by the bodhisattvas Mujaku and Sesshin–Unkei's late-career marvels–this rare exhibit brings together seven awe-inspiring National Treasure statues in a faithful reconstruction of the Kamakura-period inner sanctum. Built in 721, Kita‑En‑dō Hall stands as Japan's most elegant octagonal worship space. It offers an intimate glimpse into Unkei's devotional world and the Kei school's revitalization of Buddhist sculptural realism. This is the first opportunity in over 60 years to see these priceless sculptures outside Nara, recreated here to evoke the solemn atmosphere of its original setting. Open Tuesday to Sunday, 9.30 am-5 pm. For .
23-06-2025
- Entertainment
Katsushika Hokusai: The Woodblock Virtuoso Who Enthralled the World
In a famous afterword to an edition of his illustrated book One Hundred Views of Mount Fuji , Katsushika Hokusai (1760–1849), then in his seventies, gave an insight into his artistic spirit. From the age of 6, I was in the habit of copying the forms of things, and many of my pictures have been published since I was 50, but everything I created before 70 was worthless. At 73, I came to know a little about the structure of birds, animals, insects, and fish, and the botany of trees and plants. Thus, when I'm 86, I'll make further progress with my technique, at 90 I'll master this art, at 100 I'll reach the level of the divine, and at 110 every dot and line I paint will appear to be full of life. These words demonstrate how he was never complacent, and always seeking to improve his art. Finding His Path Hokusai's career as an ukiyo-e artist began in 1779, when he was 18. He became a student of Katsukawa Shunshō, who was known for his portraits of kabuki actors, and created his own pictures of actors, many of which survive to the present day. Hokusai, who used many names during his lifetime, was known as Shunrō at this time (however, this article will generally refer to him as Hokusai). His 1791 portraits of Ichikawa Ebizō and Sakata Hangorō on stage show a high level of polish, indicating that he got off to a smooth start in the ukiyo-e world. Portraits of Ishikawa Ebizō (left; courtesy Metropolitan Museum of Art) and Sakata Hangorō (right; courtesy Tokyo National Museum/Colbase). After the death of his teacher Shunshō in 1792, Hokusai's position within the Katsukawa school appears to have become difficult. The likely cause is thought to have been a falling out with Shunkō, the student who became the new leader of the school; in 1794 Hokusai became the successor to another ukiyo-e artist called Tawaraya Sōri, himself taking the name Sōri. Then, rather than producing work in the main ukiyo-e genre of commercial nishiki-e prints, he threw his energies into producing surimono , which were single-sheet works that were not sold directly to the public, such as simplified calendars distributed by merchants at the start of the year and event invitations. While they were also woodblock prints, Hokusai met the demand for the lighter, more delicate colors that were favored in these works. During this time, he was also illustrating books of kyōka (humorous poems), which similarly called for delicacy and refinement. Hokusai was a major painter in these two genres, both of which reached a high artistic level from around the end of the eighteenth century. Den'en kōraku (A Trip to the Country) from Otoko tōka (Men's Stamping Song). (Courtesy Tokyo National Museum/Colbase) New Directions In 1798, he passed on the name Sōri to one of his students, and began calling himself Hokusai, the name by which he is now widely known. From his latter days as Sōri, for a decade or so, his works in the genre of bijinga (pictures of beautiful women), with their tall, slim, and elegant figures, won him huge popularity. A book published in 1800, when the great bijinga artist Kitagawa Utamaro was still active, praised Hokusai's work as comparable to that of the respected author Santō Kyōden for representation of beautiful women. His hand-painted Sōri-style bijin , named after his artistic sobriquet at the time he started painting them, are highly regarded today. Nibijinzu (Two Beauties). (Courtesy MOA Museum of Art) One popular genre of books in the Edo period (1603–1868) was the yomihon , thanks to authors like Kyokutei Bakin; this was story-driven literary fiction, but illustrations were very important in boosting sales. Hokusai was a leading illustrator, his tightly knit compositions matching the complex literary style of a text that incorporated Chinese words, while his dynamic brushstrokes brought to mind contemporary gekiga manga, and he made effective use of inky darkness to depict mysterious happenings. Bakin was known for his scathing comments, but while he noted Hokusai's 'contrary' nature in not simply following the instructions of the writer, he highly rated the artist's level of skill. They worked together on Strange Tales of the Crescent Moon , which is one of the masterpieces of the genre. An illustration by Hokusai from Chinsetsu yumiharizuki (Strange Tales of the Crescent Moon) by Kyokutei Bakin. (Courtesy National Diet Library Digital Collection) Around almost the same time that he was producing illustrations for yomihon , Hokusai took on a new challenge. This was creating 'Western-style' woodblock prints that aimed to reproduce the texture and density of depiction of Western copperplate engravings and oil paintings. After pioneering works by painters like Shiba Kōkan and Aōdō Denzen piqued his curiosity, Hokusai produced a number of series representing the scenery of Edo and other areas in a style different from the nishiki-e of the time, deploying techniques such as shading and copperplate hatching or colors seen in oil paintings. In this novel form of expression, the artist's rakkan seal is written in hiragana that mimics Roman letters. While not always successful in the market, it had a considerable influence on ukiyo-e artists' depiction of scenery, including Hokusai's own students. This was a base from which he would develop toward later scenic works like Thirty-Six Views of Mount Fuji . The Western-style work Yotsuya Jūnisō (Jūnisō at Yotsuya). (Courtesy Tokyo National Museum/Colbase) Hokusai and Fuji Hokusai passed his most famous name on to a student in 1815, and began calling himself Taito. The previous year had seen the publication of the first volume of Hokusai Manga , which would make the name Hokusai known around the world. This contained sketches of people, animals, insects, fish, flowers, and many other kinds of things, and was designed as a collection of models for art students to use in their practice. As Hokusai had established himself as a master artist, there was massive demand for his sample pictures, and subsequent volumes followed, with the fifteenth and final one being published in 1878, around three decades after Hokusai's death. There were also caricatures that were more for enjoyment than simple models. The forms of the people, birds, fish, and insects give a firm impression of Hokusai's individuality, and their creative impact appealed to both Japanese artists and later ones from the West. First volume of Hokusai Manga . (Courtesy Metropolitan Museum of Art) Around 1830, Hokusai produced Thirty-Six Views of Mount Fuji , including The Great Wave off Kanagawa , which still enthralls people around the world today. Mount Fuji had a special place in the hearts of Edoites, and the series' presentation of the iconic peak in a range of compositions from different locations and in varied weather conditions was a big break for Hokusai, helped in part by abundant use of the imported synthetic pigment Prussian blue, which had gained popularity for its vibrant color. Landscapes were formerly a minor genre within nishiki-e , compared with representations of actors and beauties, and the publication of a series of dozens of pictures must have entailed considerable risk. About a decade earlier, Hokusai had taken on the name Iitsu, and the artist was by now an elderly man of 70. His bold effort to take on a new genre demonstrated how he did not plan to rest on his laurels. Kanagawa-oki nami ura (The Great Wave off Kanagawa) from the Fugaku sanjūrokkei (Thirty-six Views of Mount Fuji) series. (Courtesy Metropolitan Museum of Art) The success of Thirty-Six Views of Mount Fuji established the landscape genre within woodblock art, and spurred Hokusai on to further series, including A Tour of Waterfalls in Various Provinces and Famous Bridges in Various Provinces . Other artists like Utagawa Kuniyoshi and Utagawa Hiroshige also tackled the genre. Shimotsuke Kurokami-yama Kirifuri no taki (Kirifuri Waterfall at Kurokami Mountain in Shimotsuke) from the Shokoku taki meguri (A Tour of Waterfalls in Various Provinces) series. (Courtesy Art Institute of Chicago, Clarence Buckingham Collection) Through the 1830s, Hokusai also produced series centered on flowers and birds, playing a leading role in establishing these further genres. In 1834, he adopted the name Manji, which he used for his famous afterword to One Hundred Views of Mount Fuji . As well as scenery, this multifaceted illustrated book also looked at myths and literature associated with the sacred peak. The audacious composition greatly enlarged aspects of the foreground to highlight comparisons with the mountain in the distance. Tanabata no Fuji (Fuji at Tanabata) from Fugaku hyakkei (One Hundred Views of Mount Fuji). (Courtesy Tokyo National Museum/Colbase) The influence of Hokusai's landscapes extended outside Japan to the West. Notably, in France this included woodblock prints by Henri Rivière and glassware by Émile Gallé. Les Trente-six vues de la Tour Eiffel (Thirty-Six Views of the Eiffel Tower) by Henri Rivière was inspired by Hokusai's Mount Fuji landscapes. (Courtesy Yamaguchi Prefectural Art Museum/Uragami Memorial Hall) Hokusai, who had hoped to live until 110, died in 1849 at the age of 88. Three years before his death, he is reported as having still been a hardy walker, and his creative spirit and painting ability seem to have remained undiminished until the end, as he completed several great works in the last year of his life. He often described himself as 'mad' about painting, but Hokusai could more accurately be characterized as deeply dedicated to the art, with his firm sense of purpose and ongoing innovation. (Originally published in Japanese on May 19, 2025. Banner image created based on a portrait of Hokusai by his student Keisai Eisen, taken from a book by Kimura Mokurō. Courtesy National Diet Library Digital Collection.)
Borneo Post
22-06-2025
- Borneo Post
How Blanc de Chine bridges centuries of global trade in porcelain
People look at porcelain exhibits at an exhibition in Mexico City, Mexico, June 21, 2024. An exhibition themed on 'Exhibition and Dialogue: White Porcelain of Dehua, China and Talavera Pottery of Puebla, Mexico' was held in Mexico City. (Xinhua/Li Mengxin) FUZHOU (June 23): In the factories of Dehua County of Quanzhou City in southeast China's Fujian Province, ceramic workers are racing against time to fulfill Christmas orders destined for overseas markets. With a history spanning over five centuries, Dehua ceramics have evolved from gracing the tables of European royal courts to adorning the kitchen cupboards of Western homes. 'BLANC DE CHINE' As a key trade commodity on the ancient Maritime Silk Road, Dehua porcelains began to be exported as early as the 10th century during China's Southern Song Dynasty, reached their peak in the 17th and 18th centuries, and continue to be produced to this day. The global footprint of Dehua ceramics spans countries along the Maritime Silk Road, extending deep into Europe. Traces of Dehua porcelain have been unearthed outside China, bearing witness to its far-reaching influence. White porcelain, in particular, first entered Europe in the 16th century, quickly becoming popular. It was dubbed the 'Blanc de Chine' — literally 'White from China' — by the French owing to its creamy, milky color and lustrous surface. The Tokyo National Museum in Japan also houses a large collection of exquisite Dehua porcelain pieces from ancient China, many of which were shipped and traded along the ancient Maritime Silk Road. Experts see this transcontinental fascination as an early symbol of cultural diplomacy. 'More than just a form of art, it has served as a vital medium for trade and cultural exchange between China and Japan,' Zhang Minggui, executive secretary general of the Dehua ceramic art masters alliance, said in an exhibition tour held at the Museum of Kyoto in March. A porcelain artwork is displayed during the 'Blanc de Chine — Dehua Porcelain' international exhibition in Brussels, Belgium, Oct. 17, 2024. (Xinhua/Meng Dingbo) DIVERSE TASTES To date, Dehua's porcelain industry continues to evolve — its wares found not just in museums but also on the dining tables and mantelpieces of everyday homes. June is one of the busiest periods for local manufacturers, as they prepare shipments of ceramic ornaments, kitchenware and others in the run-up to Christmas. 'About 80 percent of our orders are from Europe and North America,' said Lian Minpan, CEO of Fujian Redeco Industry and Trading Limited, a major ceramic exporter. Dehua's exports reached 118.5 million U.S. dollars in the first quarter of 2025, marking an 8.8-percent year-on-year increase, according to local official data. Dehua is also actively promoting overseas exhibitions as part of its efforts to enhance the international visibility of Dehua white porcelain. Earlier this month, the 'Yu·Jian' civilizations exchange event opened in Central Asia's Turkmenistan. The accompanying Dehua white porcelain exhibition features over 40 modern works that blend tradition and innovation, with horse-themed pieces highlighting the shared cultural ties and friendship between the two nations. In January, the 'White from China' exhibition was held in Malaysia, with over 40 contemporary pieces on display. 'Each piece is unique,' said Hasnol Zam Zam Ahmad, secretary general of the Ministry of National Unity, expressing hope that such events will deepen cultural exchange and inspire future collaborations between Malaysia and China. Such exhibitions have also been launched in the United States, Belgium and other parts of the world in recent years. From everyday mugs to exquisite china creations, Dehua's porcelain has been subtly integrated into seasonal lifestyles worldwide. This photo taken on June 3, 2025 shows a view of the 'China White: Exhibition of Dehua White Porcelain Art' in Ashgabat, Turkmenistan. (Xinhua) CRAFT MEETS INNOVATION To meet evolving global demand while preserving their legacy, Dehua's porcelain makers are undergoing a revolution that embraces technological innovation with cultural refinement. In modernized workshops, automatic kilns and AI-powered design tools now enhance precision and efficiency. The traditional ceramic production process involves dozens of steps, all of which rely on manual skill and are prone to variable quality. Automation is transforming the traditional production process at Dehua Tongxin Ceramics Co., Ltd. A total of 75 intelligent production lines operate at full capacity, pressing clay into flowerpot shapes in 10 seconds, completing slip casting molds in 15 seconds, and finishing a complete rolling cycle in just 10 minutes. 'Automated production not only lowers manufacturing costs, but also significantly improves the yield rate,' said Zeng Liangfeng, general manager of Tongxin Ceramics. According to Zeng, the company's new facility will be developed into a digitized smart factory, with automation expected to reach 80 percent. Beyond production, companies are cultivating high-value cultural brands. Artisans collaborate to create porcelain that merges Eastern symbolism with Western aesthetics. This combo photo taken on Dec. 6, 2024 shows porcelain works displayed at Peng Chengxiong's studio in Dehua County of Quanzhou City, southeast China's Fujian Province. (Xinhua/Zhang Liyun) Quanzhou Shunmei Group has partnered with internationally renowned brands, including Disney and Starbucks. By creating ceramic products inspired by their iconic intellectual property, the company has achieved strong market appeal both at home and abroad. As Dehua reinterprets its centuries-old craftsmanship for the modern era, its porcelain continues to serve as a cultural bridge carrying forward the spirit of innovation and deepening the dialogue between different civilizations in an interconnected world. – Xinhua ceramics China overseas market porcelain
Malaysia Sun
18-06-2025
- Business
- Malaysia Sun
Feature: How Blanc de Chine bridges centuries of global trade in porcelain
As the Chinese county Dehua reinterprets its centuries-old craftsmanship for today, its porcelain continues to bridge cultures through innovation. FUZHOU, China, June 18 (Xinhua) -- In the factories of Dehua County of Quanzhou City in southeast China's Fujian Province, ceramic workers are racing against time to fulfill Christmas orders destined for overseas markets. With a history spanning over five centuries, Dehua ceramics have evolved from gracing the tables of European royal courts to adorning the kitchen cupboards of Western homes. "BLANC DE CHINE" As a key trade commodity on the ancient Maritime Silk Road, Dehua porcelains began to be exported as early as the 10th century during China's Southern Song Dynasty, reached their peak in the 17th and 18th centuries, and continue to be produced to this day. The global footprint of Dehua ceramics spans countries along the Maritime Silk Road, extending deep into Europe. Traces of Dehua porcelain have been unearthed outside China, bearing witness to its far-reaching influence. White porcelain, in particular, first entered Europe in the 16th century, quickly becoming popular. It was dubbed the "Blanc de Chine" -- literally "White from China" -- by the French owing to its creamy, milky color and lustrous surface. The Tokyo National Museum in Japan also houses a large collection of exquisite Dehua porcelain pieces from ancient China, many of which were shipped and traded along the ancient Maritime Silk Road. Experts see this transcontinental fascination as an early symbol of cultural diplomacy. "More than just a form of art, it has served as a vital medium for trade and cultural exchange between China and Japan," Zhang Minggui, executive secretary general of the Dehua ceramic art masters alliance, said in an exhibition tour held at the Museum of Kyoto in March. DIVERSE TASTES To date, Dehua's porcelain industry continues to evolve -- its wares found not just in museums but also on the dining tables and mantelpieces of everyday homes. June is one of the busiest periods for local manufacturers, as they prepare shipments of ceramic ornaments, kitchenware and others in the run-up to Christmas. "About 80 percent of our orders are from Europe and North America," said Lian Minpan, CEO of Fujian Redeco Industry and Trading Limited, a major ceramic exporter. Dehua's exports reached 118.5 million U.S. dollars in the first quarter of 2025, marking an 8.8-percent year-on-year increase, according to local official data. Dehua is also actively promoting overseas exhibitions as part of its efforts to enhance the international visibility of Dehua white porcelain. Earlier this month, the "Yu*Jian" civilizations exchange event opened in Central Asia's Turkmenistan. The accompanying Dehua white porcelain exhibition features over 40 modern works that blend tradition and innovation, with horse-themed pieces highlighting the shared cultural ties and friendship between the two nations. In January, the "White from China" exhibition was held in Malaysia, with over 40 contemporary pieces on display. "Each piece is unique," said Hasnol Zam Zam Ahmad, secretary general of the Ministry of National Unity, expressing hope that such events will deepen cultural exchange and inspire future collaborations between Malaysia and China. Such exhibitions have also been launched in the United States, Belgium and other parts of the world in recent years. From everyday mugs to exquisite china creations, Dehua's porcelain has been subtly integrated into seasonal lifestyles worldwide. CRAFT MEETS INNOVATION To meet evolving global demand while preserving their legacy, Dehua's porcelain makers are undergoing a revolution that embraces technological innovation with cultural refinement. In modernized workshops, automatic kilns and AI-powered design tools now enhance precision and efficiency. The traditional ceramic production process involves dozens of steps, all of which rely on manual skill and are prone to variable quality. Automation is transforming the traditional production process at Dehua Tongxin Ceramics Co., Ltd. A total of 75 intelligent production lines operate at full capacity, pressing clay into flowerpot shapes in 10 seconds, completing slip casting molds in 15 seconds, and finishing a complete rolling cycle in just 10 minutes. "Automated production not only lowers manufacturing costs, but also significantly improves the yield rate," said Zeng Liangfeng, general manager of Tongxin Ceramics. According to Zeng, the company's new facility will be developed into a digitized smart factory, with automation expected to reach 80 percent. Beyond production, companies are cultivating high-value cultural brands. Artisans collaborate to create porcelain that merges Eastern symbolism with Western aesthetics. Quanzhou Shunmei Group has partnered with internationally renowned brands, including Disney and Starbucks. By creating ceramic products inspired by their iconic intellectual property, the company has achieved strong market appeal both at home and abroad. As Dehua reinterprets its centuries-old craftsmanship for the modern era, its porcelain continues to serve as a cultural bridge carrying forward the spirit of innovation and deepening the dialogue between different civilizations in an interconnected world.
Korea Herald
16-06-2025
- Entertainment
- Korea Herald
Meet the splendid and the unassuming Japanese art in Seoul
Marking 60th anniversary of Korea-Japanese diplomatic ties, National Museum of Korea and Tokyo National Musuem jointly host special exhibition on Japanese art in Seoul As part of a cultural exchange program between South Korea and Japan marking the 60th anniversary of their diplomatic ties, the National Museum of Korea and the Tokyo National Museum are jointly holding a special exhibition in Seoul for the next two months, shedding light on the aesthetics and subtle depths of Japanese art. Titled "Japanese Art from Four Perspectives," the exhibition invites visitors to trace the beauty of the neighboring country's ancient times from Tuesday until Aug. 10. The exhibition features a total of 62 pieces from the two museums, showcasing the beauty of Japanese art and the ideas and emotions behind it. The Tokyo National Museum, home to many of Japan's treasured artworks, offers a rare chance to see valuable and diverse Japanese cultural treasures up close with 40 pieces from its collection, including seven items designated as Important Cultural Properties of Japan. The highlights include a kimono with autumn grasses painted by Ogata Korin, an 18th-century Edo-period artist, and Noh theater masks used in the traditional Japanese performing art known as"shakumi." Noting that the two museums are at the forefront of fostering cultural exchanges and cooperation between Korea and Japan, Kim Jae-hong, the NMK director general, expressed hopes that the exhibition would give visitors a better understanding of Japanese life and culture. "We sincerely hope that the exhibition will strengthen the ties between the two countries, not just in politics and economics, but culturally and emotionally as well," Kim told reporters during a preview tour held at the NMK on Monday. Korea was annexed by Japan in 1910 and 35 years of colonial rule followed, brought to an end in 1945 by Japan's defeat in World War II. The two countries normalized relations in 1965. The exhibition is divided into four sections. The first perspective that greets visitors is the "Decorative Impulse," which explores the spirit of ornamentation and its aesthetic implications. Here, four pieces of Jomon pottery — some of the oldest pottery in the world — are on display. The artifacts, dating back to 3,000 BCE to 2,000 BCE, show how the ancient earthenware shaped Japanese art and culture. Multicolored glazed porcelain and lacquerware decorated with gold and silver are also on display in this section. In "Pursuit of Restraint," the charm of subtlety in Japanese art is on full display, offering insight into the humble beauty of tea bowls. The third section, "Beauty of Ephemerality," explores "aware," which is a core sentiment of Japanese culture that reflects a gentle sadness or deep emotion felt from the fleeting nature of life. "Aesthetics of Playfulness," the exhibition's last section, looks at how artists use fun and creativity in their work. Makoto Fujiwara, director of TNM, said he hopes the exhibition will help bring Koreans a step closer to Japanese culture. "Korea is geographically a close neighbor of Japan, and because of this, the two countries have deeply influenced each other. Today, Korean culture is widely loved in Japan, and vice versa. Japan's animation has gained immense popularity in Korea," Makoto said. "But Koreans don't really know about Japan's history, which serves as the foundation of its culture. The exhibition will give an easy-to-understand overview of 9,000 years of Japanese art to help people learn more about Japan's cultural roots," he added.
