Moving on, back to less touchy subjects…
*The British Museum is now showing its first great exhibition of Shunga – early modern Japanese erotica. I’m a bit surprised it took this long for there to be such an exhibit; but, then, I can understand why it should be controversial. It’s a shame, really, that these images are so graphic, since they are undoubtedly some of the most lavish Edo period woodblock prints and illustrated books. Gold, silver, mica, thick expensive pigments, embossing…
The exhibit is up through Jan 5, 2014.
One of a number of less explicit, but certainly gorgeous, works specially on display in conjunction with the exhibit is a 1780s painted folding screen depicting women of the Yoshiwara.
Turning to the somewhat related topic of the preservation of traditional culture, when we talk about such things, we often talk about fears of the disappearance of theatrical forms such as kabuki and Noh. Declining audiences, declining interest, leads to not enough revenue to keep it going, and so on. And, for many arts, it’s not solely a matter of loss of audience (customers), but also, diminishing numbers of people interested in pursuing the art itself. Kabuki still seems quite strong, to my eye, but this remains a concern there, as well as in Noh, and in many other performance forms. But, one thing which often goes overlooked is the “smaller” but still highly essential traditional arts involved in creating and maintaining costumes, set pieces, musical instruments, etc. I know from my own limited experience in Hawaii, that while we are certainly concerned about continuing to have dance/choreography teachers, and shamisen players, in coming decades, we also need to be concerned about the very niche specialty knowledge of maintaining and styling the kabuki wigs. Our resident specialist in Hawaii, Bandô Jôji (George), has studied formally with kabuki experts in Tokyo, and is a proper wig & costume expert in his own right; but he is getting up in years, and has no successor. These, I get the impression, are the arts we need to really watch out for. As Diane Durston discusses in her book Old Kyoto, the number of expert makers of traditional umbrellas, buckets, and the like is dwindling dramatically. The bucket maker she mentions in her book, Tomii Hiroichi of Taruden, eventually ended up selling chiefly only to movie studios.. and when he passed away, he had no successor, and the operation, the last truly traditional-style bucket maker in the city, closed up shop for good. I wonder where Kabuki gets their buckets from, when they need new ones?
So, even with Kabuki seemingly relatively strong, I think these concerns are quite valid within that realm as well. Even if there are still theatres, and plenty of actors, musicians, costumes & costumers, stagehands, etc., what happens when the tradition of producing, for example, the tortoise-shell hair ornaments for courtesans’ wigs, dies out?
Two of the courtesans’ wigs, complete with hair ornaments (kanzashi), from the 2011 Hawaii Kabuki production of “The Vengeful Sword.” Photo my own.
These hair ornaments are traditionally made by hand, with subtle but important differences in design to be appropriate for different characters, and in particular forms that are particularly good at remaining in place despite actors’ exaggerated movements. As a recent Asahi Shinbun article explains, many of the craftsmen who produce these ornaments have no successors, and there are fears of the art dying out. Master craftsman Takahashi Toshio is quoted in the article saying, “If the ornaments I currently have become unusable, no more will be available.” Learning of this situation, freelance writer Tamura Tamiko established in 2009 an organization known as Dogu Labo for Japanese Traditional Performing Arts, or 伝統芸能の道具ラボ, which has since then been raising funds and otherwise working to help support these specific arts.
This year, the organization has entered into a partnership with a manufacturer of eyeglass frames – another object traditionally made from tortoiseshell – which has now put its industrial machines to work producing plastic replicas of the traditional hair ornaments. From the tone of the Asahi article, this really seems to be a sort of savior for meeting demands for such costume elements. In addition, however, Dogu Labo is seeking to hire interns or apprentices to learn the traditional skills of how to make stage props, hairpins, and the like, in order to keep the tradition alive.
On a somewhat related note, speaking of kabuki, a film has been discovered depicting an amateur kabuki performance & party involving Mishima Yukio, Edogawa Ranpo, Ishihara Shintarô, and Kobayashi Hideo. Sadly, beyond an image of Ishihara as Sukeroku, the brief news article doesn’t tell us much more, let alone contain an online version of the video. But, still, quite a find.
A Korean ritual seal associated with King Taejo (1683), on display now at the Asian Art Museum in San Francisco, on loan from the National Palace Museum of Korea. An example of the very same type of object, but otherwise unrelated to those seized by customs and returned to Korea in this news story. Photo my own.
Finally, for today, Archaeology.com reports that a number of Korean royal seals, taken out of Korea by a US Marine in the 1950s, have been recovered and returned to Korea.
Though I may not be a Korea specialist, through my studies of Okinawa (Ryukyu), I have come to appreciate something of the impact of the loss or destruction of so much of Ryukyu’s royal accoutrements, and thus their great importance and moral/cultural value. And, having seen a number of royal seals at the Asian Art Museum recently (In Grand Style: Celebrations in Korean Art is still up until Jan 12! Go see it!), I can personally attest to the great beauty and power of these objects.
A very nice story of Korea recovering some precious artifacts. A very different story from those we sadly see so much more often, in terms of Korea and disputes over artifacts.