OUR KYOTO
One enormous bowl, by contemporary American glass artist Dalie Chihuly, glows from a showcase beneath a transparent floor of glass. Frothy green tea is served to visitors in 19th century glass bowls from Italy. The keeper of the glass room is the shrine’s former head priest, 76 year-old Torii Hiroyoshi.
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“I see urushi as a way to connect ourselves and our culture with nature in so many ways. Because urushi and kintsugi art is all natural, it is a good way to remind ourselves that we are all part of nature, being pieces of our universe.”
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Matsuyama Sachiko is the founder of monomo, a business linking Japanese craftspeople with an international audience and encouraging cultural inspiration.
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“Inspired by tea, the housemates show us that it is possible to live creatively and mindfully in this modern day world. It seems fitting that such a place exists in Kyoto, a city that epitomizes the juxtaposition of old and new.”
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Small Buildings of Kyoto features 100 images of the quaint homes, businesses, workshops, as well as the occasional neighbourhood shrine and teahouse, that make up the fabric of Japan’s ancient capital.
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“When people grew millet and grains, they didn’t need to scramble for food. Scrambling causes conflict, but in the absence of scrambling there was peace. For this reason, people really appreciated millet and served it to the gods as an expression of gratitude. “
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The characters for kagai, Kyoto’s geiko districts, are often translated as ‘flower town’. Early in my research I began exploring this metaphor of a garden for the kagai’s cultural ecosystem. I soon discovered that, as in gardens, there are many layers, perspectives and influences.
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“My work is not just about the technical details of making a shoe, but an exploration of a fantasy, a story or something historical.”
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Chiemi weaves her intricate bamboo jewellery from her inner-west Kyoto home studio. Everything step is done by her and by hand, from cutting strips from raw, Kyoto-sourced stalks, to the final dying that washes the pieces in unique wine, turquoise, and emerald shades.
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“What I make, and all Japanese craftsman make ages with you. This is an investment in yourself, your life.”
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Kyotographie seems to be not merely bringing people to hidden or at least underutilized parts of Kyoto, but taking an active role in developing and revitalizing areas that are in dire need of a pick-me-up.
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My roommate moonlights as a desk clerk at a guest house for foreigners and cuts most of his classes so he is seldom home. Most of the other boarders spend evenings in each other’s rooms screaming and jostling each other amid the familiar click and clatter of mahjong pieces being scrambled across a kotatsu table. This is there last fling at wasting time before the responsibilities of company employment and family beckon after graduation.
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As with other arts, shakuhachi’s “traditional” characteristics are constantly evolving. Hesitating to call himself traditional, sensei’s eyes light up when discussing how the music is changing.
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Sen Sumiko (1920-2004) was the daughter of Yukosai, the ninth grand master of the Musanokoji branch of the three Sen families descended from Sen Rikyu and the mother of the present, eleventh grand master, Futessai Sōshu.
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The theme of KYOTOGRAPHIE 2016 is “Love,” a sentiment that is seemingly-universal yet highly-fraught in ways that vary widely from culture to culture. The festival’s organizers do not try to reconcile the differences but rather lay out the debate in spatial and visual terms.
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Ataka reveals an aspect of unique Japanese spirituality. While it is a challenging performance for actors that requires subtle skills instructed orally by a master, the story structure involves a powerful psychodrama, and the roles and presentation evoke the audience’s emotions directly by the senses without depending completely on the words.
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Nakanishi Hirofumi’s signature Sweet, Bitter and Matcha nama chocolates reflect modern tastes while paying tribute to Kyoto and its centuries-old artisan heritage.
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“My idea was to create photographs that explore this undefined border between private and public space by photographing the garden from deep inside the temple, balancing the areas of the tatami/ meditation space and the garden space equally in the image.”
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It all began in 1980, when I was 29, with the first of a series of vivid dreams. These occurred at dawn and continued through four summer mornings. I would find myself in an unfamiliar yet comfortable foreign land, with men, women and kids whom I cared for, yet could not upon waking recall ever having met…
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Kyoto exists in layers of wildness and control; something built juxtaposed with something natural: one against the other, layered, intertwined, spiraled infinitely around the plain, a kind of DNA of place.
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Taking a daily walk helped him to switch his mood. He therefore began a daily routine, walking not only to the Silver Pavilion (Ginkakuji) but to the Honen’in and Nanzenji area, where the scenery is exquisite.
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