Sunday, March 24, 2013
IN LOVE WITH JAPAN: Japanese rice balls " Onigiri.."
IN LOVE WITH JAPAN: Japanese rice balls " Onigiri..": Japanese rice balls " Onigiri.." O-nigiri ( お握り or 御握り ; おにぎり , also known as o-musubi ( お結び ; おむすび ?) , nigirimeshi ( 握り飯 ...
Japanese rice balls " Onigiri.."
Japanese rice balls " Onigiri.."
O-nigiri
(お握り or 御握り; おにぎり, also known as o-musubi (お結び; おむすび?),
nigirimeshi (握り飯; にぎりめし) or rice ball, is a Japanese food made from white
rice formed into triangular or oval shapes and often wrapped in nori (seaweed).
Traditionally, an onigiri is filled with pickled ume (umeboshi), salted salmon,
katsuobushi, kombu, tarako, or any other salty or sour ingredient as a natural
preservative. Because of the popularity of onigiri in Japan, most convenience
stores stock their onigiri with various fillings and flavors. There are even
specialized shops which only sell onigiri to take away.
author of the article ; syd , from geisha moments facebook site https://www.facebook.com/GeishaMoments?ref=stream
Sunday, March 17, 2013
IN LOVE WITH JAPAN: kimono1. A Brie...
IN LOVE WITH JAPAN:
kimono
1. A Brie...: kimono 1. A Brief About Kimono's History: Amongst the traditional Japanese clothes that ...
kimono
1. A Brie...: kimono 1. A Brief About Kimono's History: Amongst the traditional Japanese clothes that ...
kimono
Amongst the traditional Japanese clothes that have long been
part of the local tradition, the kimono is the most famous one and perhaps the
biggest identity forming apparel of the country. Traditionally kimonos have
been worn by both men and women. The word kimono literally means
"clothing", it is also called
as Gofuku which means clothes of Wu and up until the mid 19th century it was the form of dress worn by
everyone in Japan.
The
Han Chinese clothing in fact influenced the earlier Kimonos of 5th Century. It
was only during the Heian period, the kimonos changed and became more stylized
about their designs.
Then during the period of Muromachi, a single Kimono,Kosode, was worn. It was
actually considered an underwear before that time, and it was worn without the
trousers or divided skirt called Hakama and held closed by a belt called Obi.
After this, during the period of Edo, the sleeves became
lengthy, especially among women who are unmarried. At the same time the Obi
also became wider and the style of tying
the Obi changed in distinctive ways. After this the essentially basic shape of
Kimono for men and women changed drastically.
They are worn now mostly on special occasions, people owning
perhaps only one or even just hiring them two or three times a year instead. Kimono is perhaps most unique wafuku. In the old times, both men
and women used kimonos as everyday costume, but nowadays only women wear it in
formal occasions. Men are seen wearing kimonos very rarely in Japan, only in
their wedding or other traditional ceremony. Women can wear kimono in various
occasions, starting from seijinshiki (japanese celebration that honors every
person that has turned 20 years old) ,
to omiai, or traditional tea ceremony.
There are different types of kimonos, worn by different
classes of people and on different occasions. Kimonos are available in
different kinds of materials as well. Kimonos range from highly formal to
casual. The extent of formality of a kimono is determined by its fabric,
pattern, and colour, as well as the number of crests in it. Having about five
crests (known as 'Kamon"in Japanese) on one's kimonos signifies the highest
level of formality. A kimono made of silk similarly signifies a high degree of
formality, while those of cotton and polyester signify casualness.
In the old times, kimono had more layers of cloth than
nowadays. Court ladies were said to have up to sixteen layers of different
coloured fabrics. Kimono is made of only four strips of fabric - two for main
panels and two for sleeves. Thus the basic construction of kimono is rather
simple. However, making a kimono consumes more cloth than you would realize - about
9 meters
of 30 centimeter
wide cloth.
A kimono is composed of different parts with each of them
having their own names.
1.2 Kimono Textile:
Kimonos can be made of silk, wool, cotton, linen or synthetic
material and with most unique designs. One of the most famous kimono materials
is tsumugi, especially one from Oshima. Different motifs decorate the textile.
Some are sewn into the cloth, some are dyed. They are imprinted with the most unique designs .
1.3 Kimono Underwear:
Over hadajuban, nagajuban
is worn. The purpose of nagajuban is to conceal the body shape and
make kimono look smooth when worn, and add little bit softness to the look of
kimono.
1.4 Obi:
An important part is missing from images above which is obi, the belt or sash. It is
usually tied just below the woman'sbosom. There are various obi that convey a
different message, as discussed further.
The purpose of obi is not only keep the package together, but also
to shape the woman's body so that the hip and breasts are not visible. If obi
itself isn't enough to do this, sometimes a towel is added under obi. A
cardboard or similar material is often added to smooth down the wrinkles of the
obi to make it look more smooth and give it support.
The height of the obi varies regarding woman's age marital status.
Obi is sometimes suggested to be a Japanese version of western corset, but this
is incorrect since obi is not that tight and also, as we realized, purpose of
obi is opposite from corset - to conceal feminine parts.
1.5 Additional Accessories:
There are many more pieces to the
kimono that may or may not be required, depending on the formality of the
occasion. Wooden sandals and special socks called tabi are often worn. Kanzashi
are decorations worn in the hair of female kimono wearers and often feature
silk flowers and small fans.The intricacies of kimono dress are numerous and
have many variations depending on the occasion or season.
1.6 Kimono Styles:
There are styles of Japanese kimono for
various occasions, ranging from extremely formal to very casual. The level of
formality of women’s kimonos is determined mostly by the pattern and fabric,
and also the color. The choice of which type of kimono to wear is laden with
symbolism and subtle social messages.
The specific choice relates to the woman’s age and marital status, and the
level of formality of the occasion. In descending order of formality.
 |
| how to dress a kimono |
references:
http://en.wikipedia.org/wiki/Kimono
IN LOVE WITH JAPAN: IN LOVE WITH JAPAN: artists from japan: Katsushika...
IN LOVE WITH JAPAN: IN LOVE WITH JAPAN: artists from japan: Katsushika...: IN LOVE WITH JAPAN: artists from japan: Katsushika Hokusai 葛飾北斎 : artists from japan: Katsushika Hokusai 葛飾北斎 Katsushika Hoku...
Friday, March 15, 2013
IN LOVE WITH JAPAN: artists from japan: Katsushika Hokusai 葛飾北斎
IN LOVE WITH JAPAN: artists from japan: Katsushika Hokusai 葛飾北斎: artists from japan: Katsushika Hokusai 葛飾北斎 Katsushika Hokusai ( 葛飾北斎, Katsushika Hokusai? 1760–May 10, 1849 ) was a Japan...
artists from japan: Katsushika Hokusai 葛飾北斎
artists from japan: Katsushika Hokusai 葛飾北斎
Katsushika Hokusai ( 葛飾北斎,
Katsushika Hokusai? 1760–May 10, 1849 ) was
a Japanese artist, ukiyo-e painter and printmaker of the Edo period. In his
time he was Japan's leading expert on Chinese painting. Born in Edo (now Tokyo),
Hokusai is best-known as author of the woodblock print series Thirty-six Views
of Mount Fuji (c. 1831) , which includes
the internationally recognized print, The Great Wave off Kanagawa, created
during the 1820s. Hokusai created the "Thirty-Six Views" both as a
response to a domestic travel boom and as part of a personal obsession with
Mount Fuji. It was this series, specifically The Great Wave print and Fuji in
Clear Weather, that secured Hokusai’s fame both in Japan and overseas. As
historian Richard Lane concludes, "Indeed, if there is one work that made
Hokusai's name, both in Japan and abroad, it must be this monumental print-series...".
While Hokusai's work prior to this series is certainly important, it was not
until this series that he gained broad recognition and left a lasting impact on
the art world. It was The Great Wave print that initially received, and
continues to receive, acclaim and popularity in the Western world.
Over the next decade, Hokusai gained increasing fame both
because of his skill as an artist as well as his knack for self-promotion. It
was said that he created a portrait of a Buddhist monk for a Tokyo festival
which was over 600 feet long using brooms and buckets of ink. He was also
placed in the court of the Shogun Iyenari for a competition with another local
artist at the time where he was said to have won. In the court of the Shogun, he
was able to learn the art of other types of brushstrokes and attract other
students of art to learn his techniques. He was also paired with a writer
during this period to create illustrated books. This form of art in the
illustrated books has evolved into what we know now as the types of caricatures
used in comic books today.
While Hokusai contributed to the art of comic books, he is
most popularly known for his ukiyo-e print series 36 views of Mt. Fuji, originally
released with 36 prints. Ten more were added after original publication. 36
views of Mt. Fuji is actually 46 prints. This publication was followed by 100
views of Mt. Fuji, which is deemed as the masterpiece of his career. His
landscape picture books are deemed masterpieces among many as they turned the
focus of artwork at the time from courtesans and popular actors to landscapes
detailing plants, people, animals, and mountains.
Katsushika Hokusai ( 葛飾北斎,
Katsushika Hokusai? 1760–May 10, 1849 ) was
a Japanese artist, ukiyo-e painter and printmaker of the Edo period. In his
time he was Japan's leading expert on Chinese painting. Born in Edo (now Tokyo),
Hokusai is best-known as author of the woodblock print series Thirty-six Views
of Mount Fuji (c. 1831) , which includes
the internationally recognized print, The Great Wave off Kanagawa, created
during the 1820s. Hokusai created the "Thirty-Six Views" both as a
response to a domestic travel boom and as part of a personal obsession with
Mount Fuji. It was this series, specifically The Great Wave print and Fuji in
Clear Weather, that secured Hokusai’s fame both in Japan and overseas. As
historian Richard Lane concludes, "Indeed, if there is one work that made
Hokusai's name, both in Japan and abroad, it must be this monumental print-series...".
While Hokusai's work prior to this series is certainly important, it was not
until this series that he gained broad recognition and left a lasting impact on
the art world. It was The Great Wave print that initially received, and
continues to receive, acclaim and popularity in the Western world.
Katsushika Hokusai is thought to have learned art from his
father. He began painting around the age of 6, and by the time he was 12 he was
sent to work in a library and bookshop where many of the middle and upper class
would go to appreciate wood block art and read stories. At the age of 14, he
was taken in as an apprentice to learn the art of wood carving. When he was 18,
he was accepted into the studio of Katsukawa Shunshō to learn the art of wood
block prints.
early career:
From his early beginnings as a student of Katsukawa Shunshō,
Katsushika Hokusai began to master the art of Ukiyo-e, the Japanese art of wood
block prints. These prints commonly depicted famous players in theater and
popular landscapes. It was then he was given a new name, the first of his name
changes of his artistic career. During this time as an apprentice he also
married for the first time. Very little information is known about his first
wife except that she died in the early 1790s.
When Katsukawa Shunshō died in 1793, Katsushika Hokusai
began experimenting with different kinds of art popular in Europe during that
time. This form of art is later what led to his fame, but also got him expelled
from the studio of Katsukawa Shunshō from his chief disciple. The images of his
artwork had changed from that of popular courtesans and actors to daily life of
the Japanese people and common Japanese images and landscapes. His medium
changed to brush paintings instead of wood blocks, and thus beginning the
height of his career, as well as another name change.
height of career:
Over the next decade, Hokusai gained increasing fame both
because of his skill as an artist as well as his knack for self-promotion. It
was said that he created a portrait of a Buddhist monk for a Tokyo festival
which was over 600 feet long using brooms and buckets of ink. He was also
placed in the court of the Shogun Iyenari for a competition with another local
artist at the time where he was said to have won. In the court of the Shogun, he
was able to learn the art of other types of brushstrokes and attract other
students of art to learn his techniques. He was also paired with a writer
during this period to create illustrated books. This form of art in the
illustrated books has evolved into what we know now as the types of caricatures
used in comic books today.
While Hokusai contributed to the art of comic books, he is
most popularly known for his ukiyo-e print series 36 views of Mt. Fuji, originally
released with 36 prints. Ten more were added after original publication. 36
views of Mt. Fuji is actually 46 prints. This publication was followed by 100
views of Mt. Fuji, which is deemed as the masterpiece of his career. His
landscape picture books are deemed masterpieces among many as they turned the
focus of artwork at the time from courtesans and popular actors to landscapes
detailing plants, people, animals, and mountains.
Between 1814 and 1820, 12 collections of books put together
known as manga were considered the precursors to today’s modern manga, the main
inspiration behind comic book drawing. While these works of art were considered
noteworthy in Japan during that era, he didn’t gain notoriety overseas until
long after his death.
hokusai's later life and death:
In 1839, disaster struck as a fire destroyed Hokusai's
studio and much of his work. By this time, his career was beginning to wane as
younger artists such as Andō Hiroshige became increasingly popular. But Hokusai
never stopped painting, and completed Ducks in a Stream at the age of 87.
Constantly seeking to produce better work, he apparently
exclaimed on his deathbed, "If only Heaven will give me just another ten
years... Just another five more years, then I could become a real painter."
He died on May 10, 1849 , and was buried at the Seikyō-ji in Tokyo
Important Works:
- Fukujusô shunga series, ca. 1784
- Hokusai Manga, 15 volumes; published 1814–78, the last volume was published posthumously
- Fugaku sanjūrokkei ("Thirty-six Views of Mt. Fuji") series of 46 prints, published 1830. This included:
The Great Wave at Kanagawa, ca. 1830 - Shokoku taki meguri ("A journey to the waterfalls of all the provinces") series, published ca. 1831
- Shokoku meikyō kiran ("A journey along the bridges in all the provinces") series, published ca. 1831–32
When he was seventy-five Hokusai wrote, in the preface to
the "One Hundred Views of Mount Fuji", the following lines about his
life and his program to the future:
"From the age of five I have had a mania for sketching the forms of things. From about the age of fifty I produced a number of designs, yet of all I drew prior to the age of seventy there is truly nothing of great note. At the age of seventy-two I finally apprehended something of the true quality of birds, animals, insects, fish and of the vital nature of grasses and trees. Therefore, at eighty I shall have made some progress, at ninety I shall have penetrated even further the deeper meaning of things, at one hundred I shall have become truly marvelous, and at one hundred and ten, each dot, each line shall surely possess a life of its own. I only beg that others of sufficiently long life take care to note the truth of my words."
Subscribe to:
Posts (Atom)