Image: Christ and Art in Asia - 123-124

NOTES FROM THE EDITOR

Emmanuel Garibay President Rev. Dr. Rod Pattenden Secretary Aaron Lee Contributing Editor Gwen Nina Garibay Editing and Layout CONSULTANTS Ron 0' Grady Harry Wallace

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IS PUBLISHED FOUR TIMES A YEAR AND CIRCULATED FREE TO MEMBERS OF THE ASIAN CHRISTIAN ARTS ASSOCIATION. ACAA AND/OR THE ARTIST SHOULD HOLD THE COPYRIGHTS TO ALL THE IMAGES IN THIS PUBLICATION. TO INQUIRE ABOUT PERMISSIONS TO USE, EMAIL US AT enquiries@asianchristianart.org

All inquiries should be adressed to IMAGE Magazine PO Box 225 Epping 1710 Australia Email: enquiries@asianchristianart.org Visit the website at www.asianchristianart.org

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Another double issue of IMAGE brings us a wide survey of artists working within a diversity of cultures and situations around Asia. We are inspired by the long hard work of the Japanese Christian Artist Association who have been laboring away now for 35 years exploring the nature offaith and image in Japan.

Equally inspiring is the new ventures of co-operation in India and also in Indonesia where artists are sharing their hopes for the value of the imagination and faith. What is common to all these situations is the vital importance of artists in giving local communities images to live by, where people, recognize their faith in the signs and symbols of their culture.

In a global world we are fed a very limited diet of repeated commercial imagery, and the work of these artists helps us look and think again at a deeper level about the images we choose to live by. This is also part of the story ofNamiko Chan Takahashi, an artist of multi-racial background, who lives and works in the dynamic city of Singapore. She is an artist who explores the nature of the human image in both in its beauty and its vanity. She has been able to bring together her work as a professional artist and witness to her Christian faith, in a secular and complex situation of differing races, religions and ideas.

The visual survey and words of hope that mark the stories in this edition of IMAGE is mirrored in the key history of the Asian Christian Art Association itself, ably reviewed by Alison O'Grady. Alison was for many years editor of IMAGE, in the days before digital technology, and with her husband Ron, has been a key point of reference for the development of the organization. We are grateful for their faithfulness and vision in trusting artists to deepen faith and to engage the cultures of Asia through art. Alison describes the ACAA as a gift to the church in helping people see the Bible and faith with Asian eyes. ACAA is in turn very grateful for the gift of Alison and Ron O'Grady, who with Professor Masao Takenaka of Japan, nurtured and developed the organization through a long period now of over 30 years of productive inspiration.

We are glad also that the story continues, as Emmanuel Garibay the current President of ACAA has just returned from a successful artist in residence program at the Overseas Ministries Study Centre at New Haven, in the USA. The results of this cultural exchange were expressed through a series of art exhibitions and the beautiful book, Where God Is: The PaintiDgs of Emmanuel Garibay, surveying key works in his development as an artist able to bridge the imaginations of the first and third worlds. Which brings us to the present as we are actively negotiating the future of ACAA and in particular considering a partnership with the Loyola School of Theology in Manila to continue to publish IMAGE and highlight the ongoing work {:artists in Asia. We trust that this issue opens your eyes to a wider view of God's recreative grace at work in all creation.

Rod Pattenden and Emmanuel Garibay

A Gift to the Church

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Alison 0' Grady

Indian Christian Artists Forum Paul Kattukaran

Christian Art in Indonesia Erland Sibuea

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Japanese Christian Artists Soichi Watanabe

Namiko Chan Takahashi: Not a Day Without a Line

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T COVER: Wisnu Sasongko, "The Silent Man" ie on Canvas, 38x52 em, 2010

BACK COVER: Wisnu Sasongko, "Not Me! But You" Acrylic on Canvas, 38x52cm, 2010

A Gift to the Church Alison O'Grady has been involved with ACAA since its inception, where she provided administrative assistance. She was editor of Image for a number of years and has been involved in the editing and production of many ACAA publications.

Jyoti Sahi: "Living When the Christian Designed by Jyoti This striking mural

in Christ with People" Conference of Asia held its Assembly in May 1987 in Bangalore, India, this large-sized mural covered the front wall of the meeting hall.

Sahi, India, it was painted by a number of artists under his direction. Jyoti is a leader in the synthesis of Hindu and Christian symbolism. was the focal point for delegates when they met for business sessions and worship.

It was a great idea - gather together artists from all over Asia so they can meet, exchange ideas and techniques, develop their art and inspire the churches to appreciate the visual presentation of the Christian message. Much planning and hard work took place, and thirty-two years ago during the month of August 1978, a group of artists and theologians met at Dyana Pura Centre (House of Peace) on the beautiful island of Bali.

by the theologians. It was such an inspiring time, that on the last day the participants were reluctant to part.

They decided to form an organisation so they could continue their exchange and dialogue. Representatives from the four regions of Asia were appointed to become the committee which would plan and run this ne organisation. So began the Asian Christian Art Association (ACAA).

The participants painted and carved and formed friendships across national and cultural barriers. Theologians observed and listened to the artists and in turn the artists listened and discussed together the ideas presented

Living in a new millennium and looking back from the vantage point of 20 II the question arises: What has the Asian Christian Art Association achieved in the 32 years since its inception?

Nalini Jayasuria: "Jonah and the Whale" Sri-lankan-born participated

Nalini Jayasuriya

is one of the artists who

in the ACAA exchange programme. She specialised

in '.making works of art using oil pastels on cloth. ~ t . i

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Sharing Wo'tks and Words When the chosen representatives came together for the first meeting of the ACAA, all agreed that the priority was to have a magazine. They named it 'Image Christ and Art in Asia". With a volunteer editor and the willingness of artists and invited theologians to contribute, Image made its first appearance in October 1979.

It was a humble beginning but experience brought more professionalism into the production of future issues. Many artists and art styles have been featured and generally the colour reproductions have been true to the original artwork, which is very important for both artists and viewers .

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Other Publications Over the years there have been a number of small books published to record a particular event within the life of the ACAA. In addition, support has been given on occasion to assist artists in the publication of a book with artistic and theological content.

It i u eful to recall that back in the late 1970s and early 1980s communication was carried out at a different pace from that of today. There were no computers, no e-mail or worldwide web to provide instant information. Letters had to be hand-written or typed, stamped and posted and, if all went well, they would re~ch the recipient within a week.

The response did not always bring a decision and often the dialogue by means of letters would need to continue.

It could be a slow ongoing conversation, and sometimes an expensive international telephone call might be required when time started to run out and plans needed to be finalised.

Two major books of Asian art and thought have been Pl:Oduced by ACAA. The first of these two publications, The Bible Through Asian Eyes, combining artworks and theological reflections, was launched at the Assembly of the World Council of Churches in 1991. The second major book, Christ For All People, published in 2001 reached out beyond the Asian region and drew together art and thought from Christians all over the world.

Thi is the way things were in the world when the Asian Christian Art Association began. But despite problems of communication, the enthusiasm engendered at the Bali consultation together with financial support from various church organisations and mission boards enabled the ACAA to carry out a number of dynamic programmes over the years.

These two books are of ongoing interest internationally among churches and church institutions. ACAA receives requests from church organisations all over the world for permission to re-print artworks from its various publications and it has been happy to facilitate this process by obtaining permission from the artist concerned. In many instances, copyright is held by ACAA.

It is gratifying that the beauty and uniqueness of an Asian interpretation of a Bible story is made available to more and more people. To see a biblical message portrayed in a manner different from one's own perception is often breath-taking. Suddenly, our eyes are open to the rich complexity of this one world in which we all live.

Exchange Programmes The exchange programme has been of enduring value to all those who have been involved. Artists from various Asian countries have been assisted to spend a period of study in another country where, as artist-inresidence at a college or a study centre, they have practised their art, given presentations and lectures and discussed techniques and ideas with people in their host country.

This is an important two-way process. People are given the opportunity of seeing the gospel message through the eyes of an Asian artist, while the artist concerned gains a better understanding of life in the host country.

Consultations Following the inaugural consultation in 1978, further consultations were held - Manila in 1985, Sri Lanka 1991 then back to Bali in 1998 to celebrate 20 years of the association's life in the place where it all began.

Yu Jiade: "Woman at the Well" Over the years ACAA has built a strong link with artists in China and held their executive meeting in Nanjing in 2000. Yu Jiade was one of the many outstanding artists present to meet with the ACAA committee members ..

The history of the first 20 years of ACAA is recorded in a booklet published in 1998. Its more recent history is taking shape in the context of today's world, with instant exchange of information among individual artists and bilateral alliances between artists and church organisations.

Looking back over the past 32 years of the Asian Christian Art Association, there are many things for which we can be grateful: First, the support and encouragement which the ACAA has been able to give to Asian artists; second, the willing help received from all who have been involved in the administration of ACAA and third, the readiness of artists throughout Asia to share their artworks, which reveal the Christian message as seen by them in all the richness of their cultural diversity.

Exhibitions To open a book and look at a work of art which challenges our perceptions is an enjoyable act, but to stand and gaze at an original work of art where all its subtleties and beauty are clearly visible can be a breath-taking experience.

The Asian Christian Art Association knows well the impact which an original painting can have on people and has held a number of exhibitions. The first international exhibition was held in conjunction with the World Council of Churches Assembly on World Mission ands Evangelism which took place in Melbourne, Australia in May 1980.

Other exhibitions followed. Sometimes the venue for the exhibition has been a public building where the artworks can be seen by a wider number of people.

The new executive committee elected at the consultation held in Bali 1998 to celebrate 20 years. BACK ROW (L-R) Kim Jae 1m, Korea; He Oi, China; Alphonso Doss, India;seated: LEFT: Judo Poerwowidagdo, Indonesia; RIGHT - Hanna Varghese, Malaysia and Dr Masao Takenaka, Japan, whose initiative gave rise to the founding of ACAA in 1978.

To curate an exhibition takes a considerable amount of planning and oversight, but the enthusiasm of those who formed the ACAA back in 1978 has continued unabated.

The many exhibitions and other various programmes of ACAA have been successfully achieved by those involved because of their determination and commitment.

The greatest achievement of the Asian Christian Art Association, in my opinion, is the fact that it helps people to open their eyes and see the biblical message in new and challenging ways. The works of Asian artists come as a refreshing breeze into the life of the church - a gift from the people of Asia to the church universal.

'1 '996 a workshop with the theme: "Using Art to Communicate Environmental Concerns" held in the Philippines brought together artists from ACAA a'1d communicators from the Christian Conference of Asia. Shown with the composite mural are four of the contributing artists: (L -R) Evelyna Liangt Ka . Hong Kong, Sawai Chinnawong, Thailand, Emmanuel Garibay, Phillipines and Mehm Than 00, Burma/Myanmar.

Christian Art in Indonesia

Erland Sibuea co-founded Bali Christian Art Association (BCAA) in 2003 and also Indonesia Christian Artist Association (SERUNI) in 2010. His works have been published in some books and exhibited in many solo exhibitions.

Now he lives with his family in Bali.

Towards the end of 2010 a group of Christian artist met in Indonesia and pledged a new collective to provide a place for all.the creativity in Christian art. We call this the Indonesian Christian Art~ abbreviated SERUNI. The word SERUNI can also be the beautiful flower of a chrysanthemum. Our hope is that"through SERUNI, Christian Art in Indonesia, we will be able to express God's love with a high aesthetic value, contextual and faithful to the truth of the Word of God as preached in the Bible.

Christian artists in Indonesia have long tried to present to the nationwide public since the first exhibition of Chris-tian art in 1991. Dozens of artists presenting Christian art exhibited at the National Gallery building in Jakarta and received a good appreciation from the public. This stopped 15 years ago but now there is again, present in the same place at the National Gallery, more than 30 artists presenting nearly 100 works of art.

Earlier, in 2003, some Christian painters formed the Bali Christian Art Association (BCAA) in Denpasar, Bali.

They are Ketut Lasia, Ni Ketut Ayu Sri Wardani, Gde Sukana Kariana, Nyoman Darsane and Erland Sibuea.

They have held an exhibition almost every year in Bali, as well as in Yogyakarta, Jakarta and even in Singapore.

They have also been active members of the Asian Christian Art Association (ACAA). Their works have become widely published, including in IMAGE and other international publications. The presence of BCAA encourages other artists in other parts of Indonesia to take part in the development of Christian art. This desire is now fully real ised in the birth of SERUNI. SERUNI intends to create an art exhibition every year and develop a relationship with a Christian university in Indonesia. Maranatha Christian University (MCU) is excited to enter into an agreement with SERUNI to hold exhibitions of Christian art. MCU is one of the leading universities in Bandung. The inaugural exhibition was held on December 9 to 20 April 2011 in Gallery MCU. A total of 16 artists with more than 50 works of art were presented in this exhibition. Artists came from Jakarta, Bandung, Yogyakarta, Sulawesi and Bali. The exhibition is associated with the celebration of Easter and we give it the theme "Because of Me".

We were excited and very happy with the exhibition of Christian art and especially the responses of appreciation from students, staff at the MCU as well as the general public. We were also able to publish a book containing the works of visual art and writings for this exhibition. We hope SERUNI activities will continue to take place regularly and that more artists and art lovers get involved. We are now thinking of ways to increase financial independence and to develop relationships that are mutually beneficial with Churches, theologians, Universities and arts communities in Indonesia.

ABOVE: Gde Sukana Kariana, "Walk on the Lake" Oil on Canvas, 60x 80 em, 2008 BELOW: Erland Sibuea, " 5 Loaves ang 2 Fishes" Acrylic on Canvas", 80x1 00 em, 2007

ABOVE: Erland Sibuea, "Jesus and the Children", Acrylic on Canvas, 1 00x120 cm, 2011 BLEOW: Ketut Laisa, " Calm the Storm" Arcylic on Canvas, 56x46 cm, 2003

Namiko Chan Takahashi: Not a Day Without a Line I I I I I

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When trying to meet up with Namiko Chan Takahashi, a good plan is to follow her around and eventually comer her somewhere. The dynamic half-Japanese, half-StraitsChinese Singaporean artist happily admits to always being "on the go". It is a balmy evening in early June, and we are talking over a drink in a cafe at the sprawling colonialstyle complex that is the Singapore Art Museum. One of her works is presently in a group exhibition on the second floor, in conjunction with the launch of a new book profiling 37 of Singapore's prominent women artists.

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"I wanted to be an artist as long as I can remember," says Namiko, quite seriously. "My dad has a home video of me at five, drawing in the sand with a stick. I was in a playground in a Boston suburb."

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Namiko followed the path of many pragmatic Singaporeans-realizing her academic potential, and eventually earning a law degree at 23 and thereafter, a post-graduate qualification in education. But making art was a priority too.

Throughout her school years she kept on painting, whether in fulfillment of the art curriculum or on her own. She dabbled in fashion design, jewelry making and installation art.

Born with a lifelong love for dance, Namiko also learned ballet, then modem dance, then Middle Eastern dance, Flamenco and Hawaiian hula.

In her 20s Namiko began winning accolades in national and regional art exhibitions, such as the ASEAN Philip Morris Art Awards. But she only came into her own after she graduated from law school and enrolled at the Art Students League of New York in 1998. During her four years at the atelier (alma mater of luminaries such as Jackson Pollock and Georgia O'Keefe), she was mentored by prominent portrait artists such as Mary Beth McKenzie and Daniel

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Greene. She also studied under various accomplished print makers and lyrical abstractionists. It was there that she adopted the institution's motto for her own: "Nulla dies sine linea", or "Not a day without a line".

"In New York I often painted 14, 16 hours a day. It was exhausting but fulfilling. I feel like I grew into my calling there," Namiko explains. "That's why I regard NYC as a kind of second home."

In 2001, and while still based'in New York, Namiko held her first solo exhibition 'My Life as an Artist in Context with the Will of God' at the newly-opened Art Seasons Gallery in Singapore, featuring 30 abstracts

ABOVE: "Tribute to Sargent", Oil on Linen, 2007 ; BOTTOM: "Sy-W", Oil on Linen, 2008, Collection of the National Art Gallery of Singapore; OPPOSITE PAGE: "Not Seven Times But Seventy Times Seven", Oil on Linen, 2006, Private Collection;

and landscapes. She followed this with her second solo 'Friends/ Phases' at the National Institute of Education gallery in 2003. More exhibitions on various themes followed, usually every year or two.

"Apart from the fact that I love what I do, I'm a workaholic,' she confesses with a laugh. "Or maybe I'm a workaholic because I love what I do!"

Namiko's studio is in the 20th storey apartment in Te10k Blangah that she, and her lawyer-poet husband Aaron Lee, call home. She has been described as a contemporary realist specialising in portraiture, especially nudes.

She uses traditional techniques of painting, working mainly with oil on linen. Looking at her careful and luminous work, you just know that the Old Masters such as Velasquez and Vermeer are her inspiration. However, the themes she grapples with are both universal and relevant to the contemporary era-- such as the human condition and the challenges faced in the modem age by women.

"I'm not particularly interested in painting as illustration," she says. "A portrait must be so much more than that. So it's important I keep painting in an accessible style while capturing the essence ofthe person."

Only in her mid30s, Namiko's art is esteemed by friends, critics and collectors alike. Koh Seow Chuan, Chairman of the Singapore Art Museum, has praised her as a "serious artist of high calibre".

Stephanie Fong, owner of FOST Gallery, is sure that "Namiko will one da.y not only be known as a painter of people, but the people's painter."

Namiko came into the public eye relatively recently, when her painting 'Charisse' became the first nude portrait to win the United Overseas Bank Painting of the Year in 2006. This is Singapore's most prestigious art prize, and the panel of

In an age where conceptual deconstructionist art is glorified, Namiko continues to contribute to an Asian revival of naturalistic nude figuration that had already come to countries such as China and Vietnam. Not content to rest on her laurels, she recently completed her Master in Art in Contemporary Practice, during which she explored performance art and sign language. She also felt led to establish a worship Hula dance ministry.

She is convinced that one form of creativity leads naturally into another, enhancing both at all levels of skills and interests.

international judges unanimously selected this work as the grand prize winner out of 1,400 submissions. The judges noted that her winning piece was "a truly powerful work ... with a masterly handling of colour, composition and tone".

They also noted that Namiko was able to take "the representational work to a certain conceptual and spiritual height".

Speaking ofthe spiritual, Namiko's paintings inevitably have something to say about the issues facing the children of the city. I mention the modem sensibility in her paintings, from her subjects' clothes to their poses and expressions.

"What is unseen in people interests me just as much as what they look like," she answers. "I try to capture that in every painting. "

"Hula is an incredible, beautiful way of worshipping the Creator," she enthuses. "I know that God has called me to create and choreograph aesthetic environments that help His people understand and experience Him. My painting, dancing, all my work and relationships are used for that purpose."

The evening has fallen. It is a week night and the sounds of rush hour traffic seep into the cafe. Predictably, Namiko has somewhere to go.

Her 2007 exhibition 'Parables' showcased 12 portraits that were modem re- interpretations of Biblical stories.

"A parable is a kind of expanded proverb," she continues.

"This type of narrative both reveals and conceals spiritual lessons. Every great work of art is like that. It provokes us to ask important questions about who we are and what we're really here for."

Continuing along this line of exploration, Namiko's 2009 solo entitled 'Divergences' comprised a series of double portraits of women, each looking at her own twin. Inspired by the Bible verse I Corinthians 13:12, it examines the idea of parallel transient lives, and of imperfect knowledge.

"I'm meeting some artists. We talk all the time about what's happening with art and culture in this city. And we pray, and work. God is working, so we'd better do our part too!" And just like that, she's out the door.

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ABOVE LEFT: Namiko; ABOVE RIGHT: Western Wall 001" (2010), private collection

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Indian Christian Artists Forum

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Paul Kattukaran is a Catholic priest of the Archdiocese of Trichur Thrissur), Kerala, India; he holds a Doctorate in Aesthetics (based on the Natya Sastra, the ancient Indian text on theatre) from Bangalore; he has been secretary to the Artists Ashram of Jyoti Sahi and now he is promoter of Christian Arts and Architecture in the Archdiocese and also Co-ordinator of Christian Artists Forum initiated by the Commission for Social Communications, Catholic Bishops Conference of India.

:, M. Suriya Moorthy, "Divinity in Humanity", Oil on canvas; OPPOSITE PAGE: (TOP) Roy M. Thottathil Sj, "Love until it Hurts, Acrylic on Canvas; (BOTTOM) P. Augustine Annadurai, "Eucharist and Mother II", Acrylic on Canvas"

A group of leading Christian artists in India under the initiative of the CBCI Commission for Social Communications has established a national network called the Indian Christian Artists Forum. Artist priest Dr. Paul Kattukaran of Trichur Archdiocese, has been appointed as the national coordinator for the Forum. Fifteen renowned artists from various parts of the country attended the first meeting of the Christian artists in India

on the 4th August 2010 in Bangalore. Those attending included renowned artists and theologian Jyoti Sahi, Chennai based artist and former principal of Madras College of Fine Arts Mr. Alphonso Doss, former director of Bharat Bhavan, Bhopal, and well known sculptor Robin David, Bangalore-based artist C.P. John, artist Edwin Parmar, Ahmedabad, Sr.Viney, Bongaigaon, Assam, Fr. Roy M. Thottam SJ, Kochi and others.

The Forum is intended to bring together Christian aliists from different parts of the country to foster greater collaboration and professional support and exchange. It intends to promote study and appreciation of Christian art among various sections of the people- clergy, religious and laity in the church, and the wider society in India, and to encourage a deeper understanding, appreciation and application ofIndian Christian art in theology, liturgy and architecture in the Church in India.

In his keynote address Jyoti Sahi recalled the contribution of leading Indian Christian artists like Angelo da Fonseca, Frank Wesley, Alfred Thomas, Jose Pereira, Sr. Genevieve, Sr. Claire, and the impact of Christian themes on many other artists in India. He spoke of the close relation between the Ashram life and showed how Fonseca was deeply imbued with the spirit of patriotism, the message of Christ and the life of the people of our land. Showing some of the major works of Fonseca, Sahi pointed out how Fonseca's works reflect the agricultural activities and village life rooted in the local soil, resonating a deeply spiritual outlook on life. Sahi cautioned against the danger of Christian art getting more and more westernized in its popular expression due to the internet. People download pictures for practical use from the internet and fail to promote Indian Christian art.

Executive Secretary of CBCI Commission for Social Communications, Fr. George Plathottam sdb briefed the participants about some of the reasons that promoted him to initiate the establishment of a national forum of Indian Christian artists. "Communication" he said, "is becoming more and more visual and we are moving away from a literate to image based culture. Promotion of Christian art in India is essential if we are to effectively communicate the message of the gospel to the people of the country. Art, he said, is not merely for the elite. In a largely illiterate society, the pictures on the walls are like scriptures for the laity". We need an artistic expression that is indigenous, rooted in the native symbols and ethos of our country, as we cannot live for long on borrowed images and imagery.

In February 2011 a four-day Art Camp organised by the Indian Christian Artists Forum was held in Kolkata. It brought together 24 artists from five states in India. Leading artists like Alphonso Arul Doss, fonner principal of Government College of Fine Arts, Chennai, Prof. G. Raman, former head of the

department of Painting, Government College of Fine Arts, Chennai, Francis Kodankandath, Calicut, Sam Adaikalasamy, Chennai, Anita Viegas, Goa, Suriamoorthi M., Sirkazhy, Tamil Nadu, Suman Gogoi Bhuyan, Guwahati, and Ritu Singh, Kolkata and others participated in the Camp. The camp was led by Fr. George Plathottam sdb, founder-director of the Forum and Executive Secretary, Catholic Bishops Conference of India (CBCI) Commission for Social Communications, and its national coordinator Fr Paul Kattukaran.

The camp celebrated the theme Mother Teresa- Communicator of Compassion, paying homage to Mother Teresa in the year of her first birth centenary, and produced some 42 paintings depicting the various facets of Blessed Mother Teresa's life and message. On the first day of the camp, the participants visited the Mother House and prayed at her tomb to pay tribute to her and to draw inspiration for their work. During the workshop, the artists held interactive sessions with some 50 students of art and their parents. The artists reviewed and commented on the work ofthe budding artists and responded to their questions. During the camp, the participants also watched visual images of each other's works and held peer review sessions. An exhibition of the paintings and a website was inaugurated by Sr Nirmala Joshi, successor of Mother Teresa, Febmary 11, Seva Kendra, Kolkata. Archbishop Lucas Sircar of Kolkata, inaugurated a website of the Indian Christian Artists Forum where further information on developments with the Forum will be posted - <http://www.christianartindia.org>.

BOTTOM LEFT: G. Raman, "Christ Healing Leprosy", Acrylic on Canvas; BOnOM RIGHT: Anita Viegas, "Untitled", Acrylic on Canvas; BELOW: Dr. Alphonso Arul Doss, "Praying Hands", Oil on Canvas

Japanese Christian Artists

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Born in 1949 in Ishinomaki-city, Miyagi. Graduated from Tohoku Gakuin University, former executive member of Asian Christian Art Association, member of Japan Artists Association, and Ohmiya Church member.

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"The Christian Art Exhibition "in Japan this year brings us to our 35th anniversary. "The Christian Art Exhibition" came into being as a combination of two former art exhibitions held separately by Roman Catholic and Protestant artists. It was through the efforts of Matsujiro Sasaki, a Catholic and Tadao Tanaka, a Protestant, who discussed how to absorb the separate exhibitions led by each artist into ajoint exhibition, that the founding of the Christian Art Association became possible in 1972. The following year they held the first exhibition that has continued until the present. Before this joint exhibition, the Catholics had started to hold "the Catholic Christian Art Exhibition" as early as 1931, before WWII 7 times and till 1969,27 times. The Protestants had also started a "Christian Art Exhibition" from 1935, before WWII 9 times, and then from 1965 the "Contemporary Christian Art Exhibition in Japan"was held for 6 years. The present "ChristianArt Exhibition" is based on these earlier efforts. After the first exhibition in 1973, there were four times when the exhibit could not be held each year.

However, in spite of many past difficulties, we have now been able to hold the 35th Exhibition in 2011. This year is 25 artists and 51 art works. Even though we are still in the agony of the huge earthquake in East Japan, we held it to pray for complete rehabilitation as soon as possible.

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I am thankful that the Christian art exhibition has continued

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in this Japan in Asia and reached the 35th anniversary and that I can join with these other members. Flowers, trees, birds in the air, and humankind were all created by God. I am thinking that I would like give praise for this grace and express my gratitude for the Creator. By encountering colleagues of the same faith, I have been encouraged with these exhibitions of high quality. At the same time I felt the passion of our predecessors for Christian art. So I wish to express the works of our Creator through art.

Born in 1949, graduated from the Musashino Art University, member of Japan Artists Association, Ichiyokai, Ohizumi Bethel Church

Kyoko Ebina, "Person's 194x162cm

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Born in 1945 in Sapporo. Graduated from the Tokyo University of the Arts, postgraduate course of oil, member of Kokugakai, Japan Artists Association, member of Chitose-funabashi Church.

Twenty or more years have passed quickly since I began showing my art works at the Christian Art Exhibition. I cannot forget even now the impression when I saw this exhibition for the first time at the Nichido gallery in my younger day. I was touched and struck with awe by the achievement to express precisely the world of the mind and faith in the works of art. As we pray for the stricken areas visited by the unprecedented natural calamity this year, we have also continued to take steps forward to hold the 35th exhibition. The mission of our association this year has been to realize the opening of the 35th exhibition through creating our works for showing. I hope that it will pour even a little ray of light into the world of difficulty.

Chikako Tomoyama, "Road Leading to Heaven", 2001, Marble, Smalti, Coloured glass, Ceramic, 91x60cm Chiako Tomoyama graduated from Musashino Art School in 1962. Member of Mosaic Art Association in Japan, Japan Artists Association, member of Tokyo Yamate Church.

In my childhood I attended Sunday school in church and I was given a beautiful card every Sunday as a treasure. In high school I was baptized at the Tokyo Yamate Church. I was taught by Mr. Tadao Tanaka in the Musashino Art School and studied mosaic and fresco art by the Catholic artist, Mr. Luke Hasegawa. While in the school I exhibited the mosaic art work entitled "Adam and Eve" at the modern Christian art exhibition under the guidance of Mr. Tanaka. I remembered clearly that this art work was passed on to a person overseas through the exhibition. Later, I engaged in mosaic wall painting and I am thankful for being able to participate again in this exhibition after long seasons. I wish to continue to produce art works in the future as a witness to my faith.

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Nozomi Morita, "The Uspensky 2002, Tempera, 130.3X97.0cm

Cathedral

in Russia",

Born in 1932, graduated from Joshibi University. department of Oil painting, former teacher at Tokyo YMCA and Toyo Eiwa school. Independent artist and member of Kumamoto Joto Church.

I lived surrounded by many churches that were "small and

.\nen the two disciples met Christ on the way to Emmaus, they did not recognize that the person was Christ who had just been crucified. Then later, when they noticed the man was Christ, they said to each other, "Did we not feel our hearts burn within us when he talked to us on the road and

suffered much" in Amakusa and other places which depicted I I

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explained the Scriptures to us?" Sincel have been painting the sky or heavenly universe for years, ...: as the place where God reigns, I wanted to depict the special evening time at dusk as the scene 0'

the first appearance of Christ to his two disciples.

-=-':5路 oneCollege of Wooster, graduated from Michigan State University. Privately studied under

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o.'m artists in Japan, Shigeru Ishikawa and Tadao Tanaka. Member of 'Japan Artists

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former president of the Asian Christian Art Association; Reinanzaka Church

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"The Christian Life." And then in my student days, I traveled around Europe and America and was impressed by the beauty of " Big and Beautiful Cathedrals" with Gothic architecture built rising up toward the heavenly sky. When I encountered this cathedral in Russia in 2000, I was touched that night by the light of the candles shining on the Icons hanging from the church columns which reflected "the brilliance of the joy of Easter", and joined with people from many countries in celebrating together in joy and hope.