AESTHETIC
1
2
JAPANESE CULTURE
1
EDITOR’S NOTE Aesthetic Magazine is all about art, culture and, of course, aesthetically pleasing photographs and illustrations. This months volume is dedicated to the Japanese Culture. Japan is a country with rich cultural background, breath-taking scenery and architecture and extremely intriguing figures; artists, poets, authors, painters, sculptors and animators with extraordinary talents and minds. Japan is also the mastermind behind deep philosophical views on the human nature and the influence of technology in our world, and the mother of the minimalistic movement and lifestyle that Aesthetic is mostly inspired by.
2
Jingna Zhang flickr.com
3
CREDITS Editor in Chief Elena Kalfopoulou
Design Elena Kalfopoulou
Photography Sources Flickr.com, rinkokawauchi.com, pintrest.com, Public Domain
Art and Illustrations Kusama Yayoi, Miyazaki Hayao, flickr.com, behance.net, miyazakithoughts.wordpress.com, tjvolonis.com and rebloggy.com
www.aestheticmag.co.uk
4
CONTENTS PAGE 8 Kusama Yayoi: An Artist Like No Other PAGE 13 Kawauchi Rinko: A Diary of Small Moments PAGE 18 Miyazaki Hayao: The Genius Behind Japanese Animation PAGE 25 Kokoro: Words of a Melancholic Heart PAGE 31 Kintsugi by Katrine Solvaag
Katia Trubina flickr.com
5
Takahiro Fujita flickr.com
6
7
KUSAMA YAYOI AN ARTIST LIKE NO OTHER
T
oday Kusama Yayoi is an
In 1975 Kusama Yayoi ad-
extremely
recognisable
mitted herself into a mental
name in the art universe, but
hospital in order to be treated
she has been part of it for near-
for her Obsessive Neurosis, but
ly
in
that did not stop her from con-
Matsumoto Japan in 1929 and
tinuing to paint, draw and
having studied art in Kyoto
sculpt. From her very first
Municipal School of Arts and
paintings and sculptures to her
Crafts in 1948, Kusama gained
most recent ones, it’s easy to
her popularity in the early 60’s
observe how her fascination
through
and
with dots developed to be
unique exhibitions. Her work
iconic, separating her from oth-
combines features from several
er artists. Over the years she
artistic movements such as
has covered multiple surfaces
Surrealism, Minimalism, Pop
with them; papers, canvases,
Art and Eccentric Abstraction,
walls, furniture and even peo-
but it refuses to belong exclu-
ple all flooded in polka-dots,
sively to one. As a young child,
can be seen in every one of her
Kusama started experiencing
exhibitions. In Kusama’s book
vivid hallucinations, such as
called Manhattan Suicide Ad-
strange auras, flashes of lights,
dict, she has stated that “a pol-
talking
dense
ka-dot has the form of the sun,
fields of dots, which have high-
which is a symbol of the ener-
ly influenced her art. Kusama’s
gy of the whole world and our
pieces are not just intriguing
living life, and also the form of
and colourful, but they help
the moon, which is calm.
her express the negative effects
Round, soft, colourful, sense-
of her mental illness, function-
less and unknowing. Polka-
ing as a cure to her obsessions,
dots become movement ... Pol-
and turning them into some-
ka dots are a way to infinity.”
thing inimitable and creative.
Kusama Yayoi’s most charac-
seventy
her
years. Born
inspiring
flowers
and
8
Photograph by Kusama Yayoi
9
teristic motifs and pieces involve her
plex and simple designs generate a
Infinity Nets series, her polka-dot
mesmerising
pumpkin
Mirror/
Kusama paints them by using the
Infinity rooms, and her famous Nar-
negative space in-between the white
cissus Garden. Each of them was
curvy lines to achieve the emergence
crafted in a different stage of her life
of black polka dots, which in result
and these motifs continue to occur
form a shape similar to that of corals.
sculptures,
her
effect.
Essentially,
even in her more recent artwork.
Polka-dot pumkin by Kusama Yayoi Infinite nets canvas by Kusama Yayoi
Pumpkins were a repeated motif of
Kusama created her first infinity net
the artist since the late 40’s. However,
at the age of 10, inspired by her hallu-
in 1993, Kusama introduced to the
cinations. Professionally though, in-
public a giant sculpture of a yellow
finity-net canvases were first exhibit-
pumpkin (called kabocha in Japanese)
ed in the late 1950’s. They are usually
covered in black dots of different siz-
monochromatic but that does not for-
es. She claims that the pumpkin rep-
bid them from producing a fascinat-
resents a kind of self-portraiture,
ing view. As Kusama herself has stat-
which is possibly influenced by the
ed, there is no beginning, end or cen-
strained relationship she had with her
tre in the pattern (hence the name in-
mother, a wealthy vegetable-farm
finity) and the simultaneously com-
owner.
10
1,500 plastic mirrored spheres that were placed on a surface which looked like a frozen lake. That created the illusion that the spheres were floating in water. The name of her creation is self-explanatory, as the
visitors of the exhibition would only
Mirror/Infinity room by Kusama Yayoi
see a distorted image of themselves Kusama started working in her Mir-
when glancing upon one of the
ror/Infinity rooms, my personal fa-
globes.
vourite, in 1963. These rooms are constructed entirely from mirrored glass and neon-balls of various sizes, that hang from different heights. The lights combined with the mirrors cre-
ate the illusion that the observer is somewhere in outer space, lost in an infinite cosmos of stars and colours.
Narcissus Garden by Kusama Yayoi
In 1966, Kusama was permitted to contribute her incredible piece Narcissus Garden in the Venice Biennale.
Dots by Kusama Yayoi
The sculpture was incorporated of
11
Photography by Kawauchi Rinko
12
KAWAUCHI RINKO : A DIARY OF SMALL MOMENTS Photographer Kawauchi Rinko first entered the art scene in 2001, with three photography books that were all published simultaneously, titled Hanako (Japanese female name), Utatane ("nap"), and Hanabi ("fireworks"). Her minimal, but beautiful work resulted in an accomplishment that many young Japanese photographers only dream of: receiving the Kimura Ihei Award, one of Japan’s most prestigious awards for young artists. Kawauchi was born in Japan in 1972 and attended Seian
College of Art and Design, where her interest in photography was first sparked. Her photographs are very unique, admired for their poetic and peaceful representation of everyday life. They are thought-provoking and truly reflect the expression “a picture is worth a thousand words.” The colours of her palette are in pastel shades, usually a mixture of white, blue and pink/beige, which are usually associated with the sky, sea and flowers. Kawauchi Rinko is an observer, that instead of writing a diary, she takes photographs to create one and the result is mesmerising. The people, the places…Everything looks ethereal, as if it belongs to a separate world and not the ugly industrial cities of today. One of the concepts she enjoys including in her pictures are dualities and opposites: life vs death, shadows vs light. Furthermore, she seems to prefer natural aesthetic more than artificial and industrial, giving to her viewers this feeling of serenity; even in pictures that depict death.
13
14
Photography by Kawauchi Rinko
Photography by Kawauchi Rinko
15
Ryoko Kamiya flickr.com
16
Tomo Tang flickr.com
17
MIYASAKI HAYAO: THE GENIUS OF JAPANESE ANIMATION The first Miyazaki film I’ve ev-
survive easily due to their
er watched, seemingly inspired
wealth, Miyazaki has stated
by the world of Alice in Won-
that
derland, was his brilliant crea-
hometown as a young child be-
tion Spirited Aw ay (2001), that
cause of the bombings, has left
has also been awarded with the
bitter traces in his memory. Lat-
Academy award of Best Ani-
er on, when Miyazaki attended
mated Feature. I instantly fell in
High-School, he proved to be a
love with the images and the
talented illustrator and writer.
story, so I tried to find more
He attended Gakushuin Uni-
films made by Studio Ghibli,
versity to study political sci-
the animation company Miya-
ence and economics, however
zaki Hayao co-founded. And
his passion for drawing manga
from then on I became fascinat-
(Japanese comics) never went
ed and obsessed with his ani-
away. In 1963 Miyazaki was
mations.
employed by Toei Animation
having
to
flee
his
and has animated and worked on several movies by many other animation companies since. However, in 1979 he aban-
doned one of his company’s projects and decided that he preferred to create his own movies. Thus, Studio Ghibli Miyazaki Hayao was born in 1941 in Tokyo, Japan. During the World War II, he and his family were forced to leave their town. Even though they managed to remain safe and
18
was
founded
in
1984
by
Miyazaki Hayao, Suzuki Toshio, Takahata Isao and Tokuma Yasuyoshi. And this is where all the magic begins.
Truc Duyen behance.net
19
20
Matthew (Jiwoo) Yeon miyazakithoughts.wordpress.com
21
His creations have not only been
Prince Charming. They are not
successful in Japan, but all over
drop-dead gorgeous or overly
the world. Several young people
sexualised. And there is neither
internationally have grown up
something stereotypically femi-
with his magical worlds, tales and
nine about them nor they are fe-
characters. What separates Miya-
male for playing the role of a po-
zaki’s work from typical Disney
litical display. They simply hap-
or
the
pen to be smart, independent
themes they explore and the ex-
women that have control over
tremely detailed sceneries and
their identity and actions. All of
backgrounds. Even though his
Miyazaki’s films, even though
films are directed mostly to chil-
most of them belong in the fanta-
dren, their deeper meanings can
sy genre, are deeply inspired by
be very emotional and relatable
realistic things; emotions, actions
even to adults, as they encounter
and problems that humans face in
topics of war, human nature and
their everyday lives. Much like his
the destruction of the environ-
characters, as I mentioned before.
ment. The worlds he creates are
For instance, Princess Mononoke
complicated
sometimes
(1997), set in the late Muromachi
things aren’t just “black and
period of Japan, is the story of a
white”; very much like our reality.
young prince who tries to help a
The main characters are not al-
girl raised by wolves, fight against
ways heroic and perfect. They are
the weapon industry that keeps
very human, full of faults and in-
destroying the environment and
securities, confronting not only
her forest.
other
animations,
and
are
the darkness of their universe, but also themselves. Likewise, the reasons behind the villains’ actions can be controversial, turning them into complex individuals instead of simply the “bad guys”. Furthermore, Miyazaki’s work frequently includes strong female protagonists that are no damsels in despair in need to be saved by
22
As it can clearly be observed in his movies, Miyazaki Hayao is a man that despises the industrialisation, capitalisation and technological development of the world. In a 2005 interview, he has actually said “not entirely jokingly, that he looks forward to the time when Tokyo is submerged by the ocean and the NTV tower becomes an island, when the human population plummets and there
are no more high-rises.� He has been called a feminist, pacifist and environmentalist, which are three very controversial, but positive descriptions, and hopefully his work will influence the young minds of our present and future to become better people and restore our world back to a healthier state.
23
Blue Ruin 1 flickr.com
24
KOKORO: WORDS OF A MELANCHOLIC HEART The Japan Times described Soseki Natsume’s book “Kokoro” as “a
psychological glimpse into the “heart of things” that defies easy categorization.”; and it’s true. “Kokoro” literally means “heart” in the Japanese language and the book is a beautifully written piece of literature that cannot be defined by the typical literary genres. The only themes that can possibly fit its content are sadness and existentialism. Written in 1914, during the transition of the Japanese Meiji society to a modern one, it perfectly fits into the Modernist movement that was all about human nature, self-consciousness and cynicism, but it’s
the matters it explores are timeless; humans will always be humans and the way we experience our lives and its difficulties will never change. The novel is separated in three different sections and, even though there is a plot, the narrative mostly concerns the complex emotions and thoughts that develop in the main characters’ minds and hearts. The first part, “Sensei and I” is narrated by an anonymous university student who talks about the development of his friendship with an older man, “Sensei”,
which means “teacher” in Japanese. The second part, called “My parents and I” is about the narrator’s (the same university student) return to his home, due to his father’s impending death. The third and last part of the story is a letter sent by Sensei to the student, narrating the major events of his life that lead to an important action he decided to take. I don’t want to spoil the end, so I encourage you to read this wonderful story, leaving you with a few impressive quotes from the book.
25
I believe that words uttered in passion contain a greater living truth than do those words which express thoughts rationally conceived. It is blood that
moves the body. Words are not meant to stir the air only: they are capa-
ble of moving greater things.
You seem to be under the impression that there is a special breed of bad humans. There is no such thing as a stereotype bad man in this world. Under normal conditions, everybody is more or less good, or, at least, ordinary. But tempt them, and they may suddenly change. That is what is so frightening about men.
You see, loneliness is the price we have to pay for being born in this modern age, so full of freedom, independence, and our own egoistical selves.
It is not you in particular that I distrust, but the whole of humanity. — Soseki Natsume
26
Public Domain Image
27
ninjaschoolhack.info
28
Sakke Wiik flickr.com
29
Art by TJ Volonis
30
KINTSUGI A poem inspired by the Japanese art of repairing pottery with gold and human relationships.
They ask us how we made it They ask us how through thick and thin, Scraping at the outermost rims of life, We fought to keep it
I tell them we used gold
I tell them
Just because we break Doesn’t mean it’s time to forsake Everything we have
What’s broken can be golden
Those fractures can embolden us
At times when just holding on is tough enough Without the hurt of us breaking up
Our cracks can make us stronger, Fight even longer for what we know is right, Encourage the other to conquer the world Through whispered words at night
31
Through thick and thin You hold my hand, understanding Neither of us can discover wonderland On our own
Our flaws are our perfection
A collection of the moments Which brought us closer A display of affection resurrected Whenever we are close enough to giving up
I know you are no prince charming But you rinse my wounds when I am hurt And assert that you still love me
You will tell me To follow those wild dreams of mine Even if it means leaving you behind But I won’t
Because together We are better Together we can face Whatever weather chance can cast Our way
32
Let our display of love Showcase that whenever one stumbles astray The other can illuminate their pathway home
So let our fingers trace the golden veins Despite the wounds this porcelain love Still remains
For as long as one can hold the pieces And the other the golden glue There will always be Me & you
Poem by Katrine Solvaag
rebloggy.com
33
34
Art by Kim Keever
35
www.aestheticmag.co.uk
36