HIROSHIGE AND VAN GOGH

HIROSHIGE AND VAN GOGH
Read About Van Gogh's Secret Visit to Japan

WELCOME TO BLOGABOUTJAPAN

WELCOME TO BLOGABOUTJAPAN
IT WAS A SPECIAL TIME IN MY LIFETIME

APT WITH TATAMI MATS, a special time in my lifetime in Japan...

APT WITH TATAMI MATS, a special time in my lifetime in Japan...
Watercolor by R.L.Huffstutter

COMPARISONS IN ART

COMPARISONS IN ART
HIROSHIGE'S WORK ON LEFT, VAN GOGH'S ON RIGHT

YOKOHAMA PICTURE SHOW

YOKOHAMA PICTURE SHOW
Shot with my Petri in Yokohama 1962

RICE FIELD IN JAPAN 1962

RICE FIELD IN JAPAN 1962
I took this with my PETRI in Kanagawa Prefecture

Friday, May 28, 2010

Nagasaki Peace Memorial

THIS IS ONE OF MANY PHOTOGRAPHS I MUST CONTEMPLATE WHEN I STUDY THE HISTORY OF WORLD WAR TWO. MY GRATITUDE TO THE PHOTOGRAPHER
_____________________________________________________

Nagasaki Peace Memorial
This is a shot I took of one of thousands of memorials at ground zero in Nagasaki, right outside of the front entrance to the Atomic Bomb museum and memorial. There are so many reasons today to remember the over 75,000 people who died instantly when the second atomic bomb was dropped on Japan, 60 years ago.

Here is a site dedicated to remembering the atomic bombing of Nagasaki: Remembering Nagasaki.

This site was set up on the 50th anniversary of the nuclear bombings of Hiroshima and Nagasaki. It includes photographs by the Japanese Army Photograper, Yosuke Yamahata. On August 10th, 1945 he took his camera and documented the devastation left in the wake of the second atomic bomb dropped on a civilian population. The pictures are stark, terrifying and heatbreaking. Many of these are on display at the atomic bomb museum at ground zero in Nagasaki. These should be required viewing for everyone. Please take a look.

Uploaded by musicmuse_ca on 8 Aug 05, 7.03AM PDT.

Sunday, May 23, 2010

The Search for Serenity Continues...

ESSAY ABOUT THE ROOFS OF JAPAN:

Memories of my time spent in Japan during the early 1960s by Robert L. Huffstutter

When I first arrived in Japan, in August of 1961, my first impressions were so many and varied it is difficult to describe in a short essay, but it is an essay I have been writing in various form throughout these past years. Each mention I make of Japan is part of this ongoing essay, one that will only end when my life ends. So, to say that Japan made an impression on me is an understatement. From that first day in August so many years ago, my love and fascination for Japan has increased into volumes, many yet to be recorded, though I continue writing.

Now, about the roofs. The roofs of Japan are like no other roofs anywhere, their tiles, their decor, their natural blend into the ever-present shilouettes of the hills behind almost every scene in the old woodblocks, the early photographs, the contemporary photographs, and in almost each of my own paintings of Japan.

I love the roofs of Japan, the ones in your image, the traditional and classic. But not those roofs only, no, but the roofs of the lesser structures too, those wooden structures still remaining that were constructed in the 19th century. They were plentiful to the eye in the early 1960s and I hope there are many left.

But those roofs constructed to simply provide a roof over one's head have a certain type of charm too; they are not just slopes of plywood like so many I see in the USA, put up to keep the rain out and nothing more. No these economical roofs constructed to keep one dry in Japan do not forget tradition or heritage, thus even those roofs have a personality of their own, and they weather soon to appear as though they were built when Hearn was looking down at Yokohama from his hilltop abode.

But enough about the roofs, those with history and those built for residential purposes and commercial purposes. The eventually converge and meet in the metropolitan congestion of cities in Japan. My relationship with the cities of Japan is confined mostly to Yokohama. Yes, Yokohama, I knew it well for my time spent. It was Yokohama where I went for sketching, for a getaway on weekends, for a time to party, Oh, Yokohama, I knew you well. Your roofs were alway the subject of my visual delights as I rode the trains to and from Sagami-Otsuka.

They flew by me quickly on those trains that stopped at towns like Tsuruma, Yamato, and so many others before finally reaching the train station in Yokohama. Oh, what a mass of humanity going one way and another, quickly and briskly, soon to disappear in one shopping street and then another.

During my first few weeks of residence in Japan, my footsteps fell on many streets that fascinated me, but were not the streets where I had intended on going. I was always looking for Iza-zake-jo, that street where everyone seemed to want to be, where there were hundreds of paper lanterns hung at a most ornate entry, plastic cherry blossom attached to the many lines that run along the way, sakura, sakura, pink and beautiful even when the season was over. And always the joyful aromas of delicious curry and soba with strange spices I had never tried. The roofs, the roofs, with their diverse angles popping up with impressive dragon motifs and little symbols I knew nothing about.

The roofs of Japan, yes, they made quite an impression on me my first day in Japan, and on my last day in Japan too. As the vessel that took me away from my beloved left its wake from the pier at Yokosuka, heading for my country, there were tears in my eyes for a country I had loved from my very first day, and a country that I would love forever.
We had shared so many hours together; we had shared stories abot our families and we shared sad moments when she told me about her father, a man she never knew. She was the daughter of a Burma Road soldier and never returned home. She had shown me his photo once, and then never again. He had looked so young and handsome in his uniform. We understood that all was forgiven. It had not mattered to us. What had mattered had been the time we had spent sketching in Sankien gardens, in Yamashita park, in Hakone and by the side of little roads in villages when we just decided to let the trains take us where we wanted to go.

As my vessel moved away from the pier, we waved, she with a white hankerchief, me with my hand and then my hat until there was no longer an image but only a memory. And the ship moved beyond the horizon. She turned and returned to her home in the large apartment buildings of Totsuka; I stayed on deck of that large transport, leaning on the rail, still seeing what I imaged were the shilouettes of those eternal mountains, but they were ghost images only. When the sun finally set on the Pacific, I turned in for the night and wrote a letter.

The roofs of Japan appear in my paintings and in my dreams. When I return, the reality of those roofs will make me smile once again.

THIS ESSAY HAS NOT YET BEEN COMPLETELY EDITED FOR ERRORS............

Friday, May 21, 2010

JAPAN TRAVEL POSTER FEB 2010

This is one of the most important departments we have. It should be directed by one who has the expertise and knowledge required to keep our nation safe. When one who has taken the oath to protect and preserve the people and the Constitution admits to ignorance of the Arizona Law 1070 in that she did not read the bill, one might question this woman's abilities. This is my opinion, and the opinion of millions. It is time for the President to Fire and Hire a new director, one approved by Congress

Tuesday, May 11, 2010

THE PEANUTS CLUB IN YOKOHAMA: 1961, 1962, 1963...four floors with an elevator of live music

IT WAS A SPOT WHERE MANY ROMANCES BEGAN. While many only lasted one or two nights, some lasted much longer_________

THE PEANUTS CLUB IN YOKOHAMA: 1961, 1962, 1963...four floors with an elevator of live music

Uploaded by roberthuffstutter on 11 May 10, 9.51AM PDT.

Yuuraku-gai St./遊楽街

Yuuraku-gai St./遊楽街
There was an arcade in old days.This street (Yuurakugai-st) intersects main street after this.

Uploaded by 慈朗-Yoshiaki on 23 Jan 10, 7.00AM PDT.

THE OLD IMPERIAL HOTEL in PRE-WW2 TOKYO -- Frank Lloyd Wright's Masterpiece in Japan

I STAYED HERE IN 1961: COST FOR A DECENT ROOM WAS ABOUT $10..................................HONEST. AND NOW IT IS GONE.
_____________________________________________________
Here we have T. ENAMI meeting up with the work of FRANK LLOYD WRIGHT. Wright's version of the Imperial Hotel, replacing those that came before it, opened on September 1st, 1923 -- the same fateful day on which the Great Kanto Plains Earthquake destroyed Enami's Photographic Studio -- along with most of Yokohama and Tokyo.

Thanks to Wright's modern building techniques that employed a large amount of steel girders and reinforcements, this hotel survived with only minor damage. Enami himself had rebuilt his studio on Benten Street and was back in business within two years.

After 45 years in service, the structure was finally razed in 1968 to make way for a new incarnation. Thankfully, conservation minded individuals assured that part of the Hotel was saved. Students of Wright's architectural works may continue to see and examine this original Entryway at Meiji Mura Architectural Park outside of Nagoya.

The new Imperial Hotel in Tokyo has also incorporated some pieces of Wright's embellishments as part of the public interior spaces --- at least I remember seeing some of it before passing out in the Bar after too many "Rum and Cokes".

For more on the long history of the place, and its many incarnations, see : www.imperialhotel.co.jp/cgi-bin/imperial_hp/index_e.cgi?a...

Frank Lloyd Wright was also a photographer, and a book of 50 of his photographs taken while in Japan has been published. (Try a used book connection thru amazon.com)

From a Lantern-slide by T. ENAMI of Yokohama. Ca.1923-28. For more on the Life and Times of Enami see : www.t-enami.org/


For the MOTHER LODE of T. Enami photographs here on the Web --- all CC rated for your creative use --- see this Flickr collection : www.flickr.com/photos/24443965@N08/collections/7215761388...


RANDOM SOBA : www.flickriver.com/photos/24443965@N08/random/

Casual Pose


Casual Pose
Originally uploaded by born1945
Thanks to BORN 1945 for adding this to the 40 years or older group of my Flickr Public Group about Japan. You can get there by following this photograph. It is an exceptionally clear photo for a vintage 1930, further evidence that the Japanese have been making some great cameras for a long time.
____________________________________________________
Casual Pose
These are from my collection of vintage Japanese photos. I believe these all date from the 1930s or maybe earlier.

Uploaded by born1945 on 19 Aug 09, 3.28PM PDT.


Originally uploaded by Art of the Luggage Label
ww.flickr.com/photos/huffstutterrobertl/galleries/72157622878175369

Sunday, May 9, 2010

Bhuddah


Bhuddah
Originally uploaded by softwareguy888
MOST IMPRESSIVE PHOTO that is visually pleasing and one that creates a certain peaceful serenity within my mind. To me, this is a most peaceful symbol of a positive religion and ideology.
_____________________________________________________
Bhuddah

Uploaded by softwareguy888 on 21 Apr 10, 2.37PM PDT.

Friday, May 7, 2010

UNIQUE PICTUREQUE IN EAST / WEST WAY...



Originally uploaded by utoutokumasan
5)大阪市北区中崎西 Nakazaki, Osaka.

Uploaded by utoutokumasan on 6 May 10, 2.25AM PDT
__________________________________________
There is an essence of the picturesque here that is shared by both the east and west, the occidental and the oriental. In the USA, one might imagine there would be ginham geese inside these dwellings. In Japan, there are probably the little dharma Bhudda and the legendary kitty cat. One very cool photo..

iyo_shinai2


iyo_shinai2
Originally uploaded by roberthuffstutter
ONE OF THE TROLLYS THAT CONNECTED ONE PART OF THE CITY WTH ANOTHER...This is not my photo, but one that I captured while browsing the internet. I am seeking the name of the photographer who posted it.

Thursday, May 6, 2010

THEN AND NOW #2 -- LOOKING SOUTH FROM MAEDA BRIDGE TO MOTOMACHI AND "THE 100 STEPS" (2006, New Yokohama)

MY MEMORIES OF MOTOMACHI ARE MANY AND FOND...This location has transformed again and looks nothing like it did in 1963...
___________________________________________________
THEN AND NOW #2 -- LOOKING SOUTH FROM MAEDA BRIDGE TO MOTOMACHI AND "THE 100 STEPS" (2006, New Yokohama)
You have just come from Picture #1 www.flickr.com/photos/24443965@N08/2409631100/ You are standing right in the middle of Maeda Bridge, taking advantage of the red light holding up the cars behind you ! (Directly over your head is an elevated expressway causing the shadow we are standing in. Cars and trucks high in the air are racing in both directions, following the path of the river that runs from right to left beneath you)

The "100 Steps" that used to be up ahead in front of you were never rebuilt, and you can no longer climb the hill there, either. The entire face of "The Bluff" from top to bottom is now covered with a grid of reinforced concrete anchored deep into the face of the cliff. It has become covered with ivy over the years, and now looks green again, seen behind the tall brick building that rises from the where the base of the Steps used to be.

Halfway ahead (past the girl on the bicycle) is the MOTOMACHI intersection. Turn left or right for the shop-lined avenue that was also a photographic staple of album views and numerous "Yokohama Postcards". And there you have it, another flickr "THEN AND NOW" from Old (and new) Japan.

If you have the "ALL SIZES" button over the image, you can go to the ORIGINAL size, and see how many signs you can read. Some are in English (or the Alphabet), starting with the THREE DOG BAKERY. Have fun !

Uploaded by Okinawa Soba on 12 Apr 08, 10.07PM PDT.

Tuesday, May 4, 2010

JAPANESE VILLAGE OF THE 60S BY R.L.HUFFSTUTTER

My impressions of Japan are many. Strangely enough, the older I become, the more pristine and clear some of those long ago images of 50 years ago become. I have a wealth of memories and impressions that are all golden and revered.

It is how I remember one of the towns between Yamato and Tokyo.

The train stations were always the main area of these little towns, now perhaps called suburbs or "burbs."

I remember seeing so many signs that I could not read, but the ones in English were the ones that stood out for a young American. Sony, Sony, Sony signs everywhere and so many radios and electronics gadgets even then

JAPANESE VILLAGE OF THE 60S BY R.L.HUFFSTUTTER
IMPRESSIONISM...in a village of Japan in the 60s.

Uploaded by roberthuffstutter on 3 May 10, 11.54PM PDT.

Monday, May 3, 2010

THE GEISHA


THE GEISHA
Originally uploaded by Okinawa Soba
THE FOLLOWING INFORMATION IS FROM THE FLICKR PHOTOSTREAM OF OKINAWA SOBA:

THE GEISHA
WHAT FOLLOWS IS SOME STRAIGHT TALK ABOUT THE GEISHA.

The life and labors of a GEISHA in old Meiji-era Japan was a far cry from the anachronistic, though still pretty and talented Geisha of the 21st Century. Way back during the Meiji-era time of these photos, she was truly an integral part of Japanese society who was called upon for numerous social activities and odd "media" realetd jobs that sometimes took her far from the "Geisha House" we usually associate her with. The Geisha were very busy girls !

First, a few words about the above photo, and then we'll get right to the REAL DEAL concerning these iconic symbols of "classic" old Japan.

THE ABOVE PHOTO is one of 260 hand-tinted, real albumen photographs tipped into the best editions of the 10-volume JAPAN -- DESCRIBED AND ILLUSTRATED BY THE JAPANESE (Published in Boston, USA in1897).

It was probably taken ca.1890-96 by K. OGAWA in his Tokyo studio.

Although there were plenty of other Geisha photos in this publication, the above image was chosen by the Japanese themselves to illustrate the only short but important statement in the book that specifically defined what a Geisha really did with her professional time. (The full statement is transcribed further below in this caption). I have amplified those comments with confirming descriptions from other sources.

I wrote the below because I was never satisfied with any other one-shot, on-line description of the Geisha's job responsibilities during those times. No doubt, my former profession as a photographer in Japan had something to to with driving me to make this statement on my photostream. I hope that something in both the content and links will be of some value to you.


*************************************


THE WORD GEISHA = GEI SHA 芸 者

[GEIKO is a Kyoto term for a GEISHA. Same thing. Six of one, Half a dozen of another]

The first character GEI 芸 is usually translated into English as Art, or the Arts.

The second character SHA 者 simply means Person.

Together they mean A person of the Arts. Therefore......ARTIST.

That's simple enough.

BUT....

SCULPTORS, PAINTERS, AND POTTERS ARE ALSO "PEOPLE OF THE ARTS".... MAY WE CALL THEM "GEISHA", AS WELL ?

NO.

The two Chinese characters for GEISHA are specifically reserved for the women in this so-named Geisha profession who have been trained from childhood in the Performing Arts such as Music, Dance, Speaking, or Singing for the purpose of entertaining others in venues clearly defined for them.

ENTERTAINERS is probably a better translation of the word, but that, too, is far from sufficient, and is more likely to conjure up images of Stand-up comedians or Lounge Singers in a Las Vegas Night Club act. Besides, there is already a general Japanese word for TV Personalities and "entertainers" in this category : 芸 能 人 GEI NOH JIN. (Notice that the first part of that word also uses the same 芸 GEI character used in GEISHA).

Actually, there is no good English equivalent for 芸 者, as the Geisha is purely a Japanese phenomena. Not even their neighbors, Korea and China came up with the exact same thing. Thus, it is simply better to use the word Geisha, and simply know what the word entails when you are talking about her.

IMPORTANT QUESTION : Returning to something already touched on above, if "Geisha" literally means "Artist" (or "A Person of the Arts"), then what words(s) do the Japanese use for other "Artists" like painters, sculptors, potters, engravers, and etc ?

EASY ANSWER : There are many other words in Japanese to describe the various artistic disciplines and art related subjects (some that use the same written character GEI 芸 of GEISHA as a part of the word or words, and others that do not include GEI). This goes for the different Japanese words used for Artists who are painters, potters, engravers, sculptors, and etc.

Even in English, we know that a RECORDING ARTIST is not the same as an artist like PICASSO or MICHELANGELO. The Japanese language is the same, and they have everybody covered with the right words and titles for whatever the heck they do.


NOTE : FOR AN IMPORTANT DEFENSE OF THE TERM "GEISHA GIRLS" AS AN ALTERNATE TO THE TERM "GEISHA", PLEASE SEE MY COMMENT APPENDED TO THE BOTTOM OF THIS CAPTION !



*****************************************************



THE TRUE-LIFE JOB DESCRIPTION OF A MEIJI-ERA GEISHA

The GEISHA (along with their MAIKO understudies) were in a class of their own.

Beautiful, talented, intelligent, and quick-witted --- they were also, on occasion, full of passion for the men that pursued them.

Although it is understood that they were NOT prostitutes, what they did in the old days (and even what they do now) has always been a little bit fuzzier in most peoples minds. The most common [and partly accurate] perception is this :

The "Geisha Girl" sings and dances the night away while pouring drinks, serving endless plates of hors d'œuvres, lighting the customers tobacco, making witty small talk, raising eyebrows and heartbeats with coy looks and innuendo, and building the egos of the male clientele --- all at drunken dinner parties held in the secluded, private "restaurants" attached to the famous Geisha Houses of the larger towns and cities.

Yes. She did do that. But in most cases, the Geisha of Japan entertained men at TEA HOUSES (Ochaya) scattered all over the open country and in urban Geisha districts. While doing this, and unless she was a free agent, she would live at an OKIYA --- a type of "boarding house" for Geisha and Maiko.

en.wikipedia.org/wiki/Okiya

But, there's more....

GEISHA WERE MODELS FOR PHOTOGRAPHERS --- Both IN and OUT of Character.

I have mentioned in some of my captions that the Geisha also served as models for the photographers, donning all sorts of garb to portray all classes of women in Japan. Some comments from flickr users expressed surprise (and doubt) that they were also "models", and wondered if that was really so.

Yes. That was really so. Please read this caption (and observe the photo) very carefully :

www.flickr.com/photos/24443965@N08/3329199977/

Saturday, May 1, 2010

Bell Tower (Kawagoe) 時の鐘 (川越)

Bell Tower (Kawagoe) 時の鐘 (川越)
large size
www.flickr.com/photos/pinboke/2945435231/sizes/o/

参考:KAWAGOE city official web site(English)
www.city.kawagoe.saitama.jp/icity/browser?ActionCode=genl...
時の鐘
www.city.kawagoe.saitama.jp/icity/browser?ActionCode=cont...


小森裕三 ペン彩画作品 Collection 
Detail 一覧
www.flickr.com/photos/pinboke/sets/72157603023492156/detail/
スライドショー Slide show
www.flickr.com/photos/pinboke/sets/72157603023492156/show/

Uploaded by pinboke_planet on 15 Oct 08, 8.14PM PDT.