2014年4月25日 星期五

富士山與日本人 Endless inspiration to be found in Mount Fuji and spring flowers

Endless inspiration to be found in Mount Fuji and spring flowers

It’s often said by Japanese painters that the most difficult subject of all is Mount Fuji. How is it possible to come up with an original take on a theme that has been painted so often and by so many talented artists? Yet for all their angst, artists clearly manage, as demonstrated by the sheer variety of beautiful images of Mount Fuji currently on display at the Yamatane Museum of Art.
Organized to commemorate the mountain’s designation in 2013 as a UNESCO World Cultural Heritage Site, “Mt. Fuji, Cherry Blossoms, and Flowers in Spring” opens with some three dozen images of the sacred mountain representing several centuries of Japanese art. The second half of the space is given over to works depicting cherry blossoms, peonies and other spring flowers, reviving an earlier Yamatane tradition of staging a flower-themed exhibition every spring.
Mount Fuji, an active volcano and the tallest peak in Japan, has been regarded through history as sacred and is ringed by temples and shrines devoted to its worship. Its power and beauty have inspired centuries of literature and art. Early paintings show the mountain with three even peaks, a stylized depiction that may have been influenced by esoteric beliefs about the power of the number three. By the Edo Period (1603-1867), when travel became less restricted and more people had the opportunity to actually see the mountain, depictions in art became more realistic.
Now in its final weeks, the exhibition showcases both paintings and ukiyo-e prints, including examples from Utagawa Hiroshige’s famous series, “Thirty-six Views of Mt. Fuji.” There are works by big-name artists such as Taikan Yokoyama (1868-1958), who created over 1,000 paintings of Mount Fuji during his lifetime, as well as painters who names might be less familiar. One is Tamako Kataoka (1905-2008), who painted Mount Fuji again and again, particularly in the later part of her career. Her 1991 painting, “Auspicious Mt. Fuji,” is one of the highlights of the exhibition and a good example of her unconventional style and bold use of color.
With so many different interpretations on the same theme grouped together, it’s interesting to observe how artists can take the same elements — say, Mount Fuji and pine branches, a classic pairing — yet produce startlingly different results by varying color and composition. Such comparison is also possible in the flower section of the exhibition, which is a veritable bouquet of variations on the cherry-blossom theme.
Clearly, the singular mountain and spring flowers are a source of endless inspiration for artists. Writing about Mount Fuji in particular, Kataoka explained this eloquently in a 1971 essay: “Fuji soaring above mountains, or glimpsed between mountain peaks; Fuji from a village; Fuji from the ocean, Fuji from a town,” she wrote. “Fuji from the garden of one’s own home; Fuji seen through willows; peonies and Fuji, mountain grasses and Fuji, old trees and Fuji; the sun and moon and stars all suit Fuji well. There is no limit to the possible themes to paint.”
“Mt. Fuji, Cherry Blossoms, and Flowers in Spring” at the Yamatane Museum of Art runs till May 11; 3-12-36 Hiroo, Shibuya-ku, Tokyo; Ebisu Stn. Open 10 a.m.-5 p.m. ¥1,200. Closed Mon. 03-5777-8600 www.yamatane-museum.jp

PHOTO: Mount Fuji shows off its charms

photoThis glorious "Diamond Fuji," as seen from the Hojo coast in Tateyama, Chiba Prefecture, on July 30 (Tei Shimizu)
For those fortunate enough to be in the right spot at the right time on July 30, Mount Fuji rewarded them with a rare view: "Diamond Fuji," with the sun setting on its peak.

"富士山與日本人"有去趣 不過翻譯/製作太匆忙
錯字不少 譬如說 將印尼和印度打錯

富士山と鎌倉の世界遺産推薦を内定 文化審議会


「富士山」と「鎌倉」の世界遺産登録に向け、文化審議会は1日、日本政府として両候補地をユネスコ世界遺産委員会に推薦することを妥当と結論づけた。事 実上の推薦内定で、文化庁は2013年の登録を目指し、関係省庁と調整して9月末までに暫定版推薦書、来年1月末までに正式推薦書を委員会に提出する。

Rice-ball Mt. Fuji sets Guinness record


photoA Mount Fuji mosaic created with more than 20,000 "omusubi" rice balls in Gotenba, Shizuoka Prefecture (Tamotsu Sugao)
Gotenba, Shizuoka Prefecture--Hundreds of people got their hands sticky here in their quest to create the largest piece of "omusubi" rice-ball art--a huge mosaic of Mount Fuji.
The mosaic was made on Mount Fuji Day, Feb. 23, and recognized by Guinness World Records.
The glutinous mountain measured 74.09 square meters and was made up of 22,350 rice balls. The rice balls were crafted in five colors, including salt-sprinkled "white," seaweed-wrapped "black" and curried-rice "yellow."
The project was the idea of Shizuoka-based "bento" box-lunch maker Tenjinya Co.
After the rice ball Mount Fuji was commemorated for posterity by Guinness officials, about 2,000 participants and staff ate it.



對 于中國人來說,富士山並不陌生,它作為觀光勝地聞名遐邇。但是富土山對于日本人來說僅僅就是一個供人觀賞和攀登的對象嗎?絕非如此。在不同的歷史年代,富 士山有不同的象征意義。在繪畫中,日本畫家賦予它不同的形象;在文學作品中,日本作家借此抒發復雜的感情;在教科書中,日本政府將它作為統合日本精神的象 征本書詳細描述了富士山在繪畫、宗教、文學、文化、教育、社會等各個領域中的形象,具體闡釋了富士山與日本人的關系,深入剖析了日本民族的特性。這是一本 圍繞富土山,全方位、多角度地介紹日本文化的讀物。


  • 叢書系列:閱讀日本書系
  • 規格:平裝 / 216頁 / 15cmX23cm / 普級 / 單色 / 初版
  • 出版地:大陸


第一章 俗界富士
第二章 “富士山”的圖像學與日本人的心性 (竹谷負)
前 言
1 “富士山”的圖像學
2 近現代的富士山觀
第三章 富士山的繪畫,其發展與形態 (山下善也)
前 言
1 古代、中世
2 近世
3 主題的變奏
結 語
第四章 近代日本的教科書與富士山 (阿部一)
前 言
1 作為教育原理的國體
3 收錄富士山內容的教材的變遷
4 教科書中富士山的象征性
結 語
第五章 登山史上的富士山 (小泉武榮)
1 噴發的富士山
2 富士山登山活動的起源
3 末代上人攀登富士山
4 室町時代攀登富士山
5 江戶時代攀登富士山
6 明治時代之後的攀登富士山
第六章 富士信仰與日本的靈性 (鐮田東二)
1 作為精神地標中心的富士山
2 富士信仰︰粟與蟲的反朝廷文化
4 富士的各種形態與宇宙論
5 富士山的神秘
第七章 向富士山祈禱︰江戶富士講中救濟觀的發展 (宮崎文子)
前 言
1 富士信仰的發展
2 身祿教義中救濟觀的發展
3 救濟眾生與社會變革
結 語
第八章 禁止女性登山制度考︰從富士參拜者與當地居民關系的視角考察 (青柳周一)
前 言
1 參拜者、信仰登山部落、山麓地區的村莊
2 當地居民的“參拜者”形象︰“盡是糞便的山”
3 圍繞女性參拜者的對立圖式
結 語
第九章 時尚吟詠富士山︰近世詩歌中的富士山 (大谷俊太)
前 言
1 細川幽齋的挫折
2 大雪積晴空︰寫實的風景
3 欲忘更向富士山︰實際感受的真誠吐露
4 情意豈通達︰“時尚”吟詠的方法
結 語
第十章 平安時代的富士山︰在憧憬與恐懼之間 (和田律子)
前 言
1 平安時代文學作品中的富士山
2 平安時代的富士山畫
3 《富士山記》和《竹取物語》
4 《更級日記》中的富士山
結 語
第十一章 富岳五景 (堀切直人)
1 第一景
2 第二景
3 第三景
4 第四景
5 第五景
第十二章 月見草最適合富士山︰近現代文學與富士山 (川村�镧^
1 透視法的眼鏡
2 “游女”與富士
3 火山的變化
4 富士的遠景
第十三章 外國人眼中的富士山 (竹村功)
前 言
1 日本的外國人
2 江戶參府旅行
3 開國談判時來訪的人們
4 明治時代的外國人
5 昭和初期的外國人
結 語