Latest news with #Heian-period
Japan Forward
20-06-2025
- Entertainment
- Japan Forward
Art in Your Hand: Japanese Umbrellas Brighten Gray Skies
Come June in Japan, an umbrella becomes your constant companion. One tip to make sure you don't forget it anywhere is to invest in one you truly love. In Gifu City, traditional Japanese umbrellas, known as wagasa , are handcrafted like works of art. Each one takes up to two months to complete entirely by hand. When closed, they're slim and refined. When opened, colorful washi paper stretches out along elegant bamboo spokes in a striking radial pattern. Each umbrella crafted by 37-year-old artisan Mikiko Kawai is unique, featuring vibrant colors and intricate designs. In Japan's gray rainy season, they almost seem to chase the clouds away. A wagasa 's frame and handle are made from all-natural materials like bamboo and wood, while the canopy is crafted from washi paper. They come in various styles: from the detailed janome-gasa (snake-eye umbrellas) made famous in children's songs, to the sturdier bangasa , and parasols designed for sun protection. Kawai's "Sakura Wagasa" drew international attention when she created it for a visiting Hollywood actress. Inspired by the cherry blossoms in the film and the actress's costume, the parasol was made with delicate, handmade sakura-pink washi, using paper mulberry grown in Gifu Prefecture's Mino City. It quickly became a hit on social media. Floral-themed wagasa have been made since Japan's Showa era (1926–1989), and Kawai finds constant inspiration in their retro charm. "Showa-era wagasa are surprisingly modern and stylish," she says. "I often draw on traditional color palettes, like the layered hues of Heian-period [794–1185] garments, to create something fresh yet timeless." Mikiko Kawai glues washi paper onto a bamboo frame at her workshop Kasabiyori in Gifu City. One of her most popular designs is Tsukiyakko , a model passed down from the early Showa era and now revived at her workshop, Kasabiyori. Once produced across Japan, wagasa became particularly prominent in Gifu City. The upper flow of the Nagara River brought essential materials such as high-quality Mino washi, bamboo, and oil. During the Edo period, even samurai were encouraged to take up umbrella-making as a sideline. At its peak in the late 1940s, the Gifu region produced more than 12 million wagasa annually, according to the Gifu Wagasa Association. Today, although mass-produced Western umbrellas dominate the market, Gifu remains Japan's largest wagasa production area. These traditional umbrellas are still used in everyday life, on stage, and increasingly as decorative pieces or event props. In an industry where production is typically divided among specialists, Kawai is unusual in that she completes every step herself. From assembling the bamboo ribs and gluing the washi paper, to oiling, sun-drying, and stitching the interior, she does everything by hand and uses no machines. Even parasols, which do not require oiling, take around two months to finish. For a janome-gasa , the process can stretch to two and a half months. Her work is also at the mercy of the weather. "Sun-drying takes about four days in summer and a week in winter," she explains. "I'm always watching the forecast, trying to find stretches without rain." Although wagasa look beautiful in the rain, rain is the one thing she must avoid during production. Her reliance on sunlight and traditional, manual techniques contrasts sharply with today's efficiency-driven world. Still, she continues, step by step — assembling, pasting, drying — relying solely on her own hands. As the mother of a one-year-old son, her working hours are limited. "I get maybe three to four hours during the day, and another two or three at night. That's all I can manage right now," Kawai says. Her creations are in high demand, and she's doing all she can to keep up. Kawai hopes these stylish umbrellas, rich in Showa-era charm, will find a place in modern Reiwa-era life (2019–). Her goal is to craft umbrellas that are just as beautiful closed as they are when open. "Umbrellas spend most of their time closed, so I want mine to look elegant even when they're not in use. I aim to make something that anyone can carry — regardless of age, gender, or whether they wear modern or traditional clothing," Kawai says. "I take my time with each one, hoping to gradually reach the level of beauty and craftsmanship achieved by the artisans who came before me." ( Read the article in Japanese . ) Author: Maki Tanaka, The Sankei Shimbun
Indian Express
09-06-2025
- Entertainment
- Indian Express
What we can learn from Japanese movies like ‘Spirited Away' and ‘My Neighbour Totoro' about life
In Japanese aesthetics, Yūgen (幽玄) is a profoundly philosophical concept that encapsulates the subtle, mysterious beauty of the world. Unlike direct beauty, which can be easily seen and described, Yūgen refers to an intangible, profound sense of wonder, often evoked by things that are unseen, fleeting, or beyond words. It is the moment when a mist-covered mountain evokes emotions too complex to articulate or when a poem suggests more than it explicitly states. Yūgen has been integral to Japanese art, poetry, theatre, and philosophy for centuries, influencing everything from Noh theatre to haiku poetry and traditional ink paintings. The term itself translates to 'mysterious depth' or 'subtle profundity,' reflecting the idea that true beauty is found in what is hinted at rather than fully revealed. The concept of Yūgen can be traced back to classical Chinese philosophy, which was initially used to describe profound truths. In Japanese aesthetics, it became a defining feature of artistic expressions that sought to evoke emotions through suggestion rather than explicit detail. Yūgen in Literature: The Heian-period poetry collection Manyoshu often used this idea to craft verses that left much to the imagination. The 13th-century Zen monk Kenko Yoshida, in his work Tsurezuregusa (Essays in Idleness), also emphasized the beauty of the unfinished and the unknown. Yūgen in Noh Theatre: Zeami Motokiyo, the father of Noh theater, described Yūgen as the highest artistic ideal—something that should evoke a quiet, profound sense of awe. A performance achieves Yūgen not through grand gestures but through subtle movements and silence, allowing the audience to feel rather than see. Yūgen in Art and Nature: Traditional Japanese ink paintings (sumi-e) use blank space to create depth and ambiguity, while Japanese gardens often feature hidden pathways, misty water bodies, and asymmetry to suggest unseen beauty. Even in contemporary times, Yūgen influences Japanese cinema, photography, and literature. Filmmakers like Hayao Miyazaki evoke Yūgen through breathtaking landscapes and quiet moments of introspection in films like Spirited Away and My Neighbor Totoro. Haruki Murakami's novels often leave things unexplained, allowing readers to fill in the gaps. In a world obsessed with clarity and instant gratification, Yūgen reminds us that some experiences are best left mysterious and open-ended, inviting deep personal reflection.
The Mainichi
05-05-2025
- Entertainment
- The Mainichi
Kyoto Aoi Matsuri's heroine undergoes purification ritual ahead of festival
KYOTO -- The Aoi Matsuri festival's heroine "Saio-Dai" underwent a purification ritual on May 4 at Kamigamo Jinja shrine in Kyoto's Kita Ward as the fine weather attracted many families and tourists to the sightseeing spot amid Japan's Golden Week holiday period. This year, Aya Yamauchi, a second-year graduate student at Tokyo University of the Arts, and a native of Kyoto's Sakyo Ward, serves as the 67th Saio-Dai. The 25-year-old entered the shrine grounds on May 4 clad in a "junihitoe" 12-layered ceremonial kimono. She was accompanied by a procession of about 50 women, including "warawame" (young girls) and "uneme" (court ladies), all dressed in vibrant traditional attire. Amid the sounds of ancient court music, she purified herself by dipping her fingertips into the Mitarashi River, then blew onto a wooden human-shaped doll and set it afloat in the clear stream to cleanse away any impurities. Yamauchi said, "The 'junihitoe' dress carried a lot of weight. I feel solemn." The Aoi Matsuri, one of Kyoto's three major festivals, is an annual celebration jointly held by Kamigamo Jinja shrine and Shimogamo Shrine, featuring a procession of participants dressed in Heian-period (794-1185) court attire, starting from the Kyoto Imperial Palace and visiting both shrines. The festival will be held May 15. (Japanese original by Yuki Ohigashi, Kyoto Bureau)
