Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Thursday, May 31, 2012

The last Haiku

Well, it's official, summer is here. The days are blazing and the nights are sweltering, and I find myself in front of a fan or any A/C unit in proximity. To finish off the month of May, which happened to whiz by me, I will end with a few last Haiku to carry us all into June. The first one paints an image relating to the night, I begin with this one hoping that the blanket of the night sky will cool the heat of the day.

A lovely thing to see:
Utsukushi ya
through the paper window's holes
shoji no ana no
the Galaxy.
ama-no-gawa.


Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/
page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html


A morning-glory  vine
Asagao no
in its full bloom, has thatched
Hana de fuitaru
this hut of mine. 
iori kana.


–Kobayashi Issa (1763-1828)


And I end with a farewell to spring.


"Marvelous!" I say,
Mezurashi to
and with each single thing I see
miru mono goto ni
springtime fades away. 
haru ya yuku.


–Takai Kito (1741-1789)





Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/
page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html
*From the Anthology of Japanese Literature compiled and edited by Donald Keene.

Thursday, May 24, 2012

Haiku: Tokugawa Period

Ooooh how the sun is shinning in these parts. It is oh so very hot. The rains that were pouring these passed weeks are nowhere to be seen. It's about that time to dust away the bathing suit, throw it on, and head to the beach for some cooling down. With that, here is a Haiku to versify the day.


Come to me– with each other
Ware to kite
let's play– little sparrow
asobe yo oya no
without any mother.
nai suzume.

–Kobayashi Issa (1763-1828)
Trans. by Harold G. Henderson




Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html
Now I hope the rest of you out there have a sunny and lovely day wherever you are.






Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html


*From the Anthology of Japanese Literature compiled and edited by Donald Keene.

Monday, May 21, 2012

Haiku: Tokugawa Period

The summer is speeding up in its arrival and I'm finding myself with more free time than usual. To get back on track in sharing more Haiku, here are two more.

If the times were good,                                      Yo ga yokuba
I'd say, "Sit down!–one more of you!"              mo hitotsu tomare
flies around my food.                                         meshi no hae.


I found this one oddly cute, even though it's about flies circling in on the food that is being eaten.
This last one is also about insects, but it is less unappealing.


In its eye                                                           Toyama no  
the far-off hills are mirrored–                            medama ni utsuru
dragonfly!                                                         tombo kana.




Scrolls of The Tale of Genji, Bamboo River. Source:
http://dailylife-tokyo.blogspot.com/2009_11_01_archive.html
*From the Anthology of Japanese Literature compiled and edited by Donald Keene.

Tuesday, May 15, 2012

Haiku: Continued...

It's midnight now where I live, and here are a few more Haiku for those that enjoy fleeting and beautiful imagery.

Edo Period Art. 


Blossoms on the pear;                     Nashi no hana
and a woman in the moonlight        tsuki ni fumi yomu
reads a letter there...                        onna ari...
–Yosa Buson (1716-1784)








A one-foot waterfall                         Isshaku no
it too makes noises, and at night       taki mo oto shite
the coolness of it all!                         yusuzumi.





*From the Anthology of Japanese Literature compiled and edited by Donald Keene.



Edo kinko hakkei. Tamagawa shugetsu. By Utagawa Hiroshige. Edo:
Sanoya Kihei, c.1833. 1 print: woodcut, col.
Source: http://www.ndl.go.jp/nichiran/e/data/L/K/K34-001l.html





Saturday, May 12, 2012

Haiku: Late Tokugawa Period

The rains have abated here in this island. I am currently writing this post with the night enveloping me, that being so I will start off with Haiku that captures the night.


 Night that ends so soon:                          Mijika yo ya
 in the shallows still remains                     asase ni nokoru
 one sliver of the moon.                            tsuki ippen.
 –Yosa Buson (1716-1784)



Traditional Edo Period scene. Woodcut. Source:
http://www.imagekind.com/Edo-Period-Japanese-Scene-art?IMID=69a960f6-10cd-46a6-9351-8d9f3e57382b



 The grove in spring:                                   Haru no mori
 the birds that catch the birds– they too        tori toru tori mo
 are slumbering.                                           neburi kana.
 –Takakuwa Ranko (1726-1798)



And now to end with a different theme.


Get out of my road                                  Soko noite
and allow me to plant these                     take uesase yo
bamboos, Mr. Toad.                                hikigaeru.
–Miura Chora (1729-1780)


Plum Blossoms in Midnight, Mishima Shoso.
Source:
http://mokuhankan.com/conversations/archives/prints/
*From the Anthology of Japanese Literature compiled and edited by Donald Keene.




Monday, March 26, 2012

Graffiti de Julio Cortázar.

"Tantas cosas que empiezan y acaso acaban como un juego..."
Cada vez que leo un cuento nuevo de Julio Cortázar me confronta el talento brillante de este escritor Argentino y siempre aprendo algo relevante y nuevo. Esta semana vengo con su cuento Graffiti, es uno de sus cuentos populares, y además, soy una empedernida seguidora del movimiento de arte urbano/graffiti.
Antoni Tàpies
http://www.galleristny.com/2012/02/painter-antoni-tapies-dies-88/
Este cuento de Cortázar se trata de un artista de graffiti, durante unos tiempos turbulentos en su país, el cual no se divulga. Estos tiempo son de gran prohibición, y por consecuente, de reprimir al pueblo, de miedo y de abuso del estado contra el pueblo. Por extensión, el graffiti de cualquier forma no es permitido. Este artista, un día inesperado, se topa con otro artista, el cual el denomina como ella, deduciendo su sexo sólo por la "esencia", el trazo de sus lineas en su dibujos y los colores que utiliza. Siguiendo este encuentro, los dos comienzan una relación ficticia y a la vez real en la que los dos se siguen mediante el arte que plasman al azar por la ciudad.  Este juego que emprenden se convierte en un reto y un afán, en el cual los dos luchan por encontrarse. Pero, sucede que mientras ella le respondía a él con un dibujo los policías la atrapan. El llega tarde a la escena, sólo logrando ver como se la llevan arrestada. De ahí, el artista cae en una melancolía, a la vez sintiéndose culpable y triste por lo que le sucedió a ella. Luego de varios meses sin pintar, el sale a la calle y plasma una imagen sobre la pared de un garage. Esperando después el día entero para ver si habían borrado su graffiti, como siempre hace sin tardía, la policia. Pasado el día, al llegar la noche el se acerca discretamente a su dibujo y ve en una esquina diminuta un dibujo que no es suyo, el cual el toma como respuesta de ella.
De primera impresión este cuento es simple, pero, como suele pasar con los cuentos buenos, hay más escondido detrás de las palabras.
Éste es un grito de esperanza, una búsqueda de sosiego y un reclamo de libre expresión. El protagonista se desahoga, plasmando para la vista de todos, mediante su arte. Salir a pintar tarde en la noche, capaz de ser arrestado, y pintar sobre una pared libre de color e idea es un reto de confrontar el miedo y así domándolo. El reto lo toma el artista como forma de mantener su esperanza viva y para compartir esta esperanza con el pueblo, los cuales también sienten el mismo miedo y la misma melancolía de vivir en un país que acapara la libertad individual. Al indagar sobre la dedicación del cuento, A Antoni Tàpies, descubro que éste fue un artista durante los tiempos de Franco en España. Su arte es clasificado como doblemente modernista y post-modernista, y se interesaba por interpretar aquello que abarcaba la esfera social y publica, la libre expresión y así despertando la consciencia del espectador.  Tàpies vivió en Barcelona y murió hace unos años atrás a los 88 años. Conociendo esta información permite una mejor interpretación del cuento, dedicado a este artista español famoso e iconoclasta. Es un llamado al arte por el amor al arte como medio que debe estar modulado por la libre expresión. La próxima vez que estés vagando por la ciudad y te topes con arte urbano/graffiti, detente y mira bien, puede que te esté diciendo más de lo que percibes a simple vista.

Every time I read a new short story by Julio Cortázar I am astounded at his amazing talent that reveals imperceptible truths. This time it is his story Graffiti, it is one of his popular short stories.
It is about a graffiti artist that resides in an extremely prohibitive city, where freedom of expression is severely punished and where abuse of the police against the citizens abounds. This artist, as a way of rebelling, does graffiti, painting diverse images around the city. One day, he finds there is another artist like him that is following his trail, painting images next to his as a means of communication. This unknown artist he denominates as female by the subtle feminine nuances he perceives in the images. Following this encounter, both strive feverishly to stumble upon the other, a yearning for contact and understanding. Unfortunately, while she was responding with a graffiti to one of his, she is arrested by the police. The protagonist then falls into a melancholic stupor which he spends drinking and avoiding painting. A few months pass and he gathers the courage to go out and graffiti. He does so. That day, he spends his time discretely going back to the painting, wanting to see if it has been erased. Towards nighttime, he goes to check his painting and finds a minuscule drawing on the side of his work, which he interprets as a response from her.
Upon first impression this short story is simple but, like every good story, there is depth behind it's words.
This is a story about the freedom of expression, of art being unencumbered by state or outside influences and of the desire of unity and hope. The artist, in going out and painting, faces the fear that suppresses the masses that surround him, his art is a form of courage.
Les quatres cróniques, 1990. Fotograph: Jordi Bedmar
http://www.fundaciotapies.org/site/spip.php?rubrique865
Digging even further and investigating the dedication of the story, To Antoni Tàpies, I discovered that Tàpies is a spanish artist that lived during the time of Franco, in Spain. He died a few years ago at the age of 88. His art is considered both modernist and post-modernist, that sought to "transform the public's conscience" concerning social and public matters. It was as well, a a bastion for freedom of expression. Knowing this information allows the reader to better interpret Cortázar's "Graffiti", dedicated to this iconoclastic and famous spanish artist. It is an appeal to art for the love of art and as a medium that should be modulated by freedom of expression. The next time you, reader, find yourself confronted with a graffiti/urban art, stop and look well, it might be saying more than is easily perceptible.

Links:
Fundació Tàpies
Graffiti

Wednesday, March 7, 2012

Recortes de Prensa de Julio Cortázar

"Aunque no creo necesario decirlo, el primer recorte es real y el segundo imaginario."
Yo tengo un pequeño compendio de cuentos de Julio Cortázar, Queremos Tanto a Glenda. He ido leyendo los cuentos poco a poco, siendo Cortázar un cuentista detallado y excelente, sus historias se merecen varias lecturas despacio.
En fin, siendo Marzo el mes que he escogido para dedicarle a Cortázar, comenzaré con su cuento, "Recortes de Prensa". Lo he leído ya varias veces para poder captar sus matices. Toma lugar en París. Un escultor invita a una escritora, ambos argentinos y amigos, para mostrarle sus esculturas nuevas. Luego de mostrárselas le pide que haga una escritura que las acompañe. El tema de las esculturas es la violencia y sus múltiples caras.
"Incluso la tortura, esa forma última en que la  violencia se cumple en el horror de la inmovilidad y el aislamiento."
Partiendo de aquí, la escritora le muestra al escultor, sobre una taza de café, unos recortes de prensa. En éstos recortes se relatan unos secuestros ocurridos en Argentina durante 1975-80, la Guerra Sucia de Argentina. Al leer estos recortes, las obras del escultor se ponen en perspectiva y se cuestiona de manera indirecta, ¿qué función tiene el arte ante las atrocidades reales que ocurren diariamente?
Luego de una conversación en la que se debate el tema del arte ante la sociedad, la escritora se retira a su casa. En el camino, ya tarde en la noche, ocurre una transición, un desdoblamiento de tiempo y espacio en el que ella se encuentra ante una escena de violencia doméstica, específicamente de tortura. El hilo se rompe y ella regresa a su hogar para luego, el día siguiente, escribir lo que vio. Esto es lo que le entrega al escultor para que acompañe sus esculturas.
Uno de los atributos que más me resalto del cuento es cómo Cortázar crea el desdoblamiento de tiempo y espacio. Similar a lo que hace un escultor cuando crea, moldeando, Cortázar moldea de tal manera sus palabras como para lograr transiciones imperceptibles.
El tema del cuento enfoca la cuestión del arte, en todas sus formas, y su función ante las disparidades de la vida, las injusticias. Por ésta razón, y para apreciar el estilo de este gran escritor, este cuento y muchos más de el se merecen una lectura. Con esto les dejo las palabras que le dijo el escultor a la escritora al haber leído lo que ella escribió.
"Es cierto que un escritor puede argumentar que si su inspiración le viene de la realidad, e incluso de las noticias de policía, lo que él es capaz de hacer con eso lo potencia a otra dimensión, le da un valor diferente."
I have a small compendium of short stories by Julio Cortázar, an Argentine writer, Queremos Tanto a Glenda. The short stories found therein I've slowly been reading and savouring. Cortázar is a detailed writer and his works deserve a few reads to better grasp the nuances of his stories.
Being March the month I've chosen to dedicate to this excellent writer, I begin with "Recortes de Prensa". This story takes place in Paris. A sculptor invites a writer, both Argentines and friends, to show her his new sculptures. After revealing his work to her he asks that she write a piece to accompany the sculptures. The theme portrayed in his work is violence and its' many faces.
Subsequently, the writer shows him, over a cup of coffee, newspaper cutouts relating kidnappings that occurred in Argentina during 1970-1980, the Dirty War. After reading these articles, the sculptors' art is put in perspective and to the forefront is brought into question the function of art in relation to the real and latent atrocities that occur daily.
Following a conversation in which this theme is debated, art in society, the writer parts. On her way to her house, late in the night, a transition occurs a blurring of space and time in which she, the writer, finds herself before a scene of domestic violence, specifically torture. The thread is broken and she returns to her house, later writing about what she saw. This is what she gives to the sculptor to accompany his works.
One of the aspects of the story that stood out is how Cortázar weaves the transition, the blurring of space and time. Similar to what the sculptor does when he creates his pieces, Cortázar molds his words in such a way as to create a shapely work of art, with subtle nuances and depth. This short story carries within it the question of art, in all its forms, and its function in the context of the disparities of life and the injustices. For this reason, as well as to appreciate Cortázar's style, Recortes de Prensa is worth reading, along with many of his other works.



Recortes de Prensa
Press Clippings (couldn't find online)

Wednesday, February 1, 2012

Joruri, The Art of the Puppet Theatre

http://ynt.yafjp.org/en/performing-arts/
Bunraku "Gionsaireishinkoki" (KIRITAKE Kanjuro) National Theater Collection
A few weeks have passed and Junichiro's words still resonate in my mind. Hence, going along with the first post I made this year and with the theme of Japanese tradition, I am sharing a brief essay I read on my anthology of Japanese literature, Chikamatsu on the Art of the Puppet Stage.


Chikamatsu (1653-1725) is a Japanese playwright who wrote for the Bunraku, or puppet theatre as well as the Kabuki. As opposed to Kabuki,  the art of living actors, Joruri seeks to give life to inanimate objects. Therefore, the plays should resound clearly and expressively in the written word, and likewise, should transfer unto a stage in the same vivid manner. The aim is to compel in the audience specific emotions. According to Chikamatsu, Joruri creates a sphere where, for the sake of art, words and facts are communicated that would have, in any other form, remained silent. Much like the evocative power of poetry. This art form, being centered on inanimate objects, allows the writer and the audience to journey through uncharted waters of the psyche, it enables hidden truths to shine through that would not have otherwise been seen in daily life. The essay also delves into the pathos in theatre, how it is a matter of restraint. Of containing the emotions while pulling the audience in.

While speaking of the puppet theatre and playwriting, Chikamatsu firmly resides within the territory of art. Postulating the question, what is art? According to him, it is about playing with light and shadow, the real and the unreal, and molding these elements with stylization so as to compel and delight minds.
Even though this essay is about theatre and those elements that create Bunraku, it reveals much more to the reader, especially if said reader has artistic inclinations. It speaks about the aesthetics on appealing to a public, and on another spectrum, reveals aspects of Japanese tradition that retains value within the realm of this post-modern era.
http://ajw.asahi.com/article/cool_japan/culture/AJ2011101411068
A scene from the bunraku classic Hirakana Seisuiki at the National Theater in September.
(Provided by the National Theater)
"Art is something which lies in the slender margin between the real and the unreal."
If the subject is of interest see these other sites for further info.
YokoHama Noh Theatre
Blog on Japanese culture
Bunraku at Princeton
On Chikamatsu

Thursday, September 9, 2010

Hard Times

Now, I must rewind a bit and digress... I have recently been reminded of the gem that is Hard Times; I made a post reviewing it a few weeks ago.
Why I love this Dickens' piece:
It is a book that aside from all its defects, stands as a testament of the human condition. In the age we live in, but I wager at gesticulating that it has always been only now it is manifested more pronounced, everything is determined by time. Time is money. Numbers. How much can be gained. Profit and loss. Calculation and hard facts is king.

But what about imagination, what about verse, rhyme, creativity, the beauty of brush strokes on a canvas. Don't get me wrong I am not saying this has disappeared, but I am saying its appreciation has morphed into a different concept. Now, art is money. 

This book is a defense for the arts and humanities, all the studies that cannnot be condensed into a scientific or mathematical equation.

Poetry and prose, in this case, is an idle art, one that is enjoyed internally, it has no objective benefits be it for the edification of the soul. One enjoys this pastime when there is nothing to do; it doesn't require from us anything concrete, no precision, just a moment, and that moments can transform into a space where the concept of time and its passage disappears.

It is evident in the ever present surge of art, that the "arts" are a human necessity. It allows us to escape, to dream, to believe. And precisely this is what Hard Times proposes and in my opinion achieves. In this book we see two opposing spectrum, and these two ideas and beliefs play out in this book until the end. From its' pages I deduce that Charles Dickens was opposed to the stifling of the arts and it is this that shines brightly in this book: the point he conveys and case he places before the reader.

So, read, explore and learn, there is nothing more entertaining than to let the imagination soar.

Creative Commons License
Hard Times by Natalia L Forty is licensed under a Creative Commons Attribution-NoDerivs 3.0 Unported License.
Follow the rabbit trail...