Indian and Japan: Cultural Relations

PROSE READING COMPETITION: 2007

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Annual Prose reading competition:2007
Venue: Kennedy Hall, Institute of Jute technology, Kolkata

Haiku Workshop 2007

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Mesmerizing Japan: Some Random observations

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There are some experiences in everyone’s life which can never be erased and remained etched on one mind for ever. For me such a beautiful experience was my trip to Japan last month, as a participant of the JENESYS cultural-educational exchange programme. I may say that it was really an experience of a lifetime. Beautiful country, amazing people

We landed at the Narita International airport on 16th June 2009. Narita Airport was far from the main city. We boarded the bus that would take us to Asakusa View Hotel. When the bus came on the highway, my initial reaction was one of amazement at the awareness level about environment and at the proliferation of trees on the sides of the road as we approached Tokyo. Everything looked so enchanting. I saw the tall skyscrapers, numerous flyovers, and wide roads. I saw buildings of various famous international companies. Everything was so discipline and well planned. It was wonder beyond description.

Towards Tokyo

Highway

Soon the bus entered the city area and it was dazzling. Tokyo, the capital city of Japan holds 10% of Japan’s population. It is also the most populous city of the world. But you would never feel it crowded. I saw lots of speeding cars and trucks on the streets of Tokyo. But there was no traffic jam at all. I saw every citizen following her/his duty and never putting a toe out of line when the signal was red. The city was busy all day but there was no noise. I didn’t hear a single motor-horn in Japan. I saw provisions for the blind people to walk on the footpaths and cross the street safely. Roads were pollution-free and everything was so clean. Surprisingly there was no policeman stationed at any crossing. Many of the office goers were riding bicycles to get to office. It is an environment - friendly and an economically viable option.

Park: Central Tokyo

Our accommodation at Asakusa View Hotel was superb. Hospitality was the first thing that hit me there. People there were polite beyond words, courteous, always ready to help, responsible, and entirely meticulous.

Asakusa

Down Town

City Road Entrance of the Emperor's Palace

Asahi Beer Hall: Famous Gold Flame at the top by architect Philippe Starck

Shinjuku at Night

TEMPURA at the Japanese restaurant "AOI MARUSHIN"

Bangladeshi Restaurant "SHAGORIKA"

"Discipline"

Punctuality and honesty On day 2 we had a lecture on Japan and Japanese. The lecture began at 9:00 a.m. sharp, as scheduled. The lecture was quite an eye-opener for me. We were guests to Japan for cultural and educational exchange. So, it was quite natural that we would be shown about the positive side of Japan. We were definitely shown the technological advancement that Japan achieved and the progress that Japan made in the sphere of social and human life over the decades. But I was astounded when the lecturer also chose to highlight some negative aspects of Japan, the mistakes Japan had committed in the past. He explained how Korean War brought undue prosperity for Japan, how Japan was still coping with gender discrimination at the work place. I loved this tremendous honesty and self-criticism – a good sign for the progress of any nation. My respect towards them increased manifold after this good gesture. Learning from mistakes: that’s what Japan did.

RAKUGO Theatre

View from the hotel window

Tokyo at Night

Five-storied Pagoda near Sen-Shouji Temple

Shinjuku: Always busy

Home that was Kobe On the third day in Japan we moved to Kobe, the port city in Hyogo prefecture, by one of the newest shinkansen, Nozoni(hope)15. At the speed of 280km/h, it took around 2 & 1/2 hours. This place was our home for the next five days. The ride in the Shinkansen was superb. It didn't really seem all that fast, the landscape and houses alongside the tracks didn't fly by like I had expected. But it was really very swift and comfortable, not to mention its’ punctuality.

View from Shinkansen

Shin-Kobe Station

Kobe

Kobe Port Tower

View from Port Tower

At Indian restaurant "HAATHI": With our professor from Mukogawa Women University

Kobe is a picturesque city. The quiet bay and green mountains in the background would stun you instantly. What also very impressive was the presence of trees along the streets, and number of parks in and around. Getting on top of the port tower and looking at the entire city from that height was magnificent. But for me Kobe is also a symbol of tenacity and resilience of the people of Japan. The city has almost completely been rebuilt after the devastating earthquake and now you could not find a single trace of that calamity. Their ability to rebound is amazing! Be it the second world-war or the earthquakes, they can reborn from the ashes just like the proverbial Phoenix.

Port Area

Sangita San with our Kansai coordinator

Mukogawa Women University

MINT Kobe: With professor who taught us the art of calligraphy

Young Friends: MINT Kobe Cultural Centre

Environment & Garbage Disposal Mottainai (勿体無い) is a popular environmental idea in Japan which means “we shouldn’t waste”. This includes space, food, water, garbage, energy, everything. It is based on an old Japanese concept of ”waste nothing, want nothing”. They know the need to carefully conserve their resources and possessions. The 3R, reduce, reuse and recycle is the motto that every Japanese people practice every day. Environmental education has got a high priority in the Japanese education system. Technological advancement is put to best use. And they recycle or reuse everything. During our visit to Nishinomiya West Municipal Refusal Disposal Center, we came to understand how they turn garbage into resources. For that they follow the concept of分ければ資源、混ぜれば塵. At this plant they recover valuable metals like copper, brass, iron, aluminum etc, sort noncombustibles such as bottles and sell them to industries. They also generate electricity from combustible waste, part of which is used to maintain the operation of the plant; the other part is sold to the neighboring households. This way, the plant runs on commercial basis without support from the government. The cutting edge technology here is protecting the environment by reducing the waste to 20% of it actual volume, thereby saving Japan from being drown by garbage and also bring economic benefits.

Control Room: Nishinomiya West Municipal Refusal Disposal Centre

Port from a distance

Home stay The most wonderful part in this program was when I got a chance of having a home stay in a small town named Kawanishi. Home stay with the Japanese Host family was the best way to learn and to become a part of the Japanese Culture and Language and to immerse oneself in their way of life. It was a wonderful experience. I have rarely spent time with people more warmhearted, hospitable and generous.

With Ojiisan and Obaa San

It was not only about learning the Japanese culture and language, but I also had the chance to teach my own language and culture to achieve the cultural exchange. Through this home stay program I realized that Japanese people are quite open. They preserve their culture and customs well, but they are equally welcoming to people who had different cultural values.

Dinner at a Nepali restaurant with our ane and her friends

I stayed with the sweet Inoue family. I absolutely loved the family. They were extremely polite, hospitable and everyone in the family did their best to make me comfortable. My hosts kept asking us about me, wanting to find out as much as they could about me. They were so kind and friendly to me; when my stay ended I was sad to leave. I’m really grateful of knowing them. Kyoto: the ‘old capital’ stole my heart On 20th June my host family took me to Kyoto, the fifth largest city in Japan. It is one of the few places in Japan with an extreme abundance of pre-war buildings, and is packed with national treasures. I also noticed a distinct lack of high rise buildings as Kyoto attempted to keep the city’s old skyline which allowed an uncluttered view of the mountains in the distance. Kyoto has the most interesting mix of people, places and culture. it has a lot of temples and shrines

Kyoto Road

Sumiya Garden Oil-Store of Edo era Kiyomizu Temple: My first stop was the stunningly beautiful Kiyomizu Temple or 清水寺. It is situated on the forested hills overlooking Kyoto. On the way there, we strolled down a narrow street for about half a kilometer filled with little souvenir shops and food stands. The entrance from the street is very eye catching and bright. The main hall of the temple comprises a verdana with very tall pillars that offer a spectacular view of Kyoto. This view of the city of Kyoto is one of the things that distinctly identify the temple. An old Edo period tradition was that anyone who could survive the 13 meter plunge from the edge of the veranda would have their wish granted. Nijo castle: Next we went to Nijo Castle, home of the Shogun. Originally built between 1601 and 1603 under the supervision of Itakura Katsushige, Nijo Castle epitomized the political and military power of Tokugawa Ieyasu. The principal structure was made up of 33 rooms and was located on the eastern edge of a 70 acre compound. I see the amazing decorations on the walls and ceilings. My favorite part was the Nightingale Floor (Uguisu-Bari), the corridor of the Ninomaru Palace, because it makes a squeaking sound when one walked on. So in the olden days if anybody tried to sneak in they would hear them.

I am still amazed at how unique Kyoto is, because it has the daily hustle and bustle of life, but the old, beautiful and peaceful Buddhist temples and Shinto shrines are still embedded in the landscape and the culture of the people he

Very Very Enjoyable !!!

Eiga Mura

Never rest on its’ laurels On 17th of June we visited TEPIA Advanced Technology Exhibition Hall. It showcased the cutting-age world of Japanese technology and gives a glimpse of the future of science and technology in Japan. The science museum linked us directly to the new wisdom of 21st century. The exhibits were featuring some of the most advanced products, services, technologies and systems. The museum demonstrated how these technologies applied in the areas of communication, health and medicine, urban life as well as environment and energy. It also showed how they could improve lives and communities. The people of Japan are continuously aspiring for new technologies, inventing innovative machine to help people to do their things, like robots.

TEPIA

Final Observation Japan is an amazing country consists of outstanding people. It, as a country has a cultural background that is wide ranging and special. It is a country of typical hypermodern technology, but deeply rooted in its’ culture, tradition and customs and preserved them for a very long time. There are few aspects in their social and daily life that made an indelible impression on me. Japanese people are not quite religious but they obey certain basic social norms such as not to steal, be polite, not to waste time, be punctual, and they train their children to this way of life at the very young age. They give high importance to cleanliness and keep everything immaculately clean.

Kaminari Mon

Shin-Nakamise-Dori

Ikebukuro

Another thing that struck me was their perfectionism and attention to detail. Even the parking attendants, which are pretty much a necessity in the busy and crowded parking lots here, go about their job with a focus that is quite remarkable, regardless of weather or time of day. It’s all about the details here. For example, when I bought a souvenir from a shop, the women asked if it was a present, and then proceeded to take a piece of washi, the handmade paper and turned them into the most exquisite gift-wrapping. On a related note, talking about presentation: even the bento boxes you buy from a cheap roadside stand look gorgeous. Their custom of presenting gifts is also fascinating. They exchange gifts on every occasion to share happiness. Even during our trip to Kyoto my host mother presented a small gift to our taxi driver as a gesture of thanks. Gift giving is the glue that binds Japanese society. Japanese culture is just so diverse and interesting. The above are just some of the many facets of the East Asian country's rich background that I came across during my 10 days there. The trip was a great learning experience and the qualities that I would like to imbibe from them are hard work, patriotism and how to be discipline with the time. It was an unforgettable experience and I hope to go back to Japan again someday soon.

Ja Mata Ne!

Rabindranath's appreciation of Japan

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It is widely known that Tagore had been an ardent admirer of the traditional culture of Japan in which he discovered a sensitive attitude towards beauty. This sensitivity towards aesthetics which forms an intrinsic part of the indigenous culture has been aptly appreciated by the bard in his seminal text Nationalism-

The genius of Japan has given you the vision of beauty in nature and the power of realizing it in your life (90).

It is this love for Japan’s natural beauty as well as their traditional culture, for which he had taken the pain of long sea voyage to Japan for quite a few times. The wealth of Japan as the bard understood was in the essential spiritual nature of Japanese culture of which aesthetics forms an inseparable part. No doubt this is different from all extravagant show of wealth that the West possessed. Thus, Tagore wanted to see this essential spiritual nature of Japan and not the mimicry of West by her. The spirit of the Eastern civilization as opposed to the materialist one of the West that he sought in Japan is also linked in this sense with the worldview of the Indian civilization. Tagore also hailed the country that had been the first to break out of Asian backwardness and successfully modernize (Nationalism 68).

Rabindranath believed that Japan drew inspiration for modernization from his tradition and cultural resources, rather than imitating the West and he claimed that Japan should successfully preserve the cultural identity on his journey of modernization. He claims:

In a word modern Japan has come out of the immemorial East like a lotus blossoming in easy grace, all the while keeping its firm hold upon the profound depth from which it has sprung (69).

He further asserts:

I, for myself, cannot believe that Japan has become what she is by imitating the West. We cannot imitate life, we cannot simulate strength for long, nay, what is more, a mere imitation is a source of weakness. For it hampers our true nature, it is always in our way (70).

A similar kind of argument we come across, in Annada Shankar Roy’s travelogue on Japan entitled as, ‘Japan-e’. There the author argues that it would be wrong to suppose that Japan had become civilized by putting on borrowed robe from the West. According to the author, Japan had the gift of her own cultural integrity which is rich in itself. Even if Japan remained disassociated from the whole world, she would have possessed enough wealth to offer others.

In view of Japan’s successful modernization, Rabindranath also expected that Japan would play a significant role in the transformation of Asia as a hole into the modern era and he appealed to Japan:
Therefore your responsibility is all the greater, for in your voice Asia shall answer the questions that Europe has submitted to the conference of Man (74-75).

The close affinity of Japanese culture with his natural beauty, the disciplined lives Japanese people, their sensitive attitude towards beauty had been praised by Tagore. Again, the overpowering impact of the materialistic civilization of the West that, which he found to be eclipsing Japan had been a concern for the poet. This duality of Japanese society disturbed Rabindranath. As he says:

I feel the contrast very strongly in Japan. In that country the old world presents itself with some ideal of perfection, in which man has his varied opportunities of self-revelation in art, in ceremonial, in religious faith, and in customs expressing the poetry of social relationship. There one feels that deep delight of hospitality which life offers to life. And side by side, in the same soil, stands the modern world, which is stupendously big and powerful, but inhospitable. It has no simple-hearted welcome for man. It is living; yet the incompleteness of life's ideal within it cannot but hurt humanity. (97-98).

His first impression of the city Kobe that he has depicted in his travelogue, entitled as, Japan Jatri [A Traveller to Japan], brings out this disillusionment. The glimpse of Kobe city he found while looking out of the window represented an image of ‘Iron cast Japan’, there were no traces of humanity (421).
Tagore’s pursuit of discovering the uniqueness of Japan and his unbiased appreciation of Japanese culture has been well demonstrated in his writings. He was fascinated by Japanese tradition, intuitive happiness, and human relations. He asserts that:

I have travelled in many countries and have met with men of all classes, but never in my travels did I feel the presence of the human so distinctly as in this land. ...... But in Japan, it is not the display of power, or wealth, that is the predominating element. You see everywhere emblems of love and admiration, and not mostly of ambition and greed. You see a people, whose heart has come out and scattered itself in profusion in its commonest utensils of everyday life, in its social institutions, in its manners, which are carefully perfect, and in its dealings with things which are not only deft, but graceful in very movement ((Nationalism 87-88).

And further:

This opening of the heart to the soul of the world is not confined to a section of your privileged classes, it is not the forced product of exotic culture, but it belongs to all your men and women of all conditions. This experience of your soul, in meeting a personality in the heart of the world, has been embodied in your civilization. It is a civilization of human relationship...... your nation becoming one family with your Emperor as its head. (91).

For me, the Japanese aesthetic sense is a derivation of the values nurture by Buddhist monks down the generations. The sensitivity of Japanese people towards beauty is an endowment of the ideas of Buddhist philosophy. It was in the sixth century AD, that Buddhism was transplanted in Japan through China and Korea. Along with Buddhism, Buddhist and Hindu mythology and art also reached Japan. Tagore had been quite aware of this cultural heritage of Japan in which Buddhism occupies an important position. This aesthetic value of the Japanese people had appealed the poet’s heart and his travelogue represents his praise Japanese artistic values that he witnessed in the Tea ceremony which he had attended in Japan during his stay (Japan Jatri 424-425]. In this context Okakura’s text, “The Book of Tea”, where he appreciates the Japanese Teaism may be referred to –

Teaism is a cult founded on the adoration of the beautiful among the sordid facts of everyday existence (1).

For Okakura, the rituals of Tea ceremony are linked with Japanese aesthetic sensibility and their attitude towards life. Thus, Okakura believes that the West cannot appreciate Japan properly, and even if they start praising they will do it for a wrong reason

He was wont to regard Japan as barbarous while she indulged in the gentle arts of peace; he calls her civilised since she began to commit wholesale slaughter on Manchurian battlefields (7).

Tagore’s greatness lies his preparedness to experience the indigenous culture of Japan; in his Japan Jatri, Japan is never depicted in accordance with Western paradigm, that we often find in many of the travelogues on Japan of his time. It is simplicity, brevity in expression and the avoidance of pompous decoration that appealed to the poet, be it their floral decoration (Ikebana), or their short verses of three lines (Haiku).

The patriotism and self sacrificing nature of the Japanese people had been an inspiration for the poet. He so rejoiced at the victory of Japan in Russo-Japanese war in 1905, that he personally organized a celebration in Santiniketan. However, he did not hesitate to denounce the rise of nationalism in Japan. Rabindranath warned Japan against the growth of militant nationalism, a tendency that Tagore observed during his first visit to Japan in 1916, which had eventually deviated towards the imperialist pan-Asianism. He warns:

What is dangerous for Japan is, not the imitation of the outer features of the West, but the acceptance of the motive force of the Western nationalism as her own. Her social ideals are already showing signs of defeat at the hands of politics (Nationalism 96).

Since the time of Meiji Restoration in 1868, Japan was undergoing a process of fast social changes; Capitalistic development and the upheaval of a materialistic Japan was taking place. In according to this change in social structure, westernisation had been taking place in Japanese society. In the arena of art in Japan, exposure to West in the 19th century brought a tendency of imitating the western art. On the other end, intellectuals and art critics like Okakura Kakuzo were against this aggressive western influence. Okakura believed that Japanese art would be quite capable of achieving an organic growth from its own traditional expressions while assimilating what was good from the West, but never losing sight of its own human and cultural values. He strove for harmonization of the eastern and western art. This clash of ideology led Tenshin’s expulsion from the post of director of Tokyo Fine Arts in 1898. It is well known that, among Japanese intellectuals of his time, Tenshin Okakura had been pioneering in propagating the unity of all Asian nations as having a common heritage. In his doctrine, so well postulated in his texts, Buddhism occupies an important position. It is Buddhism which binds Japan with the Indian and the Chinese civilization. However, Tagore during his visit observed that Japan was straying away from Okakura’s Pan-Asianism and was fermented with Imperialistic Pan-Asianism. The lofty ideals of sacrifice, humility which Buddhism represents, are just the antithesis of this extravagant materialism.

Tagore unfavourable criticism of the imperialism of Japan at that time disappointed the Japanese people, and led to a strong reaction among Japanese intellectuals. He was even ridiculed as “a poet from a ruined nation”. But, Tagore was very disappointed at the militarization of Japan and suggested a armed force only for ‘self-protection’ (Nationalism 95). The advice fell on deaf ears though. Finally the war turned out to be a defeat for Japan; the atomic bombing on Hiroshima and Nagasaki, also carpet bombing in other cities lead to immense death and destruction. However, after World War II, Tagore’s sincere warnings have been remembered and frequently mentioned by a cross section of Japanese intelligentsia.

Tagore passed away before the war came to an end. The amazing reconstruction that followed during the post war period must be credited to the indomitable life force of the Japanese people. Tagore could not witness this phases of Japanese history. Yet, a great visionary as he was, his writings on Japan give us enough hints about the true spirit of Japan. During his voyage to Japan the ship met a terrible storm; the unyielding spirit of the Japanese crew who were shouldering the task of guiding the ship amidst turbulent sea drew the poet’s attention. His observation throws light upon the spirit of Japanese people –

The Japanese sailors keep on running on the deck while working, though always with a smiling face (Japan Jatri 401).

This indomitable courage to face adversity with smile, Tagore found among Japanese people. Though he was not acquainted with their language, his writings on Japan give us the true picture of Japan and her people.

Works Cited:

Okakura, Kakuzo. The Book of Tea. London: Putnam’s Sons, 1906. Internet Archive. Web, 19 Jan. 2015.

Roy, Annada Shankar: “Japane” Bhromon Kahin Samagraha. Kolkata: Banishilpi, 1998.Print.

Tagore, Rabindranath. “Japan Jatri.” Rabindraracha Rachanabai (Suabh Sanskaran) vol. 10 Calcutta: Visva-Bharati, 1990. Print.

Tagore, Rabindranath. Creative Unity. London: Macmillan, 1922. Internet Archive. Web, 19 Jan. 2015.

Tagore, Rabindranath. Nationalism. San Francesco: The Book Club of California, 1917. Internet Archive. Web, 19 Jan. 2015. http://www.archive.org/details/nationalism00tagorich

Retrieving the memories of the Komagata Maru incident

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The CBC News: British Columbia of 3rd August, 2008 published a news item, entitled, ‘Harper Apologises in B.C. for 1914 Komagata Maru Incident’. In this news coverage it has been mentioned that the Canadian Prime Minister Stephen Harper, formally apologised for the 1914, Komagata Maru incident in which hundreds of passengers of the S.S Komagata Maru were denied of boarding at Vancouver and were compelled to return to India. Stephen delivered this formal apology, while addressing to a crowd of 8000 people, in Surrey, B.C., which inhabits a large Indian community. From this news coverage we also learn that the apology on the part of the Canadian Prime Minister, failed to satisfy the Sikh community of Canada, which demanded that the apology should have been made on the floor of the House of Commons.

Before getting into this controversy regarding the apology made by the Canadian Prime Minister, it would be worth remembering the incidents that befell as a result of the voyage of S.S. Komagata Maru to Canada. The Komagata Maru was a Japanese vessel which had been chartered by Gurdit Singh, a wealthy businessman of Hong Kong; the boat carrying mostly Sikh immigrants intending to get jobs after reaching Vancouver was forced to leave on July, 23, 1914[i], exposing the racist policies of the Canadian immigration. For two months, the passengers aboard the Komagata Maru were denied fresh water and food in order to force them to return India.(“Generations, Geographies & Echoes”) It is a well known fact that, after the exhausted passengers got down at Budge Budge, an incident of riot broke out leading to police firing which took the life of 18 Sikh passengers.(Sedition Committee Report) A century has passed since this tragic incident which occurred in 1914, recently a commemoration of the centenary of the S.S. Komagata Maru has led to the publication of new books and also launching of website, rekindling our interest in an incident that played an important role in the history of freedom movement. In keeping with the altered attitude towards the Komagata Maru incident, most of the commemorative events have been sponsored by the Canadian government. From the time, the ship S.S. Komagata Maru started her journey from Hong Kong; the British intelligence had been keeping a watch on the course of events. It is interesting to note that, the Home Political File entitled, Riot by the passengers of the S.S. Komagata Maru, give us minute details of incidents in support of a conspiracy theory, emphasizing on the activities of the Ghadar revolutionaries regarding this incident. The Home Political file entitled, Riot by the passengers of the S.S. Komagata Maru, also, the Sedition Committee Report, includes a prodigy of seditious activities as distributing political pamphlets, campaigning against the British Raj, being undertaken by the passengers on board. These archival documents, which should have been a factual depiction of the incident, create a representation, which can be taken as an integral part of the colonial discourse that justify and seem to legitimize every repressive measure taken by the colonial government to nib into the bud any voice of protested on the part of the colonized race. On the other hand, in contrast to these official archival sources, a completely different narrative of the Komagata Maru episode we come across in Gurdit Singh’s rendition of the incidents, in which he had a prime role to play. The book entitled, Voyage of Komagata Maru or India’s Slavery Abroad was at first written in Gurumukhi, and later on it was translated into English.

I have tried to tell my life-history in connection with the voyage of the ill-fated “KOMAGATAMARU’’ (9)

This is how Gurdit Singh introduces the subject in the Foreword of the book Voyage of Komagata Maru. As the vessel had been a Japanese one and both the crew and the ship’s captain were Japanese nationals, the Japanese government and the Japanese press also had been concerned about the fate of the ship. Sho Kuwajima, a Japanese scholar in his book entitled, Indian Mutiny in Singapore has taken into account materials relating to this Japanese response to the Komagata Maru episode as, archival documents of the Foreign Record Office, Tokoyo and newspaper coverage of the incident published from Japan. Delving deep into this plethora of materials, what seemed fascinating to me is the different representation of the same historical event that we come across.

To begin with, the first issue which deserves addressing is the intention of Gurdit Singh to charter the ship Komagata Maru to for the purpose of carrying 376 passengers to Canada. It has been stated in the Sedition Committee Report that the ‘tribunal that subsequently tried the first batch of Lahore Conspirators held that Gurdit Singh’s object was to cause an inflammatory episode’. In support of this standpoint the Committee has cited the testimony of a witness that claimed that Gurdit Singh had told his followers that should they be refused admission, they would return to India to expel the British. (47) Similar opinion regarding Gurdit Singh and his companion on board has been stated in the Home Political file entitled, Riot by the passengers of the S.S. Komagata Maru-

Two most dangerous from the point of Government are the two who came on board at Kobe. Gurdit Singh was always talking of revolution. (4)

There is no denying the fact that, like many of his generation Gurdit Singh nurtured a strong anti-colonial feeling. Also, Komagata Maru Episode of racial discrimination fueled the Ghadar activists to stir people against the empire. Historian as Sho Kuwajima’s study of the events of the Komagata Maru incident reveals it to be a prelude to the mutiny of Indian soldiers in Singapore that took place only a few months after the ship had left Kobe. However, will it not be credulous to hold that Gurdit Singh, an established business man of Singapore, chartered a whole ship carrying 376 passengers with of the object of raising armed rebellion against the British government?

The inconsistency in the observation of the Sedition Committee Report lies in the fact that in the same report, it has also been stated that Gurdit Singh had been encouraged by Canadian Indians to undertake the voyage. (47) Some of the recent studies of the Komagata Maru incident, as Sunder Singh’s essay, entitled, The Hindu in Canada, can reveal why the Indians residing in Canada at that time, were eager to provide all support to the hapless passengers. According to Sunder Singh, by the end of 1908, there were about 4000 Indians residing in Canada. They were loyal subjects and many of the Sikhs residents of Canada had earlier served the British army. (364) However, racism was quite in vogue in Canada during that time and like other Asians they were victim of this prejudice. The case of Indians had been worse, as the Chinese and the Japanese received support from their Consulates in Canada. (Sunder Singh, 363) Further, we learn from these sources that in 1910, the Canadian government introduced the Continuous Passage Regulation, ‘a law that required immigrants to Canada to arrive by a single, direct journey from their country of origin’ (Generations, Geography&Echoes). During that time, it was not possible for any ship to ply so long a distance as that between India and Canada in a continuous journey. Sunder Singh’s article has taken into account a detailed study of how the new regulation turned out to be a stumbling block for Sikhs in Canada to bring their families from India. It has been pointed out in quite a few articles that, as the Indians had been British subjects, they should not have been barred from migrating to Canada. However, the Canadian immigration was determined to exclude Indians from entering Canada. Sunder Singh has cited the case of two Sikhs of Vancouver, who brought their families in June, 1912, but were refused to land by the Canadian immigration; it was after much delay and after undergoing heavy legal expenses, the two women and children were allowed to land at Vancouver, as an act of grace, however, the discriminatory law remained unchanged. (368) It was thus, responding to the Canadian Sikh community’s request to find out a way for ferrying Indian immigrants to Canada, that Gurdit Singh embarked upon the Komagata Maru episode; such a recounting has been made by Gurdit Singh himself in his book-

At Hong Kong a ‘sabha’ was held in December, 1913and I was asked whether I could do something for my brethren. (17)

Further, Gurdit Singh has emphatically stated that they never intended to ‘evade the immigration laws of Canada’, a charge that had been raised by the Enquiry Committee, but they tried to take the advantage of the law. There was inconsistency in the Canadian law firstly, Indians being British subjects, should not have been categorized as Asians, also, as Gurdit Singh has pointed out that, in Sec. vi of the Canadian Immigration Act, people belonging to certain professions as, artists, lecturers , commercial travellers intending to enter Canada for temporary purpose had been exempted from this law. Thus, Gurdit Singh in his book has observed that, the Canadian immigration in defiance of the Sec.vi of the Immigration Act, kept him a prisoner on board.(40) With reference to Gurdit Singh’s involvement in Komagata Maru case, another document that deserves citing is the statement of T. Yamamoto, the ship’s captain, included in the Appendix M of the Home Political file, mentioned earlier –

Gurdit Singh chartered my ship at Hong Kong through our agent A.Brune(German. The charter was for 6 months... In my opinion the reason for such a long charter was that, in the event of the 1st shipload of Indians obtaining right of entry into Canada, Gurdit Singh intended to return Hong Kong for more passengers.

From this statement of Yamamoto, we can come to a conclusion that Gurdit Singh chartered the ship and it had been a test voyage for him. Had the Canadian immigration yielded to the request of Gurdit Singh and his men, history would have unfolded a different story.

A shipload of Sikh passengers intending to land at Vancouver, created a xenophobic reaction on the part of the Canadian press, during that time. “Kum-We Gotum –Maru”: The Racism of Komagata Maru Political Cartoons, an interesting article, included in the website, entitled,Komagata Maru100.com, has rightly pointed out how in making cartoons on the Komagata Maru incident, the Canadian press actually attempted to popularize racism against South Asians. As none of the passengers were allowed to land at the port to fetch necessary items as food or drinking water, the conditions on board for the passengers became extremely difficult. Gurdit Singh in his book has recounted in details how unbearable the position of the passengers turned out to be; also, how owing to the exhaustion of food and water, looting of water from Japanese sailors took place and this led to a uneasy situation between the Japanese crew and the passengers.(47) As mentioned earlier, Komagata Maru was finally forced to leave Vancouver on 23rd July, 1914. During their return voyage, only at Kobe, the passengers were allowed to land. Sho Kuwajima in his book has referred to The Japan Chronicle of August, 1914, which brought a description of the pitiable condition of the passengers-

They are all destitute, and have not even the money to buy fruit and fresh vegetables in Kobe. (qtd. in Kuwajima,20)

It is no wonder that, in the Home Political file there remains no reference of the destitution of the passengers , they faced on board, nor about the racist policies of Canadian Government. As for the Budge Budge incident, in the file entitled, Riot by the Passengers of the S.S. Komagata Maru at Budge Budge, the entire blame has been put upon the passengers by stating that as the policemen were trying to persuade the passengers to entrain for Punjab, some among the Punjabis started firing which led to the casualties. (pg, 4)[ii] The Sedition Committee Report on the Komagata Maru episode in harmony with the Home Political file; the Sedition Committee has made the following observation as a concluding remark

...the average Indian makes no distinction between the Government of U.K., that of Canada, that of British India, or that of any colony. To him these authorities are all one.

Was there really any reason for them to distinguish these authorities? Their bitter experience had taught them that be it in British India, or in Canada, racism never make any difference.

We have earlier mentioned that, 2014, being the centenary of the Komagata Maru incident, witnessed quite a few cultural events, sponsored by the Canadian government; also, we have mentioned Canadian Prime Minister Harper’s apology for the 1914 Komagata Maru incident.

However it would be another fallacy to state that all cross-section of the Canadian society endorse to this opinion. For me, the Komagata Maru voyage incorporated a quest to transcend barriers of racism and oppression. So long racism will persist, the Komagata Maru episode will inspire people to oppose and resist.

Works Cited

Kuwajima, Sho. Indian Mutiny in Singapore, Calcutta:Ratna Prakashan,1991.Print

Singh,Baba Gurdit. Voyage of the Komagata Maru or India’s Slavery Abroad,Chandigarh: Unistar, 2014.Print

Sedition Committee Report: New Delhi: New Age Publishers Private Ltd., 1973.Print

Riot of the passengers of the S.S. Komagata Maru at Budge Budge.1914. File No-322.SerialNo-1-31. Home Political. Kolkata.

Singh, Sunder, “The Hindu in Canada”. JSTOR. Web. 22Januray 2016.

“Generations, Geographies & Echoes”. komagatamaru 100.com. Web. 2February. 2016

“Kum-We Gotum –Maru: The Racism of Komagata Maru Political Cartoons”. komagatamaru 100.com. Web. 3February. 2016

“Harper Apologises in B.C. for 1914 Komagata Maru Incident”. The CBC News: British Columbia, 3 Aug. 2008, Web. 30Jan. 2016

[i] For details, see, Voyage of Komagata Maru or India’s Slavery Abroad, by Baba Gurdit Singh, pg.87

[ii] As mentioned in the Home Political file, the death toll on the part of the passengers had been 16, on the other hand, casualty on the part of the European officers had been 1.

Sugimoto Tetsurou

2016-10-07T00:09:00.001+05:30

杉本哲郎

Sugimoto Tetsurou

Nihonga painter Sugimoto Tetsurou was born in Ôtsu city, Shiga prefecture on 25th May, 1899. He had his first lessons of painting from local painter Yamada Suikoku. He joined the private art school, “SanaeKai” in 1913, established by Yamamoto Shunkyo and also entered Kyoto Municipal Arts and Crafts School in the same year. Later in 1914 he enrolled into Kyoto Municipal Painting School and graduated from there in 1920.

Sugimoto's painting "Oumi Fuji" was accepted for the first time for 4th Teiten Exhibition (the Imperial Academy's art exhibition) in 1922. Thereafter, he set his mind to study ancient oriental art and traveled to Korea, Manchu, China in 1923. Later in 1935, he started learning Buddhist art under Takakusu Junjirou and Matsumoto Bunzaburo.

He was selected by the Department of cultural affairs, Ministry of foreign affairs for copying Ajanta cave frescoes and went to India in 1937. Next year went to Ceylon to make copy of the rock frescos of Sigiriya. In 1940, He went to Mongolia as a researcher of historic remains of Manchuria and copied the frescoes of the Qianling Mausoleum located at the foot of Erling Mountain.

In 1943, Sugimoto traveled to India, Khmer (Cambodia), Thailand, Sumatra, Java etc. as part of an inquiry committee set up by Higashi Honganji temple to make a survey on southern Buddhist art. He came to India in 1951 again and served as a visiting professor at Santiniketan University.

He completed the mural " Mumyo to Jakuko [Ignorance and Wisdom]" of Higashi Honganji Tsumura Betsuin Temple in 1969. After that he was requested by the Messiaen Center of Fukuoka city to do frescoes on unity of all the religions and embarked on creating "Sekai Judai Shukyu [Ten great religions of the world]". He made a start with paintings on Buddhism. Then in 1971, he started traveling around various places ranging from Nepal, Iran, Turkey, Israel etc., studied Zoroastrianism, Judaism, Christianity, Islam etc. and collected materials on these religions. He continued the work for 12 years. In 1978 he completed the leading piece of the series, "Kamigami no Seki Himalaya [ The mountains of the Gods]".

Meanwhile in 1976, he received the International Order of Cultural Merit from Brazil and in 1984., was chosen as a outstanding citizen of Kyoto for his distinguished services in the field of culture.

His publications include "Sugimoto Tetsuro: paintings and treatise" (1934, Tokyo Atelier Co.), "My childhood days" (1963, Kyoto Shirakawa publishing house), "The scenaries of the Mind", (1969, Hatsune publishing Co.).

Sugimoto died of acute respiratory failure on 20th March, at 8:14 in the morning, at Otowa hospital in Yamashina district, Kyoto. He was 85.

Source: “Nihon Bijutsu Nenkan” 1986 issue
Photos: Mukul Dey Archives, http://nakaoshoten.asablo.jp/blog/, https://www.pinterest.com/

Nihonga Painter: Katayama Nanpu

2016-10-06T23:55:00.004+05:30

KATAYAMA NANPU

堅山南風

The doyen of the Japanese art world and member of the Japan Academy of Arts, Katayama Nanpu was born at Kumamoto city on 12nd September in 1887. He was the third son of Takejirou (father) and Shige (mother). His real name was Kumaji.

Nanpu lost his parents very early and brought up by his grandfather. He started studying painting under local artist Fukushima Houn. In 1909, he came up to Tokyo and became the pupil of Takahashi Kouko.

In the next year, his picture scroll “Kaze No Ourai”, exhibited in the Katsumigakai Exhibition, got the certificate of merit. However Nanpu failed to receive any recognition in the Bunten exhibition (the annual art exhibition sponsored by the Ministry of Education) for four consecutive years. But, his “Shimotsumi Koro” exhibited in the 7th Bunten in 1913 brought a complete change in the approach for historical painting that was followed till then. Nanpu’s work demonstrated his approach towards the sensuous painting which greatly valued the colourful technique promoted by Shiko and others. The painting was strongly recommended by Taikan and got the second prize.

However due to the conflict of opinions, Taikan resigned as a jury of Bunten and re-established Nihon Bijutsuin [Japan Art Institute]. Nanpu also went ahead and joined the institute again. He looked up to Taikan as his mentor. However, after entering the Bijutsuin, Nanpu got into a slump and went under the shadow of Kobayashi Kokei, Maeda Seison and Yasuda Yukihiko. He returned to the basics of painting from nature and gradually found a way out in the genre of flowers and birds.

Katayam left Japan on 25th November, 1916 along with Arai Kampo on his tour to Kolkata to break through the stagnation and his depressive of mood to painting. He visited various places in and around the city in this appx. two months period. Apart from drawing landscapes and portrates, he also made sketches of Buddhist images and statues in the museum. Travelled to Buddha Gaya, Delhi on February, 1917 and made a trip to highland Simla, Darjeeling. He made sketches of Himalayan mountain range and the areas around it. He went back to Japan in April. Katayam visited Bombay on his way back home and profoundly impressed by the Buddhist sculpture of Elephanta Caves. He spent 15 days there for sketching. The eight panel folding screen “An evening in the tropical country”, reflecting his impression of India was submitted in the 4th Inten (the Japan Art Institute Exhibition) in September. But the vivid colors of red and green used in the painting brought him severe criticism and it was told that "Nanpu has bacome colour blind".

Nanpu’s work substantially gained fullness since the success of his "Momo to Zakuro [ Peach and Pomegranate]" in the 9th Bunten. He became a member in 1924. Thereafter " Gyorakuzu [Playful Fish] Series " (1926), "夏題十趣" (1927), " Shoukachou [Tempering The Summer Heat] Series” (1929), "Isuichou Rensaku/ Shasuichou Rensaku" (1934) etc. came out and a relaxed, unassuming of mood to painting " Chisoku Anbun " evolved.

After the war, Nihon Bijutsuin also agreed to the request of participation in the Nitten Exhibition [the Japan Fine Arts Exhibition] in 1945. Nanpu served as a jury from 1946 onward and became the secretary in 1955.

Post war, Nanpu's work were characterized by portrait painting. It was started with the exhibition of “Portrait of Master O” at the 39th Japan Art Institute Exhibition (Inten) in 1954. Thereafter continued with “Mushano Koji Sensei” (1955), “Yokoyama Taikan Sensei” (1957), “Shizuko Fujin” (1960), “K Sensei [painter Kanayama Heizo]” (1964), “Shinryou No Kyaku” (1969) etc, Nanpu painted his work in bright colors and serene, unsophisticated style.

Later, he was engaged in restoring the ceiling paintings "Naki Ryu [Roaring Dragon]” (painted by Kanou Yasunobu and lost in a fire in 1936) of Honjido hall of the Nikko Toshogu Shrine, for 3 years starting from 1964.

He went to Tahiti at the age of 88 in 1975, for a sketching trip. His colouring became still more vivid and he never lost his youthfulness till his last moment.

He became a member of the (Japan) Academy of Arts in 1958; received the honour for his distinguished services in the field of culture in 1963 and the Order of Culture Award in 1963. He was also honoured as a illustrious citizen of Kumamoto city.

Katayama got bad cold on 24th due to the failure of heating system caused by the power supply breakdown. However, he kept on painting till he was confined to bed. Finally he passed away of pneumonia on 30th December at 3:39 PM at his residence in Shizuoka prefecture in 1980.

SOURCE：『日本美術年鑑』昭和56年版(284-288頁)
PHOTO SOURCE： http://kijyaku.blog95.fc2.com/blog-date-200704.html, Rabindra Okakura Bhavan, Kolkata, The National Museum of Modern Art, Tokyo

The love for his country overflowing poet’s heart

2016-10-05T21:56:00.001+05:30

TAGORE: THE LOVE FOR HIS COUNTRY OVERFLOWING POET'S HEART

Translated from: ターゴル：詩人の胸にたぎる國愛 by 荒井寛方

"I want to invite Japanese painters to India" - at the desire of the great bard Tagore, I went to Kolkata with an eye to pursue Indian art and spend two full years with Tagore family. Hundred miles away from Kolkata, in the middle of a vast plain, there was a dense and luxuriant forest. The forest was called Shan-Ke-Ni-Tan [Santiniketan] and there was the poet Tagore's school.That day, the poet returned home from foreign tour after a long time. I went halfway to met and welcome him. Then, from there we made a journey to his school.

The train reached Bolpur station at 12 midnight. There were around two hundred students in white robes waiting, holding up the blazing torches in their hands. No sooner than the old man got off the train the students rushed out to him crying out in unison in a language that seemed like a prayer and crowded around him in such a way that he could not move at all. The warmth of the human heart deeply touched even a man like me, who was nothing more than a mere traveler from an alien country, when I observed the loving embraces of the master and his beloved pupils who were meeting each other after six months.

From there, the poet went barefoot and crossed a distance of more than 3.9 Km. to reach the school. The fires in the iron basket lined up beside the road up to the school gate were burning bright and red. The school gate was made of local wood. There was a beautifully colored lotus seat placed under the gate. The poet sat on that. The solemn prayer and the chorus voices of singing then reverberated in the woods of Shan-Ke-Ni-Tan [Santiniketan] in that small hour. The welcoming assembly came to an end after an hour. At that night I stayed with the poet at a row house like residence hall. I had a feeling that the ancient vision/wish of the land of Buddha had truly come along and revealed itself before my very eyes. At that moment, I realized that it would have been quite impious to sink into sleep at such a mysterious Indian night.

Next evening, "Tagore sir is going to give a speech" hearing that I went alone, making my way through the dark, dense woods of tropical plants like Sal, Banyan etc. The school was actually a class under the tree. Deep inside the serene, tranquil forest that made one think of the ancient times, the fire lambently lightened up the darkness. An elegant white marble seating stone had been placed in the shade of the trees and poet was sitting quietly on that. the pupils surrounded the poet; they sat cross-legged on the ground one by one around him and made a circle. Then, they were engrossed in listening to the gems like words of the poems coming out from the mouth of the poet in a voice like the chimes of a silver bell modulating in high and low tones.

The figure of the poet, clad in immaculate white robe, was sharply outlined against the darkness in the bonfire wavering in the gentle breeze. The majestic figure of the philosopher Tagore, with abundant pearly white hair hanging down on the shoulders, silvery beard undulating on the chest, his burning passion for the motherland being expressed in each of the phrases of the poems and his urge for the awakening of India, was expressing that the eternal life was imbued with unending bliss of heaven to this seated saint. Now, at this moment of the evening in the San-Ke-Ni-Tan [Santiniketan] forest, the ancient saint in his preset incarnation came down. What a mystic and poetic scene it was. It was a unification of the spirit of cosmos and the soul of human being. When I tried to get near him, I can remember that, my feet were spontaneously transfixed.

The Tagore mansion in Karu-Katta [Kolkata], where I stayed for two years, was a house made in magnificent Italian flavour to a certain extent. I was a imposing three storied building with innumerable rooms. The venerable Tagore succeeded as the head of Tagore family. So, many relatives in difficulties used to keep their families in this large old building that had passed two centuries. Beside the mansion there was a studies center, named Vi-Chi-To-Ra [Vichitra], where music, fine arts, industrial art, literature were studied. Once in a week poet used to bring together around hundred young people. He used to conduct discussion at one time or recitation of poems on another occasion. Sometimes poet himself also performed in his own play. On one such occasion, I saw poet, impersonating an old man symbolizing the "old India", calling out in bitter sarcasm - " Birth of a glorious new India !", " The India, taken way from us, has come into our hands again!"

The Great European War was then going on. I was confined to my bed with malaria. Poet, at that time, used to bring together four or five young people every evening and used to give the singing lessons. When I heard the songs faintly streaming into my sick bed, I found that the rhythm was quite different from the usual songs. they were sung in Bengali language in deep pitched voice. I could not understand the meaning, but they were full of force and on listening to them would have feeling as if needles were piercing into one's heart. This singing lessons continued for more than ten days. "There must be something serious... What has happened..." I wondered. My nerves were on edge with a gloomy premonition. Then one evening poet quietly came to see me in by sickbed.

"Arai San, I am going to give a political speech for the first time in my life. My family will probably be arrested by the police tonight. I may not be able to come back home. In that case, Ari San will be all alone in this large house. I am leaving the rest up to you". For the first time poet showed a firm resolve.

"Is this the final meeting then?" - Tears spontaneously flowed down in spite of myself, when I thought of it. I was running fever and saw the old man to the door with a shambling motion. I was feeling so anxious that I could not go to sleep.

Just about two hours had passed. "Oh!" - a cried out voice became audible from a distance.
"This is it..., something worst has happened...." - When this was in my mind, a raging wave of shouts was drawing closer; the poet came back along with a surging crowd, exclaiming - "I am not arrested ! I am not imprisoned!". In that evening he had sung the patriotic songs which were secretly practiced regularly in the evening earlier and scathingly criticized the police authority of India with absolute desperation. The authorities restrained themselves from arresting him, as they feared that if the situation was disturbed, it might actually have the opposite effect and would make the matter even worse. I felt relieved to the poet safe; I had feared that could never meet him again.

Tagore used to take a stroll on the rooftop in the evening whenever he was at his home in [Kolkata]. He, turning his face skyward, would gaze at the stars twinkling like living things. And the, before long he would become motionless and would loose himself in deep contemplation. At that time his poetic imagination expanded with terrific vitality. His "Philosophy of leisure" was perhaps born out of his meditation on the rooftop. While all the people of Karu-Katta [Kolkata] indulged in silly dreams during their afternoon siesta, the bard, with a pen always in his hand, would put down his rooftop musings of the previous night in the forms of poetry and essay.

Where the mind is without fear and the head is held high

Where knowledge is free

Where the world has not been broken up into fragments by narrow domestic walls

Where words come out from the depth of truth

Where clear stream of reason has not lost its way into the dreary desert sand of dead habit

Where the mind is led forward by thee into ever-widening thought and action

Into that heaven of freedom, my Father, let my country awake

(Lines from the poem written by Tagore)

SOURCE: 世界人の横顔［朝日新聞社・四条書房］
国立国会図書館： URL: http://dl.ndl.go.jp/info:ndljp/pid/1174973

(Arai Kampo was a member of Nihon Bijutsu-In [Japan Art Institute] and a scholar of Indian art.)

Takasebune Boat by Mori Ogai: Bengali translation

2013-08-04T20:27:00.002+05:30

Mori Ogai (1862 - 1922)

Novelist, critic, and translator Mori Ogai was born in Shimane-ken to a family of physicians serving in the Tsuwano Clan. After graduating from the Tokyo Imperial University medical school at the age of 19, he became an army surgeon. He was sent by army to study in Germany from 1884-1888. There he encountered European literature. In 1907 he was appointed surgeon general. Later in 1917 he was also served as the head of the Zushoryo and the Imperial Museum. His representative works include "Maihime" (The Dancing Girl) (1890), "Utakata no ki" (The Mirage) (1890), the translated "Sokkyo shijin" (1892-1901), "Wita sekusuarisu" (Vita Sexualis) (1909), "Gan" (Wild Goose) (1911), "Abe ichizoku" (The Abe Family) (1913), "Sansho-Dayu" (1915), "Takasebune" (The Takase Boat) (1916), and a literary biography "Shibue Chusai" (1916). He also translated works of Goethe, Schiller, Ibsen, Hans Christian Andersen, and Hauptmann. (Source:National Diet Library)

"Takasebune" is one of the author's best-known stories. As described in the introduction of the book titled "The Historical Fiction of Mori Ogai" — "In the space of a few pages all the hallmarks of his late style are visible: pathos, a concern for human dignity, and an exemplary clarity of style. the conversation between the constable and the prisoner is so arranged that Shobe's gradual seft-questionings lead him further and further from his habitual outlook on life until that moment of his final retreat when, as in "Saigo no ikku," the reader is given another trenchant example of Ogai's ironic sensibility." (The Historical Fiction of Mori Ogai —University of Hawaii Press)

"Takasebune Boat"

Maki Kazumi: A Japanese wanderer in search of her soul

2012-03-12T13:57:00.001+05:30

Where shall I meet him, the Man of my Heart?
He is lost to me and I seek him wandering from land to land.

I am listless for that moonrise of beauty,

which is to light my life,

which I long to see in the fullness of vision

in gladness of heart !

Maki Kazumi

We first met Maki Kazumi, a Japanese wandering minstrel at Hatgobindapur, a picturesque village in the rural district of Bardhaman. Clad in a white cotton sari in the traditional Bengali style, the 52-year-old motherly woman welcome us in their commune “Moner Manush” in her flawless Bengali. We were quite impressed by her gentle and unassuming personality.

Performers and guests seated squeezed together

Maki, sadhan sangini (female partners in meditation) of Sadhan Das Bairagi, a leading exponent and teacher, has been here for more than twenty years in quest of soul's companion. She is now among the most acclaimed women singers in the world of Bauls and travels the world, performing at numerous national and international concerts. Maki has attained the status of a guru (spiritual guide) and is called maa (mother) by her disciples.

Mud Stage

Maki was born on 13th April, 1959 in Osaka. It’s startling to discover that she was not remotely interested in singing while in Japan. It happened at a Baul concert in Osaka In 1991. There was a festival of India going on. Baul Sadhan Das Bairagi was performing at that festival. She was instantly infected by the devotional joy spread through this music. His songs gave her a glimpse of another world. She feels ecstatic and found a new direction of life. She was also fascinated by the man, who appeared to belong to different world. From then on her journey of the life followed a different route.

Guruji: Sadhan Das Bairagi

She packed her bags and arrieved at Shyamsundar, Raina on 28th December of the same year to become a deciple of Shadhon Das Bairagi, who then formally initiated her into the clannish, mysterious, nomadic world of the Bauls. Thus a middleclass Japanese lady, daughter of a railway official, student of Osaka University left a luxurious life in Japan and embraced the simple Baul lifestyle. Twenty years have passed since then; Maki has committed herself to this life and is still in search for the divine beloved. “Guruji now is my father, mother, husband — everything” — her voice is stirring, a mix of yearning and detachment.

Halim Fakir

Maki, along with many other Japanese devotees now live in her Guruji’s "Moner Mansuh" akhara (commune of bauls), set in a beautiful rural part of Bengal for most of the year. They also have a ashram at Jaydev in Birbhum district.

Guruji & Maki Kazumi with Subra Maa

Bauls: The Minstrels of Mystic Melody

Milon hobe koto dine amar moner manusherei shoney.

(When will I be united with the Man of my Heart?)

— Lalon

The Baul is a unique tribe of wandering minstrels in Bengal (both east and west) who claims a freewheeling, unorthodox religious philosophy. The Bauls do not follow a traditional lifestyle and convention. There is no caste system, no specific deity, and no particular religion. They search for the divine beloved.
The ultimate goal for the Bauls is becoming one with the Moner Manush (Man of the Heart)- the true divinity that dwells within every man, but that may take a lifetime to discover. They hold the view that the human body is the microcosm of the universe — whatever exists in the universe exists in the human body as well. Since everything is contained in the body, if one realizes the truth of the body (bhanda) one will be able to realize the truth of the universe (Brahmanda). But, the path of this realization is not easy. For this the Baul needs guidance from a sadguru (spiritual master). The guru is the only person that can bring about knowledge in the disciple and guide him toward the realization of God. One is not born as a Baul but becomes one after initiation by a guru. Without a guru it is impossible.

Songs:

The biggest expression of Baul philosophy is its music. Songs are invaluable to the maintenance and preservation of this practice. Baul songs are unique and diverse in nature. The texts of the songs express all the essential ideas of their philosophy.These songs were not used for propaganda or to convert people to the Baul tradition, but were used for instruction by the guru to teach his disciple and to prepare him for the ultimate truth. The lyrics of Baul songs are mystic, often cryptic with profound spiritual meanings hidden under wordings. Their inner meaning can be comprehended only by those initiated to this form. Others who listen to the songs must remain content with the surface meaning alone.

Institutions and Professional Structure:

“If one asks the Bauls questions about their philosophy they do not respond in words, but in songs. And they have such a wealth of songs in their coffer! Why do they act this way? They reply: " We are the bird people — we do not know how to walk, we like to fly" ...

— Kshiti Mohan Sen

Bauls consist of both economically and socially marginal groups. They identify themselves with neither Hindu nor Muslim society. Caste, special deities, temples and sacred places play no part within Baul ideology. Thesect is based on guru-shishya (master-deciple) tradition. In Baulism, a Muslim can be a guru of Hindu disciple and vice versa.Bauls live mainly on madhukari (alms). Music is their only source of sustenance The Baul earns most of his living from his songs, which he sings travelling from door to door. Religious ascetics and nowadays married men as well compose the society of the Bauls. They travel from place to place, as it were, on a vehicle of ecstasy. Bauls live in the ashram or akhara.

Related Reads:

Bhattacarya, Deben, trans. (1989). Songs of the Bards of Bengal. New York: Grove Press.

Dasgupta, Alokeranjan, and Mary Ann Dasgupta (1977). Roots in the Void: Baul Songs of Bengal. Calcutta: K. P. Bagchi.

Karim, Anwarul (1980). The Bauls of Bangladesh. Kushtia: Lalan Academy.

McDaniel, June (1989). The Madness of the Saints: Ecstatic Religion in Bengal. Chicago: University of Chicago Press.

Dr Masayuki Onishi: An Interview

2012-01-07T20:28:00.002+05:30

Dr Masayuki Onishi is an eminent scholar, linguist and an internationally acclaimed expert of Matuna and Buin language of Bougainville (Papua New Guinea). He completed BA Course in English Language and Literature from Tokyo University in 1975. Later, he did his PhD from The Australian National University in 1994 on Linguistics. Dr Onishi had authored many books, wrote essays, presented papers and delivered numerous lectures on language and linguistics all around the world.

Dr Onishi is also a great admirer of Bengali language, literature and culture. He did Diploma Course on Bengali Language and Literature from Jadavpur University. He regularly translates Bengali literature into Japanese and contributed in bringing out Japanese translated version of Tagore’s works. He was in Kolkata recently and we had the opportunity to meet him. Following is the extract of the interview:

Remembering Professor Kazuo Azuma

2011-08-09T23:14:00.012+05:30

Eminent Indologist and a lifelong devotee of Tagore passed away last month. Following is a write up, in remembrance of his immeasurable contribution to our life. Please visit this link:

Rabindra Follower Azuma Passed Away

2011-08-04T12:59:00.074+05:30

Professor Kazuo Azuma, the eminent Indologist and Japanese Tagore scholar passed away on 28th July, this year, at his birth place Ichikawea town near Tokyo in Japan. He was 80. The death of this legendary Professor ends an era in the field of Japan-Bengal cultural relation.

Memorial Function

Professor Azuma was born on 14 August in 1931. He obtained his Masters in Japanese language and literature from Tokyo University and in Indian Philosophy in 1959. Besides, he learned German Language and Literature. Later, he received D.Lit. (Honoris Causa) on Tagore Studies, from the Rabindra-Bharati University, Calcutta, in 1986.

Kazuo Azuma had a long teaching career in Japan. He started as a professor at Yokohama Public University. He also taught at Waseda University (1972-74) and Tsukuba University (1974-78 as an associate professor & 1978 -1991 as a professor). Afterwards, he went to Reitaku University. He also became professor emeritus of Reitaku University and University of Tsukuba.

Shantiniketan

Prof. Azuma came to Shantiniketan 1967 and served at Visva Bharati as a Reader and Head of the Department of Japanese language and literature from 1967 to 1971. He shaped the Japanese department there. Though he returned to Japan in 1971, his admiration for Tagore impelled him to keep constant touch with the people of Bengal. Shantiniketan was his second home.

Azuma spent most of his life studying Tagore and spreading awareness about the Nobel laureate's works in Japan. His fascination with Rabindranath started in his early life when he read Rabindranath’s Gitanjali, Dakghor, Raktakarabi in Japanese translated from English and got attracted to his writings. Later on, he started reading the English translations of Rabindranath too.

A class is going on under the tree in Shantiniketan

Driven by this admiration, maverick Azuma decided to leave behind a promising career and came to Visva-Bharati as a teacher of Japanese Language and Literature and spent more than two and a half year. This had cost him his permanent job at Yokohoma National University as a teacher of German Language, when he went back Japan in 1971. Both Azuma and wife then began working at NHK-Japan Radio on part time basis. But he stayed immersed in the fathomless waters of Rabindranath and was dedicated to spread Tagore culture in Japan. In his opinion, Tagore was not only for Bengalees, but for the entire world. Japanese reverence for Tagore is like Goutam Buddha. These two noble persons enriched the cultural and spiritual fields of Japan.

Professor Azuma’s biggest contribution lies in bringing out Japanese translated version of Tagore’s works. He was the man behind the translation of Tagore’s complete works directly from Bengali into Japanese which he started in 1973 with a team of Japanese scholars. The work in 12 volumes was published over 20 years by Daisanbummei Publications. Prof. Azuma led this very complicated and serious work with much skill.

Nippon Bhavan

Professor Azuma took a great initiative in establishing Nippon Bhavan in Shantiniketan, the centre for Japanese studies. Tagore had a dream to set up a Nippon Bhaban, devoted to the studies of Japanese, like the China Bhaban at Santiniketan. He had requested Tsusho Byodo (1903-93) of Tokyo Imperial University who was studying Indology at the Visva-Bharati then, to take initiative for it. But World War II started soon after and plans went haywire. Professor Azuma contacted Professor Byodo after returning to Japan in 1971 and the ‘Association for Establishing Nippon Bhaban’ was established in July, 1989. Professor Biyedo became the President, while Kazuo Azuma (1931-2011) became the General Secretary. Two years later Tsusho Byodo laid the founding stone in Shantiniketan. After the hard work of five years, finally Tagore’s dream came true when it was formally inaugurated on 3 February in 1994 by the then Vise President of India, Dr. K. R. Narayanan. The Ambassador of Japan to India and many noted teachers and personalities were also present. Nippan Bhaban came to light because of Kazuo Azuma’s patience and perseverance. To establish the Nippon Bhaban, he had to go through a lot of hurdles.

Library of Nippan Bhavan

Professor Azuma has also played an important role in the foundation of Bharat-Japan Cultural Centre, at Rabindra Okakura Bhavan, an Indo-Japanese cultural centre at Salt Lake in Kolkata. He contributed unreservingly.

Prime Minister of Japan Mr. Shinzo Abe inaugurating the Rabindra-Okakura Bhavan in Kolkata

Prof. Azuma played an important role in creating a condition for the proper appreciation of Rabindranath in Japan. He had authored more than fifty essays on Rabindranath. His book Rabindranath and His Thoughts is a great resource on the poet in Japanese. A greater promoter of friendship between India and Japan, Prof. Azuma translated some diaries and memoirs of Japanese scholars who had some association with Tagore and Shantiniketan. His Shitoko Harir Dinopanji is a translation of the diary of Shitoku Hari, the first Japanese student of Visva-Bharati. This and Kampo Arai er Dinopanji, the diary of the eminent painter who met Abanindranath Tagore and exchanged opinions and artistic views and also came to Shantiniketan and taught painting there during 1917-18; remind us about the rich history of cultural and artistic exchange among a remarkable group of intellectuals and artists of Japan and Bengal. His Ujjol Surjo and Prosongo Rabindranath o Japan are the rich stores of anecdotes and information. Japana O Rabindranatha, satabarshera Binimaya also gained much appreciation.

Rabindra-Okakura Bhavan

Prof. Azuma was conferred many degrees, titles and honours in his life. He was the recipient of the highest honour of Visva-Bharati - 'Deshikottam' and received the Rabindra Puraskar from the government of West Bengal. He was also conferred D. Lit by Rabindrabharati University in 1986, ‘Rabindrachyarya’ by Tagore Research Institute, Kolkata in 1989, Academic achievement Award by Eastern Institute and Indian Embassy, Tokyo in 1993, and Second time D. Lit by Lalbahadur Shastri National Sanskrit Vidyapith in 1994.

Prof. Azuma receiving the Rabindra Puroskar from Chief Minister Sri Buddhadeb Bhattacharya

Prof Azuma has been an icon in respect of Bangla language and Rabindranath. This simple man had dedicated all his life and energy only for the cause of understanding and admiring Bengalee culture & literature. And lion's share of that life’s journey was occupied by Tagore.

We would like to express our heartfelt love and reverence to this lifelong devotee of Tagore and his literature.

Tagore and the introduction of Jujutsu in Shantiniketan

2011-07-04T20:07:00.013+05:30

Tagore's association with Japan and her people is well known. Apart from paying visit to Japan for quite a few times, he also had been instrumental in the introduction of the study of Japanese language and culture. He had brought teachers, artists and judo-instructors from Japan for this purpose. This year being the bard's 150th birth anniversary, the School of Language, Jadavpur University and Sakura Academy, a language school organized a seminar on Tagore and his association with Japan. The seminar gave me an opportunity to read out a paper entitled as, 'Tagore and the introduction of Jujutsu in Shantiniketan '. Later on the essay was published in the English daily, 'The Independent' on 24th June, 2011.

TOROKKO : Akutagawa Ryunosuke

2011-06-25T20:33:00.013+05:30

I did this translation from Japanese to Bengali for fun & also for practice. I've been translating J -> E documents for sometime, but have always wanted to try my hand at some literary work. I chose this story because it is not copyrighted and I could post my translation on the web. This translation may still require a bit more polishing. Any suggestion in this regard would be highly appreciated.

The original Japanese text.

Japan: The New Destination for Indian Students?

2011-06-03T20:37:00.061+05:30

Historical Perspective:

Japan and the India have had a very rich cultural, historical and academic relationship for centuries, and the admiration for Japan on the part of the Indian intelligentsia was well-known. It was Swami Vivekananda, who first c

alled the youth of India to go to Japan for higher studies. Vivekananda visited Japan on his way to America to attend the World Congress of Religions in 1893.

He was so impressed by the advancement that the Japan had made in the field of science and technology and also the development strategy undertaken by the Meiji government that his message for the young students of India was to “Look East”.

Globalization of Japanese Society:

However, until recently Japan was not a very favourite destination for

Indian students in pursuit of higher education and the number of them going to Japan for higher studies was very miniscule.

For Indian students, only one question ultimately decides their study destination. This is – “what are they expected to do after they pr

ocure a degree? What is employment prospect in the receiving country?” And Japan was not a very attractive destination from this perspective.

But times are changing. Two policies taken up by Japan in 2008 have raised the profile of international students. The first is the internationalization of education and making Japan more open-minded. The second is the promotion of highly skilled migration and fostering links between export education and permanent migration. Japan has settled upon the Framework of the

“300,000 International Students Plan”, which aims to welcome 300,000 international stud

ents by the year 2020 and to help them search for jobs after graduation and

thus to facilitate the transition to work from study. This policy will expand the flow of Indian students towards Japan and incentivise them to remain in Japan.

The stages at which the Indian students can join

The Japanese education system follows the basic 6–3–3–4 route. The higher education starts upon completion of a total of 12 years of primary education.

A foreigner in Japan can join the education system after completing 12 years of basic education in her/his own country. There are 5 types of higher educational institutions where international students can be admitted to:

Colleges of Technology
Professional Training Colleges
Junior Colleges
Universities
Graduate Schools

Colleges of Technology(Technical Colleges):

These colleges offer comprehensive 5-year education programs (5 and a half year for mercantile marine).

Most international students enter the colleges of technology straight into the third year program onwards.

Most of the colleges of technology are related to the industrial field. The purpose of colleges of technology is to conduct in-depth learning in specialized disciplines and to a develop student's abilities necessary for employment.

Graduates of colleges of technology are awarded the "associate d

egree” and their rate of employment is almost 100%.

Colleges of technology also offer higher 2-year major programs. Graduates of these major programs are awarded the "bachelor's degree", upon passing the examination set by the National Institution for Academic Degrees and University Evaluation (NIAD-UE). Of late, many of the students are opting for further studies in the major programs or transfer into the universities (the third year of the university programs).

Professional Training Colleges:

Specialized training colleges offering post-secondary courses are called professional training colleges.

The special feature of the professional training colleges is the variety of courses offered according to the skill and certification required. The common fields include motor mechanics, hairdressing, architecture animation, medical care, system engineering, hotel management fashion designing, interpretati

on and the like.

Those courses usually take 2 years to complete but more than 30% of the students are taking the 3 and 4-year course. The students are awarded the “diploma” (2 years course) or “advanced diploma” (4-year course) when they complete courses recognized by the National Institution for Academic Degrees and University Evaluation (NIAD-UE). “Diploma” graduates are eligible to enter a university’s undergraduate program while “advanced diploma” graduates are eligible to enter graduate schools.

The aim at these educational institutions is to teach the know-how, technology and skills required for a profession.

Junior Colleges:

Junior colleges offer two year (3 years in the case of nursing courses, etc.) "Associate Degree". One third of junior colleges are for women only. Half of the course subjects are related to arts, home economics, education and social studies.

The purpose of junior colleges is to conduct in-depth learning and research in specialized disciplines and to develop abilities necessary for employment and daily life.

Universities:

The universities are the centres of advanced learning. University education puts emphasis on scientific principles or theoretical research and education in specialized academic disciplines.

A standard course is 4 years, but undergraduate study of medicine, dent

istry and in some cases pharmacy and veterinary science goes on for 6 years.

A student will be awarded the “bachelor’s degree” upon graduation.

Graduate Schools:

A university may also have a graduate school offering master courses (two-year standard term of study) and doctoral courses (five-year standard term

of study, four years for medicine, dentistry and veterinarian medicine) or professional degree courses (two-year standard term of study; however, depending on the field in some cases it can take between one and two years or more than three years).

Those who have completed the graduate course are awarded a master’s, or a doctorate or a professional degree.

Japanese Language Institutions:

The programs offered exclusively in English are limited. So, international students do not have adequate Japanese language proficiency, have to study Japanese before entering institutes of higher learning.

There are various Japanese language institutes for all proficiency levels, and courses of different durations. These include Japanese language schools and private universities offering special courses for international stude

nts. The study duration is from 1 to 2 years for both types.

But only a school recognised by the Association for the Promotion of Japanese Language Education (APJLE) is allowed to offer courses to students with a student visa (shugaku visa).

Entry Requirements

Japanese Language Skills:

Normally, lectures in Japanese higher educational institutions are conducted in Japanese. In professional training colleges, there are no courses which can be taken in English. So, following are the criteria to get admission:

Applicants who have received six or more months of Japanese language education at an educational institution certified by the Association for the Promotion of Japanese Language Education
Applicants who have passed level 1 or 2 of the Japanese Language Proficiency Test (JLPT)
Applicants who have scored 200 or more points (combined total for reading, comprehension, and listening) in Japanese on the Examination for Japanese University Admission for International Students (EJU)
Students who have scored more than 400 points in their Business Japanese Proficiency Test (BJT JLRT) conducted by the Japan Kanji Aptitude Testing Foundation.

However, under the “Global 30” project initiated in 2008, the Ministry of Education, Culture, Sports, Science and Technology strives to make more and more programs available in English for international students. Under this project some 300 courses will be offered fully in English in 13 leading universities. One these universities, Ritsumeikan University has recently opened their overseas office in New Delhi.

So, those who have adequate Japanese language proficiency or those who are planning to take courses offered in English need not enter a Japanese language institute in Japan and can directly seek admission to the institutes of higher learning.

Other Criteria:

Professional Training Colleges, Colleges of technology & Junior Colleges: Applicants must have completed 12 years of full time school education (which includes meeting the requirement for completing secondary education) and is over 18 years old.

Universities: To enter an undergraduate program, you are required to have completed 12 years of full time education and must have reached 18 years age. You will usually be required to take the "Examination for Japanese University Admission for International Students"(EJU).

Almost all national universities, about two thirds of the public universities and roughly half of the private universities use the EJU as admission criteria for international students, while the others apply their own entrance exams.

Graduate Schools: Completion of an undergraduate degree is required for acceptance onto a graduate program in Japan. Universities have their own entry requirements, and there is no standardised entrance exam as at the undergraduate level. Some universities may allow holders of undergraduate degrees to enrol on a Doctoral program, but almost exclusively you will require a Master's degree before you can enrol in a Doctoral program.

For More Information:

Japan Student Services Organization
Ministry of Education, Culture, Sports, Science & Technology
"India-Japan: Changing Perceptions" by Savitri Vishwanathan
Mombusho Scholars Association of India (MOSAI)
Study in Japan
Japan Study Support

Higher study in Japan can no longer be dismissed simply as an option for Japanophiles. If you’re looking for quality educational institutions, for conducive learning environment, safe and friendly everyday life, Japan is the place for you.
The modern Japanese culture and society is a diverse mix of old and new, eastern and western. The students will have plenty of opportunities to sample this best of the Japanese culture & have a deep and positive impression. Everyday life will become just as meaningful as studies.

"Tagore and Japan: A Retrospection" - Proceedings

2011-04-30T19:59:00.069+05:30

As a part of the events commemorating the 150th anniversary of the birth of Rabindranath Tagore, Sakura Academy and The School of Languages, Jadavpur University held a seminar, Tagore & Japan: A Retrospection, on 22nd March, 2011. The seminar was held at the auditorium of the Indian Institute of Chemical Engineers, Jadavpur and was supported by theRabindranath Studies Centre, Jadavpur University.

A minute’s silence is being observed by all

Inaugural Address by Swami Vedaswarupanandji Maharaj

Introductory Remarks by Hon. Mr. Mitsuo Kawaguchi

Ms. Akiko Kubota, Hon. Vice-Consul is being felicitated by Mrs. Kazuko Nigam

Welcome Address by Prof. Supriya Chaudhuri

Keynote Address by Prof. Abhijit Mukherjee

The seminar was attended by a reasonably large cross-section of people from the academia and general enthusiasts about Japan in Kolkata. At the beginning, a minute’s silence was observed by all in remembrance of the earthquake and tsunami victims of Japan. Next, Swami Vedaswarupanandaji Maharaj of Ramakrishna Mission, GolPark, Kolkata, lit the inaugural lamp and delivered a short lecture of encouragement. Hon. Mr. Mitsutake Numahata, Deputy Consul General of Japan at Kolkata, thanked India as a nation for expressing solidarity with Japan in these hours of crisis. Prof. Supriya Choudhuri, Director, School of Languages, Jadavpur University in her welcome address expressed her wish that the seminar would be a fruitful one to bring out new perspectives of Japan – Bengal relation that dawned with Tenshin’s visit to Kolkata.

Swami Vedaswarupanandaji Maharaj & Hon. Mr. Mitsutake Numahata

The first part of the seminar consisted of three lectures. Prof. Abhijit Mukherjee in his keynote address titled “Tagore’s First Visit to Japan – An Interpretation of Its Impact on Tagore”, threw light upon Tagore’s remarkable appreciation of Japanese culture but relative unpreparedness to grasp the political tradition and the role of Emperor, going into details of the prevailing situation in 1916 mostly as depicted in Japanese literature. Next, Prof. Nabin Kumar Panda of Dept. of East Asian Studies, Delhi University, in his speech talked about the history of the introduction of Japanese Studies in India that began with Jinnotsuke Sano, the Jujutsu teacher who started teaching in Shantiniketan in 1905. The next paper was of Dr Kyoko Niwa, her paper titled “Rabindranath Tagore and Noguchi Yonejirou” was read out in absence of her. This paper is interesting in bringing out new perspectives of the well known debate that followed between the poets Tagore and Noguchi, following the Sino-Japanese war in 1938.

News Paper Review: "Global Mail" 28.03.2o11

Dr. Satyanarayan Bhattacharya, Prof. Abhijit Mukherjee, Prof. Nabin Kumar Panda, Mr. Bipul Krishna Das, Mrs. Sumita Bhattacharjee & others

News Paper Review: "Paribartton" 26.03.2011

In the second part of the seminar five speakers presented their papers on different issues relating to Tagore’s association with Japan. The first speaker was Dr. Satyanarayan Bhattacharya, the title of his paper was, "Tagore and Japan: An Aesthetic Bond". The next speaker was Mr. Prabir Bikash Sarkar. He intended to talk about the history of Japan’s cultural tie with Bengal, and the role of Okakura Tenshin. Two more informative papers were presented by Sri Pratyay Banerjee and Sri Debanjan Ghosh respectively. The first speaker spoke of Tagore’s initiative in introducing Judo in Santiniketan. The next speaker presented a paper titled “Tagore’s Literature in Japanese Language”. The last speaker was Mrs. Suparna Chakraborty and the title of her paper was “Japan‑Jatri as a Travelogue”.

Prof. Nabin Kr. Panda

Invited Lecture by Prof. Nabin Kr. Panda

News Paper Review: "Bikeler Protidin" 05.04.2011

Tagore’s appreciation of traditional Japanese culture is well known. The poet not only visited Japan quite a few times, but also played a significant part in bringing about a new wave of cultural relation between Bengal & Japan.

Dr. Satyanarayan Bhattacharyay

Mr. Pratyay Banerjee

News Paper Review: "News Bangla" 25.03.2011

Mr. Debanjan Ghosh

Mr. Probir Bikash Sarker

However this cultural relation between undivided Bengal and Japan lost its vibrancy due to the changed perspective in the post war period. Viewed from this historical perspective this seminar turns out to be a meaningful attempt to remember a historical period that has almost passed into oblivion.

News Paper Review: "Kolkata Saradin" 05.04.2011

Mr. Bipul Krishna Das meeting the Press

Please Pray for Japan

2011-03-13T19:15:00.018+05:30

OUR THOUGHTS AND PRAYERS TO ALL THE VICTIMS OF THE DISASTER

HOPE THE LIVING ARE SAFE

HOPE THE MISSING ARE FOUND

HOPE THE DEAD ARE AT PEACE

Ambassador of India to Japan Mr. Alok Prasad, handed over relief material to Japanese State Secretary for Foreign Affairs Mr. Yutaka Banno on 16 March 2011, on behalf of the Government and people of India.

Tagore and Japan: A Retrospection

2011-02-06T19:59:00.032+05:30

A Seminar on Tagore and his association with Japan

India has a long history of cultural relations with Japan. This dates back to 1902, the year which marks a historical meeting between two great intellectuals, Tenshin Okakura and Rabindranath Tagore in Calcutta. Tenshin, the forerunner of Japan-Bangla relationship, was deeply impressed by the revivalist movement on culture and an art, going on at that time in Kolkata. It is interesting to note that, Tenshin Okakura, the eminent art scholar whose nationalistic ideals are well known, during his short stay in Kolkata came into contact with nationalist leaders of Bengal. It is said that Okakura Tenshin played a significant part in the formation of the revolutionary group ‘Anushilan Shamity’ which waged violent anti imperialist movement in Bengal.

On returning to Japan he sent two distinguished artists, Yokoyama Taikan and Shimomura Kanzan to Kolkata, where they met Rabindranath Tagore and Abonindranath Tagore and exchanged opinions and artistic views. In 1905, Jinnosuke Sano, an ex-student of Keio University came to Santiniketan. He was a Judo instructor. During his three years of stay at Santiniketan, he also taught Japanese language, apart from teaching Jujutsu.

The relation was further enhanced by the five visits of Rabindranath to Japan (1916, 1917, 1924, 1929-twice). Since then there have been an intimate and lingering cultural and artistic tie between the two countries. These encounters had brought into contact a remarkable group of intellectuals and artists of Japan and Bengal.

On the eve of Tagore’s 150^th Birth Anniversary, we, Japanese language Department, Jadavpur University & Sakura Academy, wish to organize a seminar on Tagore’s visit to Japan and its lingering cultural and artistic impact on both the nations.

This seminar will include lectures and oral communications.

Venue: Auditorium, Indian Institute of Chemical Engineers Dr. H. L. Roy Building, Gate No: 3, Jadavpur University Campus 188, Raja S.C. Mullick Road, Kolkata – 32

Date & Hour: March 22, 2011, 10.30 AM – 5.10 PM

Aims of the Seminar: This seminar can do justice to a period which has almost receded into oblivious past. It is a pity that, the spirit of cultural exchange that existed between Japan and Bengal in the time of Tagore and Tenshin, was thwarted after the 2^nd World War. Tagore’s association with Japanese intellectuals of his time turns out to be a forlorn chapter in our cultural history. It is therefore useful and purposeful to organize a seminar on the subject which will allow the participants to share their knowledge and understanding. We hope that, this seminar will be profitable in bringing out new perspectives of this fraternity between Bengal and Japan.

Speakers:

Keynote Speaker:

Dr. Abhijit Mukherjee Professor & H O D, Department of Electrical Engineering, Jadavpur University & Joint Director, School of Languages, Jadavpur University [An interpretation of the impact of his first visit to japan, on Tagore]

Other Speakers:

Dr. (Ms.) Niwa Kyoko Professor, Tokyo Foreign Studies University [Rabindranath Tagore and Noguchi Yonejiro]

Dr. Nabin Kumar Panda Assistant Professor, Dept of East Asian Studies, Delhi University [Tagore and Sano Junnosuke - a Study of Japanese Language in India]

Presentation of Papers:

Tagore and Japan: An Aesthetic Bond by Dr. Satyanarayan Bhattacharjee Japan-Bangla Relation: Role of Okakura Tenshin by Mr. Probir Bikash Sarker Tagore's Literature in Japanese Language by Mr. Debanjan Ghosh Tagore and The Introduction of Jujutsu in Shantiniketan by Mr. Pratyay Banerjee, and "Japanjatri" as a Travelogue by Ms. Suparna Chakraborty

Follow-up after the Seminar: It is proposed to bring out a compendium of papers presented in the seminar. For more information and registration email: anindya.partha@gmail.com phone:9903528232

Poster design: Arunabha Chakraborty

The Way of Nirvana: An Exhibition by Mizue Kato

2010-12-05T18:00:00.011+05:30

The cultural exchange between India and Japan dates back to 6th century AD., when Buddhism was transplanted in Japan via Korea and Japan. It is said that Bodishena, an Indian priest was present at the inauguration of the renowned Todaiji temple at Nara in 752. Many Japanese Buddhist scholars had also visited Tagore's Shantiniketan.

Mizue Kato's paintings like the 'Lord Buddha', the 'Silk route', the 'Gandhara' can exhibit a mind fostered by the principles of Lord Buddha. This wonderful exhibition took place at the Bharat-Japan Sanskriti Kendra, Salt Lake, Kolkata.

The inaugural ceremony was presided by eminent poet Sri Nirendranath Chakraborty. The Japanese Consul General also visited the exhibition. The exhibition which remained open from 20th November-4th December, was attended by many art lovers, Japanese language students of the city.

Touching souls: Painters who portrayed India

2010-09-05T20:47:00.089+05:30

India has a long history of cultural relations with Japan. It started in 1902 through a historical meeting between two great intellectuals, Tenshin Okakura and Rabindranath Tagore in Calcutta. Tenshin, the Forerunner of Japan-Bangla relationship, was deeply impressed by the revivalist movement on culture and arts, going on at that time in Kolkata. On returning to Japan he sent two distinguished artists, Yokoyama Taikan and Hishida Shunsō to Kolkata, where they met Rabindranath Tagore and Abonindranath Tagore and exchanged opinions and artistic views. The relation further enhanced by the five visits of Rabindranath to Japan (1916, 1917, 1924, 1929-twice). Since then there have been an intimate and lingering cultural and artistic tie between the two countries. These encounters had brought into contact a remarkable group of intellectuals and artists of Japan and Bengal. They not only influenced Indian artists but also got influenced by the new line initiated in Bengal and gave contemporary Japanese art an Indian touch.

The paintings presented here represent the impressions the Japanese painters received while they were in India and have been produced by the characteristic method of the Japanese Art.

Nanpū Katayama(1887-1980):

Nampū Katayama was born in 1887 in Kumamoto city, Kyushū. His original name was Kumaji. Katayama began studying painting under Fukushima Hōun in Kumamoto. In 1909 he moved to Tokyo and started learning historical portrait painting under renowned painter Takahashi Kōko. At this time he got the attention of the grand master of ‘Nihonga’, Yokoyama Taikan. Taikan urged him to submit his painting for the official Bunten exhibition (Ministry of Education Exhibition). In the annual Bunten exhibition of 1913 katayama’s painting was nominated for one of the highest awards and since then didn’t look back.

In 1914 Katayama joined the Nihon Bijutsu-in (Japan Art Institute) after its revival and his paintings were frequently exhibited at the annual Inten exhibitions (formally known as Nihon Bijutsuin Tenrankai or Japan Art Institute Exhibition). In his long, distinguished career Katayama won many titles and awards. In 1958 he became the member of Japan Arts Academy (Nihon Geijutsu-in). In 1968 Katayama was decorated with the prestigious Order of Cultural Merit award.

Taikan made a deep impression on Katayama. He considered himself as a follower of the great artist. Katayama’s work covered a wide range of subjects and forms, including landscapes, historical subjects, and portraits and so on. Some of the Katayama’s masterpieces are in the collection of the National Museum of Modern Art, Tokyo. Katayama visited India in 1916.

Shôkin Katsuta (1879-1963):

Shôkin Katsuta was born in Kawagoe in 1879. He went to Tokyo and entered the Tōkyō Bijutsu Gakko to study painting. There, he studied under famous Nihonga painter Hashimoto Gahô (1835-1908) and successfully graduated in 1905.

Katsuta went to India after his graduation to study ancient Buddhist painting. Rabindranath invited him to his school in Shantiniketan. Responding to Tagore’s invitation Katsuta went to Shantiniketan and joined as art teacher there. He stayed in Shantiniketan from 1905 to 1907. His trip to India inspired some of Katsuta's most important work.

Katsuta was an exhibitor with the first official Bunten in 1907. His work was shown at the Bunten six times, at the Teiten thirteen times and at the Nitten two times. He was also a judge at the Teiten. Katsuta had a rich collection of paintings by Abanindranath Tagore who is regarded as the father of modern Indian art.

Kosetsu Nosu: (1885- 1973):

Portrait of Tagore by Kosetsu Nosu with Tagore's autographed poem

The Enlightenment of Buddha under a Sacred Fig (Bo tree) while attacked by Mara devils, the wall painting of Kosetsu Nosu, Mulagandha Kuti Vihara Buddhist temple founded in 1931, Sarnath, India.

Kousetsu Nosu was born in 1885 in Kagawa prefecture, Shikeku. He went to Tokyo to study painting and entered the Tōkyō Bijutsu Gakko and successfully graduated from there. He was also associated with Nihon Bijutsuin.

Nosu came to India for the first time in1918 to study ancient Buddhist arts. He met Kampo Arai who was also in Kolkata at that time. Arai offered him to work as his assistant to copy the famous frescoes at the cave shrines of Ajanta. Arai and Nosu completed their work on 17th March 1918.

In 1932, Nosu come to India for the second time to paint his own frescoes in the new Buddhist Vihara at Sarnath near Benares. The frescos were supposed to be painted by Senren Kiriya. Unfortunately Kiriya passed away suddenly on 19th July 1932. Felt drawn to India as the land of Buddha, Nosu expressed his interest. He reached Kolkata on 25th of November, 1932 with his assistant Mr. Kisho Kawai and his son Mr. Yoshiaki Nosu. After visiting Sarnath he went to Shantiniketan to pay a visit to Tagore and also to seek his advice. Nosu went there once more to learn fresco at the Kalabhava(the school of arts) when he found it difficult to paint the frescos in Japanese technique. In the next five years, Nosu painted 17 frescos based on 17 tales of Bouddha-Jatakas on the walls of the Mulagandhakuti Vihara.

Life long devotee of Lord Buddha, Nosu is revered as one of the stalwarts of Buddhist painting in Japan. He had a deep respect for ancient India art and his artistic mission leads to closer unity and friendship between nations, India and Japan.

Yokoyama Taikan: (1868-1958):

Ryūtō 1909

Taikan was born in Mito city, Ibaraki Prefecture. He entered the Tōkyō Bijutsu Gakko in 1889 and graduated in 1893. There, he studied under the Kano school artist Hashimoto Gahō and had classmates who would also become leaders in Nihonga, Shunso Hishida, Kanzan Shimomura, and Kogetsu Saigo.

After graduation, Taikan spent a year teaching at "Kyoto Shiritsu Bijutsu Kogei Gakko" in Kyoto. He returned to Tōkyō in 1896 as assistant professor at the Tōkyō Bijutsu Gakko, but resigned only a year later together with Tenshin Okakura because of a confrontation in the school and joined Okakura in establishing the Japan Fine Arts Academy (Nihon Bijutsuin).In 1914, Yokoyama along with Kanzan Shimomura concentrated on reviving the Nihon Bijutsuin (The Japan Fine Arts Academy) which had closed down upon Okakura Kakuzo's death in 1913.Taikan Yokoyama was an important leader in the Nihonga, or "Japanese traditional" school of modern Japanese art. He was extremely influential in the evolution of the Nihonga technique, having departed from the traditional use of the line drawing. His style was called "Mourou-tai (Blurred style)". He became a teishitsu gigeiin (imperial artist) in 1931. In 1935, he was appointed as a member of Teikoku Bijutsuin (the forerunner of the Japan Art Academy), and in 1937, He was one of the first persons to be awarded the Order of Culture.

Taikan came to India along with Shunsō Hishida in 1903. He, along with Hishida was one of the first modern Japanese painters to visit India. They worked in Abanindranath's studio at Jorasanko in Calcutta.Taikan's presence gave the Indian artists, especially Abanindranath and Gaganendranath an opportunity to study and adapt the Japanese techniques. The Japanese wast tecnique, demonstrated by Taikan and Hishida left a deep impression on Abanindranath's art.

Taikan also was very willing to explore Indian themes in his work, for example the Ras Lila or 'love-play' of Radha and Krishna. Taikan and Hishida also visited Ajanta and carried their impressions back to Japan. His trip to India, jointly with Hishida inspired some of Yokoyama's most important work. Noted painter Mukul Dey during his sojourn to Japan in 1916 was able to observe the influence of the Ajanta frescoes on Taikan's work. He describes seeing a painting "Of the beautiful girls of life size with flower hair dressing of the type of Ajanta Cave paintings". And also says that Taikan's technique by 1916 "Resembled that which was employed on our ancient wall paintings of Ajanta, Bagh and other places".

Kampo Arai (1878-1945):

Portrait of Tagore by Kampo Arai

Kampo Arai

Kampo Arai was born in Ujiiie of Tochigi prefecture. Enamoured by the paintings of Yokoyama Taikan and Kanzan Shimomura, the two most famous Japanese 'Nihonga' painters of the period, Rabindranath Tagore, during his stay in Japan in 1916, wished to have a few of their works copied for him to take back home. Arai, a painter of the Nihon Bijutsuin at that time, was commissioned by Tomitaro Hara (an art connoisseur) to copy two paintings by tailkan and Kanzan for Tagore to be taken to India. Ari Kampo copied the paintings and came to Kolkata in 1916 on Rabindranath Tagore's invitation. In Calcutta Arai worked in Vichitra studio.

Kampo Arai visited Calcutta and Santiniketan and travelled around India from 1916 to 1918. Arai went to the ancient cave shrines of Ajanta to copy the famous frescoes there. He also visited Puri, Konarak and several other places of historical and artistic interest in Orissa along with Nandalal Bose.

Akino Fuku: (1908-2001):

Indian Woman

Akino Fuku

Akino Fuku was one of the three great Japanese women painters. She began her study of Nihonga under Suisho Nishiyama in 1929. And her work was first accepted by Teiten in 1930.After the World War II, Akino decided to leave Japan Fine Arts Exhibition (Nitten) and participated in the foundation of Sozo Bijutsu (the present Soga-kai), non-official group of Japanese painters, with Uemura Shoko, Fukuda Toyoshiro and Yoshioka Kenji among others. In 1962 she was invited as a visiting professor of Visva-Bharati University in India and spent one year there. This experience gave her painting a new scale. She found herself drawn to India. Famous for her landscapes of the eternal soil of India and for her vivid portraiture of the people living there, she created new horizon for the Japanese style painting.

Ikuo Hirayama: (1952 - 2009):

Ikuo Hirayama

Ikuo Hirayama, one of the Japan's most celebrated painters was born in Setoda-chō, Hiroshima Prefecture. In 1952, he graduated from the Tōkyō School of Art (today’s Tōkyō National University of Fine Arts and Music, popularly known as "Geidai"). His 1959 work "Bukkyo Denrai" depicting an ancient Buddhist monk who introduced Buddhism to Japan, first gave him widespread recognition. A traditional Nihonga-style painter, Hirayama's career has been built largely on his Buddhist-themed paintings, as well as "fantasy" and "the holy dream." The paintings epitomize a sense of hopefulness and cooperation, peace and tranquillity. His Silk Road paintings convey Hirayama’s belief that the road, with its exchange of commerce and ideas, showed that cultures can interact constructively. Hirayama’s efforts to create beauty have reached well beyond the canvas. As a campaigner for the preservation and restoration of the world's cultural heritage and recognition of the importance of these sites, he devoted much of his resources and energies. As an honorary UNESCO ambassador, he has travelled the world promoting and personally funding the preservation of historic Silk Road sites.

Nishida Shun'ei (April 20, 1953):

Pushkar no Rojin

Under a Linden

Nishida Shun'ei was born in Ise city, Mie prefecture, in 1953 Born. In 1977, he graduated from Musashino Art University, Department of Japanese Painting. There he studied under Togyu Okumura, Hideo Shiode. Nishida was greatly inspired by Indian culture and in 1993 came here to study painting as an overseas research personnel of the Japanese Agency for Cultural Affairs. Whilst in India he was shifted to portraiture and in 1995 received the Nihon Bijutsuin (Japan Art Institute) Award as well as the newly established Adachi Museum of Art Award for “Pushkar no Rojin” (Old man of Pushkar), depicting the face of an Indian village chief. In 1996 he won the Tenshin Memorial Ibaraki Award for “Jakko” (Serene Light) depicting a young monk of Ladakh. 1998 Shun'ei was recommended for member of Nihon-bijutsuin. Currently he is working as a professor of Hiroshima City University.

Korehiko HINO:

Hino at Shantiniketan

Korehiko Hino, the well known contemporary Japanese painters, was born in Ishikawa in 1976. He graduated from University of Tsukuba, majoring in Western painting and then completed his masters in 2001 from there. Currently he is attached with the Tama University of Fine Art as an instructor. Hino has built up a solid reputation both in Japan and abroad. His pictures depict amazingly expressionless human forms with really big, creepy eyes. It is difficult to make out whether they are adults or children and therefore they grow the anxiety which all of us in the contemporary era sense in a vague, nebulous way. In 2006, Hino visited Santiniketan in India.

Sources:

http://www.arttowermito.or.jp/index.php
http://www.nishida-shunei.com/pg98.html
http://www.japanlink.co.jp/ka/bunk1.htm#Ink painting
http://www.chitralekha.org
http://www.artindiamag.com
Amar Katha by Mukul Dey
Prashanga Rabindranath O Japan by Kazuo Azuma
Art and Nationalism in Colonial India, Occidental Orientations by Partha Mitter

Photo Courtesy:

Rabindra-Okakura Bhavan, Salt Lake
Jyoti Eri
Archer10(Dennis)

Basho: Frog Haiku

2010-08-07T23:24:00.110+05:30

古池や

蛙　飛び込む　

水の　音　

Matsu Basho , an eminent Hyjin or Haiku poet of the 17th century Japan, wrote this famous poem, known as Frog Haiku in English. Basho's Frog Haiku is regarded as a paradigmatic Haiku as it follows, the 5-7-5 syllabic pattern of a traditional Haiku. The firs line, ' 古池や' , consists of 5 syllable, the next line ' 蛙　飛び込む', is of 7 syllable and the last line '水の　音' is again of 5 syllables. Tagore has given us a wonderful translation of Matsu Basho's 'Frog Haiku ' in his celebrated work 'Japan Jatri ', or his travelogue on Japan. According to Tagore brevity can be taken as an essential feature of Haiku. The existence of a 3 lined verse is hard to be traced out anywhere. These 3 lines are enough both for the poet and for the reader. Going through the Internet I came across numerous versions of Basho's 'Frog Haiku '. Here I would like to refer to a few of these English translations:

"Into the ancient pond A frog jumps Water's sound " -D .T. Suzuki

Eminent American poet Alan Ginsberg has brought out another translation . This is as follows : "The old pond A frog jumped in Ker plunk-"

Another is of Robert Hess -

"The old pond a frog jumps in sound of water ." How enormous was the impact of one short poem on the literary minds, we can easily comprehend from these translations. There is one word in Japanese which can well express the beauty of a Haiku - it is 'Kawaii (かわい）、), meaning pretty. Just as Sakura or Cherry Blossoms are, which bloom only for a short period of time, so is Haiku. Kawai indeed.

焼酎: The Next Big Japanese Drink

2010-06-23T21:17:00.063+05:30

Nihonshu (日本酒) (often referred to as sake) has been playing a central role in Japanese life and culture since the ancient times. But recently Japan's love affair with Nihonshu (日本酒) seems to be on the wane. Japanese people now are more interested in another indigenous alcoholic beverage, shōchū. Once a rough country spirit, shōchū is now the most sought-after drink in Japan, particularly among the young generation.

Shōchū Glass with Tenmoku Finsh

Learn Japanese : Be ahead than others

2010-06-17T17:32:00.007+05:30

Having passed HS (10+2 ) examination or graduation we are confronted with the irritable question regarding 'What to do next '? Often lack of information hinders us from making the right choice at the right moment. For those who are pondering about their future career our suggestion is: Learn an international language like Japanese which has the potentiality to frame your career. Do you know that at present, 60% companies are having foreign collaborations among that 20% collaborations are done only with Japanese IT companies? In keeping with the spirit of globalization more opportunities will yield for those proficient in a global language. Again, Japan is not limited to IT sector alone, it is also leading with Automobile, Finance, Insurance, Pharmaceutical sector. In future Japanese collaborations will be more than all other collaborations and as a Japanese people will speak only Japanese language so we must know Japanese language for having smooth conversation with them.

Learning Japanese language opens up new career opportunities. In comparison to other foreign languages there is the system of a recognized examination which as a foreign learner of Japanese you can undertake. This is JLPT, an examination conducted by the Japan Foundation all over the world. Japanese Language Proficiency Test is a test of Japanese ability for non-native students of Japanese. It focuses on reading ability, vocabulary, listening, kanji, and grammar. JLPT Courses are recognized by the Japan Foundation.

So don't delay. Learn Japanese. Get yourself admitted in a JLPT orientation class.

Indo-Japan cultural tie down the ages: A wonderful exhibition

2010-05-01T08:54:00.009+05:30

If you are having some free time or musing on paying a visit to the Salt Lake City Centre shopping complex, do visit this exotic photo gallery at the 3rd floor of Rabindra-Okakura Bhavan, Salt Lake. It is close to the City Centre and within commutable distance from any part of the city. This permanent exhibition on the legacy of Indo Japan Cultural tie remains open throughout the day, everyday. The variegated picture gallery represents all aspects of Indo-Japan relation, cultural, political and spiritual. Subhas Chandra Bose's Japanese associations, Tagore's successive visit to the Land of Rising Sun, Justice Radhabinod Pal's dissenting role at the Tokyo Tribunal, eminent Indian painter Nandalal Bose attending a tea ceremony in Japan , Satyajit Ray and Professor Kazuo Azuma's epistolary correspondence, all comes within the purvey of this wonderful exhibition. Also remarkable are the prints of paintings of contemporary Japanese painters like Ikuo Hirayama and Korehiko Hino who have depicted Indian life.

Rabindra-Okakura Bhavan

Block-DD-27/A/1, Sector-1, Salt Lake, Kolkata-700091

Near City Centre