because it's there

The sacred places and pilgrimage traditions of Japan have been conditioned by geographical and topographical features as much as by religious and cultural factors. Over 80% of the Japanese country- side is hilly or mountainous terrain. This physical condition gave birth in ancient times to a unique and enduring tradition of religious beliefs and practices focused on mountains. While never systematized, this tradition was so wide spread that Japanese scholars have termed it sangaku shinko, meaning 'mountain beliefs' or 'mountain creed'.

Sangaku shinko should not however, be thought of in the narrow sense of mountain worship, but rather understood to have a broader meaning which includes the mythology, folk beliefs, rituals, shamanistic practices, and shrine structures that are associated with the religious use of particular mountains.

H. Byron Earhart, a scholar of Japanese religion, writes that "Most of the mountains whose sacred character is attested by archaeological evidence are also prominent in the earliest written records of Japan. In these writ- ings mountains play a religious role in the cosmogony and theogony of the formal mythology and are prominent as dwelling places of the gods, as burial sites, and as sacred sites of great beauty. In the two court compilations which represent the earliest writings in Japan, mountains appear in almost every imaginable religious guise". 1

in the west, needless to say, the dynamic is different. in the eastern depictions of even their holiest mountain, it hides, it doesn't loom. it sneaks into the picture rather than dominating it. even when the portrait is of that mountain particularly, one must work to find it. one would be hard pressed to find an alternate display. in paintings, the west's mountain's are bullies, and like any bully, they're 'asking for it.' 'take me down,' they seem to challenge.

and in the west we only very rarely find the mountains themselves sacred. 2 we worship 'on the mountain,' or, ' at the mountain,' or 'in the mountains,' ... but that's different. perhaps the western opinion of god is that she's blatantly before you, whereas in the east one must search, and then to find?

and then perhaps also the societal imperatives about individuality come into play? self, or group? is part of the japanese pattern of asymmetry simply another way of indicating the sweep, not the center?

Shingon in particular, founded by the sage Kukai (774-835), placed emphasis on sacred mountains as the ideal sites for religious prac- tice and the attainment of Bud- dhahood. Ascents of the mount- ains were conceived of as metaphorical ascents on the path of spiritual enlightenment, with each stage in the climb representing a stage in the passage through the realms of existence formulated by Buddhism.

During the Heian period (793-1185) Buddhist temples were increasingly built on the sides and summits of many Shinto sacred mountains. It was believed that the native Shinto kami of these mountains were in reality manifestations of Buddhist divinities thus pilgrimage to the mountains was believed to bring favors from both the Shinto and Buddhist divinities simultaneously. 1

am i suggesting that there is not meant to be an aspect of holiness in these western images of mountains? no, not at all. nor do i mean to suggest that every japanese printmaker was a saint (or whatever). these western prints and paintings were all completed in the wake of the wall of japan's influence. i'm just saying that i find these all very interesting questions, ones which i hope you will help to explore.

Yarigatake: The Matterhorn of Japan

The first person to stand on the summit of the 3180m Mt Yari was the priest and mountain ascetic Banryu in the late Edo Period (19th century).

This was the first recorded ascent of the peak which is now revered by climbers across the country, and it occurred in July 1828; some 37 years before Wimper became the first person to climb the Matterhorn.

Then in 1880 an Englishman named Gowland reached the summit before dubbing the mountain panorama that lay before him “the Japanese Alps.”

It was this name which would later be popularised by Walter Weston, another Englishman, who first summited in 1892. Weston spread news of Mt Yari to the climbing fraternity around the world.

Although not renowned for his mountain-climbing prowess, the well-known author Ryunosuke Akutagawa [Rashomon] has also climbed Mt Yarigatake.

On the 12th August 1909 the 17 year old Akutagawa reached the top together with 3 classmates. You can read about his exploits in the mountains in works such as “Diary of my Mt Yari Ascent” and “Mt Yari Journal.” 1

Recreational hiking in Japan is relatively new in the nation's long history: the mountains were con- sidered foreboding and inhospi- table, the realm of mountain priests and the gods, until a pair of Englishmen, William Gowland and Walter Weston, climbed them in the late 19th century.

Gowland dubbed the region "The Japan Alps" while Weston's lectures and books introduced the region to Japanese and foreigners alike. 2

Banryu scaled Yari-ga-take and other major peaks as part of his religious devotion. 3

a statue of him stands today.

(sitting in a tree-)

(sitting in a tree-)
o small you
sitting in a tree-

sitting in a treetop

riding on a greenest

riding on a greener
(o little i)
riding on a leaf

o least who
sing small thing
dance little joy

(shine most prayer) •

into the smiting
sky tense
with
blend

ing
the
tree leaps
a stiffened exquisite

i
wait the sweet
annihilation of swift
flesh

i make me stern against
your charming strength

O haste
annihilator

drawing into you my enchanting
leaves.

both poems by e e cummings

growing a painting

peas in a pod who likely never met.

carl moll and william wendt were born not that far apart (but far enough to assume they never met).

carl moved to vienna and william to the united states. they both painted.

moll's life was lived from 1861 to 1945, wendt 1865 to 1946. to place them in art history, we see that bonnard's life was 1867 to 1947. (i'm moved by the fact that he died the year i was born.)

thus, these impressionists were second generation, and the differences show.

both have incorporated the flatness and suggestion of outline that the spread of japonisme had predicted, along with its asymmetrical design and frequent forward-weighted balance.

brush strokes were often blunt for both.

they love similar colors, and the mountains, and the last moments of the perfect earth.

perhaps the fact that both chose the relatively unusual square format, suggests that both believed boxing the past might preserve it.

william wendt moved to the golden state and painted it with deep reverence for the rest of his life. he helped to found the california art club.

carl moll helped found the vienna secession, and won the golden state award!

the tide of the movement lifted all boats; where one was moored was inconsequential.

teachers impart vision to students who sow it like seed across the land.

fertility abounds.

things i didn't know i loved

THINGS I DIDN'T KNOW I LOVED

it's 1962 March 28th
I'm sitting by the window on the Prague-Berlin train
night is falling
I never knew I liked
night descending like a tired bird on a smoky wet plain
I don't like
comparing nightfall to a tired bird

I didn't know I loved the earth
can someone who hasn't worked the earth love it
I've never worked the earth
it must be my only Platonic love

and here I've loved rivers
all this time
whether motionless like this they curl skirting the hills
European hills crowned with chateaus
or whether stretched out flat as far as the eye can see
I know you can't wash in the same river even once
I know the river will bring new lights you'll never see
I know we live slightly longer than a horse but not nearly as long as a crow
I know this has troubled people before
and will trouble those after me
I know all this has been said a thousand times before
and will be said after me

I didn't know I loved the sky
cloudy or clear
the blue vault Andrei studied on his back at Borodino
in prison I translated both volumes of War and Peace into Turkish
I hear voices
not from the blue vault but from the yard
the guards are beating someone again
I didn't know I loved trees
bare beeches near Moscow in Pere- delkino
they come upon me in winter noble and modest
beeches are Russian the way poplars are Turkish
"the poplars of Izmir
losing their leaves. . .
they call me The Knife. . .
lover like a young tree. . .
I blow stately mansions sky-high"
in the Ilgaz woods in 1920 I tied an embroidered linen handkerchief
to a pine bough for luck

I never knew I loved roads
even the asphalt kind
Vera's behind the wheel we're driving from Moscow to the Crimea
Koktebele
formerly "Goktepé ili" in Turkish
the two of us inside a closed box
the world flows past on both sides distant and mute
I was never so close to anyone in my life
bandits stopped me on the red road between Bolu and Geredé
when I was eighteen
apart from my life I didn't have anything in the wagon they could take
and at eighteen our lives are what we value least
I've written this somewhere before
wading through a dark muddy street I'm going to the shadow play
Ramazan night
a paper lantern leading the way
maybe nothing like this ever happened
maybe I read it somewhere an eight-year-old boy
going to the shadow play
Ramazan night in Istanbul holding his grandfather's hand
his grandfather has on a fez and is wearing the fur coat
with a sable collar over his robe
and there's a lantern in the servant's hand
and I can't contain myself for joy
flowers come to mind for some reason
poppies cactuses jonquils
in the jonquil garden in Kadikoy Istanbul I kissed Marika
fresh almonds on her breath
I was seventeen
my heart on a swing touched the sky
I didn't know I loved flowers
friends sent me three red carnations in prison

I just remembered the stars
I love them too
whether I'm floored watching them from below
or whether I'm flying at their side

I have some questions for the cosmonauts
were the stars much bigger
did they look like huge jewels on black velvet
or apricots on orange
did you feel proud to get closer to the stars
I saw color photos of the cosmos in Ogonek magazine now don't
be upset comrades but nonfigurative shall we say or abstract
well some of them looked just like such paintings which is to
say they were terribly figurative and concrete
my heart was in my mouth looking at them
they are our endless desire to grasp things
seeing them I could even think of death and not feel at all sad
I never knew I loved the cosmos

snow flashes in front of my eyes
both heavy wet steady snow and the dry whirling kind
I didn't know I liked snow

I never knew I loved the sun
even when setting cherry-red as now
in Istanbul too it sometimes sets in postcard colors
but you aren't about to paint it that way
I didn't know I loved the sea
except the Sea of Azov
or how much

I didn't know I loved clouds
whether I'm under or up above them
whether they look like giants or shaggy white beasts

moonlight the falsest the most languid the most petit-bourgeois
strikes me
I like it

I didn't know I liked rain
whether it falls like a fine net or splatters against the glass my
heart leaves me tangled up in a net or trapped inside a drop
and takes off for uncharted countries I didn't know I loved
rain but why did I suddenly discover all these passions sitting
by the window on the Prague-Berlin train
is it because I lit my sixth cigarette
one alone could kill me
is it because I'm half dead from thinking about someone back in Moscow
her hair straw-blond eyelashes blue

the train plunges on through the pitch-black night
I never knew I liked the night pitch-black
sparks fly from the engine
I didn't know I loved sparks
I didn't know I loved so many things and I had to wait until sixty
to find it out sitting by the window on the Prague-Berlin train
watching the world disappear as if on a journey of no return

Nazim Hikmet
19 April 1962 Moscow

Translated by Mutlu Konuk and Randy Blasing


From Selected Poetry by Nazim Hikmet. Translation copyright © 1986 by Randy Blasing and Mutlu Konuk.
Reprinted by permission of Persea Books, Inc. 1

california dreaming

as we've seen, the principles of design learned from the japa- nese prints were used heavily in travel post- ers. the train was new, as was the middle class, a group with the ability to do some traveling.

one geographical area that pushed it to the limit was california. in their competition with florida* for tourist dol- lars, and for their need to populate the state, they created 'california is calling you,' an image


of an arena so golden, so spiritually uplifting, and with so many possibilities for joy that it was an irresistible dream for many.

some of those dreamers were masters of the fine arts who were drawn to california's promise (some from as far away as germany): william wendt, maurice braun, frank morley fletcher, and more. together, many of them formed the movement called the 'california impressionists.'

many felt that their work often had a very similar feel to the promotional artwork, which only demonstrates the level of beauty in the promotional materials, and points to the stars in the eyes of those who responded when california beckoned.

CALIFORNIA HERE I COME
(Al Jolson / Bud De Sylva / Joseph Meyer)

1ST VERSE
When the wintry winds are blowing and the snow is starting in to fall,
then my eyes turn west-ward, knowing that's the place I love the best of all.
California , I've been blue, since I've been away from you.
I can't wait 'til I get going.
Even now I'm starting in to call, Oh...

REFRAIN
California, here I come right back where I started from.
Where Bowers of flowers bloom in the spring.
Each morning at dawning, birdies sing an' everything.
A sunkist miss said, "Don't be late" that's why I can hardly wait.
Open up that Golden Gate,
California here I come.

2ND VERSE
Any one who likes to wander ought to keep this saying in his mind,
"Absence makes the heart grow fonder" of the good old place you leave behind.
When you've hit the train awhile, seems you rarely see a smile;
that's why I must fly out yonder, where a frown is mighty hard to find! Oh....

REFRAIN
California, here I come right back where I started from.
Where Bowers of flowers bloom in the spring.
Each morning at dawning, birdies sing an' everything.
A sunkist miss said, "Don't be late" that's why I can hardly wait.
Open up that Golden Gate.
California here I come.

(Recorded by : John Arpin; Gordon Beck; Jethro Burns; Joe Bushkin;
Freddy Cannon; Eddie Cantor; Judy Carmichael; Ray Charles;
Eddie Condon; J. Lawrence Cook; James Dapogny;
Cliff "Ukelele Ike" Edwards; Bill Evans; Firehouse Five Plus Two;
Jimmy Giuffre; Benny Goodman; Lionel Hampton; Ted Heath;
Duke Heitger; Art Hodes; Claude Hopkins & His Orch.; Betty Johnson;
Al Jolson; Martin Litton; Louis Mazetier; Bob McHugh Trio;
Paris Washboard; Ed Polcer & His All Stars; Mel Powell;
Pee Wee Russell; Slappin' Mammys; Hal Smith; Ralph Sutton;
Fats Waller; Jackie Wilson.) 1

some wonderful source books:

and many more.





* we'll get to florida later