Japanese culture – Sawako Art

Japan art and Mount Fuji: Suzuki Kiitsu in color by Sawako Utsumi and the flow of Sakai Hōitsu

February 5, 2019February 14, 2019Posted in Japanese Art, Japanese culture, Landscapes, Nature, Rinpa artTagged Art of Hoitsu, Hoitsu art, Lee Jay Walker, Modern Tokyo News, Modern Tokyo Times, Rimpa art and culture, Rinpa art and culture, Sakai Hoitsu, Sawako Utsumi, Suzuki Kiitsu, Suzuki Kiitsu and Sakai Hoitsu, Tokyo news, Utsumi SawakoLeave a comment

Japan art and Mount Fuji: Suzuki Kiitsu in color by Sawako Utsumi and the flow of Sakai Hōitsu

The Japanese contemporary artist, Sawako Utsumi, once more produces an adorable art piece based on rinpa (rimpa). In the past, Utsumi heavily focused on Sakai Hōitsu (1761-1828) in relation to rinpa. However, in her latest art piece, the emphasis is on Suzuki Kiitsu (1796-1858). Despite this, and in the knowledge that Hōitsu taught the young Kiitsu before passing away from this world, Utsumi fuses aspects of both but based on her own unique personal artistic traits.

In the art piece titled “Suzuki Kiitsu in color by Sawako Utsumi and the flow of Sakai Hōitsu”, she fuses aspects of Kiitsu (original by Kiitsu below) with Hōitsu based on the mountain landscape. Equally, Utsumi utilizes her own independent color scheme of “Hōitsu through the eyes of modernity turned backward,” when completing “Suzuki Kiitsu in color by Sawako Utsumi and the flow of Sakai Hōitsu” by giving the impression of a natural linkage.

However, in truth, the color scheme and landscape linkage are based on the intricacy of Utsumi who adores many angles to Japanese and European art. This results in the trick of the imagination because both originals are more distant toward each other. Therefore, the creativity and imagination of Utsumi are based on her personal artistic qualities – and the fact that she bases trust on her non-artistic mentor who fuses his personal psychological angle.

Utsumi’s rinpa and the cultural angle is ignited by the richness of high culture that flourished in Kamakura, Koyasan, Kyoto, Nara, Nikko, and other areas over many centuries. Hence, the lore of old Japan, the Meiji Era, and aspects of European art dwell within the artistic spirit of Utsumi. Similarly, her independent landscapes belie more than what the eye can see.

Overall, with Mount Fuji being central to her latest art piece, it is important to focus on both “Hōitsu through the eyes of modernity turned backward” and “Suzuki Kiitsu in color by Sawako Utsumi and the flow of Sakai Hōitsu.” By doing so, the fusions of Hōitsu and Kiitsu are clearly noticeable. Likewise, the independent spirit of Utsumi and her mentor can be felt through the color scheme and the bigger picture that exists outside the limitations of words. Therefore, another adorable art piece can be viewed in isolation – in relation to linkage – in relation to fusions – and based on the psychological undertones that speak no words.

by Lee Jay Walker

http://sawakoart.com

Please email Sawako Utsumi at sawakoart@gmail.com

https://fineartamerica.com/featured/japan-art-and-mount-fuji-suzuki-kiitsu-in-color-by-sawako-utsumi-sawako-utsumi.html

https://fineartamerica.com/featured/hoitsu-through-the-eyes-of-modernity-turned-backward-sawako-utsumi.html

http://fineartamerica.com/profiles/sawako-utsumi.html – Sawako Utsumi and where you can buy her art, postcards, bags, and other products. Also, individuals can contact her for individual requests.

Japan art and stunning angle to Sakai Hōitsu who belongs to the Edo Period by Sawako Utsumi

January 19, 2019February 14, 2019Posted in Japanese Art, Japanese culture, Landscapes, Nature, Rinpa artTagged Art of Hoitsu, Hoitsu art, Lee Jay Walker, Modern Tokyo News, Modern Tokyo Times, Rimpa art and culture, Rinpa art and culture, Sakai Hoitsu, Sawako Utsumi, Tokyo news, Utsumi SawakoLeave a comment

Japan art and stunning angle to Sakai Hōitsu who belongs to the Edo Period by Sawako Utsumi

In the latest art piece by Sawako Utsumi, this contemporary artist focuses on the rinpa (rimpa) finesse of Sakai Hōitsu (1761-1828). Hōitsu, himself, adored Ogata Kōrin (1658-1716) and in time he revitalized the memory of Kōrin. This, in turn, brought Kōrin to a new generation of artists in Japan. Hence, Utsumi respects many classical artists belonging to the Edo Period.

Utsumi’s latest art piece titled “Hōitsu through the eyes of modernity turned backward” is extremely stunning. This applies to her individual style of color that focuses on the original by Hōitsu (original by Hōitsu below) but through the emphasis of modernity. Yet, in Utsumi’s version of modernity, it is a connection with the rich high culture of Japan.

Ironically, the yearning of the past, albeit the cultural past that ignited Kamakura, Koyasan, Kyoto, Nara, Nikko, and others areas of high culture and religious learning; is equally shared by Utsumi who hopes that continuity will also bless a new generation in modern Japan. This passion can be felt in her latest art piece titled “Hōitsu through the eyes of modernity turned backward,”

In a past article, I state, “Utsumi isn’t restrained by time and different approaches to art. This really works a treat and the same applies to fusing the richness of her individual internal creativity, with the natural beauty of past European and Japanese artists. The upshot of this really shines through the art of Utsumi because her passion is never dimmed.”

Overall, the latest art piece by Utsumi shines through just like the mountain stands firm and remains strong irrespective of time. Equally, the adorable color scheme and beauty of nature pulls at the heart.

Lee Jay Walker

http://sawakoart.com

Please email Sawako Utsumi at sawakoart@gmail.com

Japan art and the paths of Shintoism and Buddhism: Holy men in the snow without Abraham

April 18, 2018February 14, 2019Posted in Buddhism, Japanese Art, Japanese culture, Landscapes, Nature, ShintoismTagged Art of Japanese Buddhism, Art of Japanese landscapes, Art of Japanese Shintoism, Buddhist and Shinto art, Buddhist art, Contemporary Japanese art, Contemporary Japanese artist, Japanese art and culture, Japanese Buddhist and Shinto art, Japanese Buddhist art, Japanese landscapes, Lee Jay Walker, Modern Japanese Art, Persecution of Buddhism, Persecution of Shintoism, Sawako Utsumi, Sendai artist, Shinto art, Tokyo artist, Utsumi SawakoLeave a comment

Japan art and the paths of Shintoism and Buddhism: Holy men in the snow without Abraham

In the second part of Sawako Utsumi’s art that focuses on Buddhist and Shinto holy men in the snow, the contemporary Japanese artist once more works a treat. Of course, the art itself provides a lovely backdrop into the interrelationship between Buddhism and Shintoism that seems to flow naturally. Equally, the nuance of simplicity belies the shocking truth of how Buddhism was erased despite the mountains of Afghanistan and in other parts of the world.

Hence, the twin forces of religious imperialism and domination by the respective faiths of Christianity and Islam bypassed Japan based on geography. Yes, Christianity did begin to grow in the later stages of the sixteenth century and early seventeenth century. However, the Tokugawa Period would soon oppress the Christian faith at all costs before the onset of yet another Abrahamic takeover.

Utsumi, while creating an adorable landscape that fuses nature and faith, is also alluding to the gentleness of the terrain despite the harsh winter conditions. Yet, the bigger picture equates to how Japan was luckily isolated from the enslaving and imperialistic forces of Christianity and Islam. Indeed, the natural scene of a Shinto shrine and Buddhist temple in the mountain landscape contrasts with the narrow-mindlessness of Abrahamic faiths that seek certainty in a world based on chaos.

The two art pieces titled “Art of Buddhism and Shintoism and Two Paths in the Snow” and “Art of Japan and the Two Paths of Shintoism and Buddhism: Holy Men in the Snow without Abraham,” alludes to the interwoven faiths of Buddhism and Shintoism that naturally share the same space in Japan. This natural flow of Buddhism and other non-Abrahamic faiths equally flowed in Afghanistan prior to the onset of Islam. However, now the Buddhist component of civilization in Afghanistan is nothing more than a memory. Instead, apostates from Islam face prison or death in 2018 in Sharia inclined nations based on no internal reformation unlike much of the Christian influenced world.

In the other art piece related to the same theme, I comment, “Of course, the bigger picture relates to the crushing of Buddhism in history and the ongoing struggle of this faith in the Chittagong Hill Tracts, Ladakh, Rakhine, Tibet, and other parts of the world, where Buddhism is threatened. Equally disturbing, even the historical legacy of Buddhism is being erased by Sunni Islamist forces in Afghanistan and further afield. Likewise, many Traditional Beliefs are still under threat from Christianity and Islam respectively – from small tribes in Brazil to tribes in Indonesia. Therefore, the beacon of the indigenous faith of Shintoism still shines brightly and this says much for Buddhism that did not seek to devour the indigenous faith – unlike the historical reality of Christian and Muslim forces throughout history that erased the past.”

Overall, the singular dimension is another adorable landscape by this contemporary Japanese artist that also fills the viewer with natural delight. Likewise, people can connect with aspects of Japanese culture and faith. However, the greater nuance applies to a land that wasn’t conquered by the faiths of Abraham. Therefore, the natural landscape and the interwoven angle of Buddhism and Shintoism relates to continuity and an inner peace based on escaping the excesses of Abrahamic faiths.

Written by Lee Jay Walker

Please email Sawako Utsumi at sawakoart@gmail.com

BELOW IS AN ART BOOK BASED ON THE ART OF SAWAKO UTSUMI

Book Review: Sawako Utsumi and her Kindred Spirit

European and Japanese Art: Buddhism, Christianity, Landscapes, Rinpa, Shintoism, Ukiyo-e, and Dutch Masters

http://www.lulu.com/shop/lee-jay-walker/sawako-utsumi-and-her-kindred-spirit/paperback/product-22830732.html – Please click on to order the book.

https://fineartamerica.com/featured/art-of-japan-and-the-two-paths-of-shintoism-and-buddhism-holy-men-in-the-snow-without-abraham-sawako-utsumi.html Art of Japan and the Two Paths of Shintoism and Buddhism: Holy Men in the Snow without Abraham

https://fineartamerica.com/featured/art-of-buddhism-and-shintoism-and-two-paths-in-the-snow-sawako-utsumi.html Art of Buddhism and Shintoism and Two Paths in the Snow

http://fineartamerica.com/featured/exiled-buddhist-cleric-nichiren-in-the-snow-sawako-utsumi.html – Exiled Buddhist Cleric Nichiren in the Snow

http://fineartamerica.com/featured/buddhist-cleric-nichiren-in-exile-and-homage-to-yoshitoshi-sawako-utsumi.html Buddhist Cleric Nichiren in Exile and Homage to Yoshitoshi

http://fineartamerica.com/featured/buddhist-cleric-nichiren-and-bleak-winter-in-exile-sawako-utsumi.html Buddhist Cleric Nichiren and Bleak Winter in Exile

http://sawakoart.com

Japanese Art and the two paths of Buddhism and Shintoism: Faith in the Snow without Abraham

December 9, 2017February 14, 2019Posted in Buddhism, Japanese Art, Japanese culture, Landscapes, Nature, ShintoismLeave a comment

Japanese Art and the two paths of Buddhism and Shintoism: Faith in the Snow without Abraham

The latest art piece by Sawako Utsumi, a contemporary Japanese artist who hails from Northern Japan, utilizes the snowy landscape by highlighting the respective strengths of Buddhism and Shintoism despite terrible adversity. Of course, the adversity applies to the terrible weather conditions faced by the holy men of Buddhism and Shintoism in this art piece. However, on a bigger nuance, then it applies to certain international events that have decimated Buddhism and Traditional Beliefs throughout history – and is still happening today.

Before focusing on the bigger picture, the art piece itself titled “Art of Buddhism and Shintoism and Two Paths in the Snow,” is an adorable piece of art by Utsumi. This is based on the amazing landscape, the three holy men of Buddhism and Shintoism, the terrible winter conditions, the power of faith, and the distant Buddhist temple and Shinto shrine.

Indeed, the combined forces of religious faith, the bleakness of winter, and the amazing landscape illuminates the art piece because you feel dragged inside. Hence, a certain shrill of coldness is followed by deep admiration along with a yearning to feel the same certainty in this life.

Of course, the bigger picture relates to the crushing of Buddhism in history and the ongoing struggle of this faith in the Chittagong Hill Tracts, Ladakh, Rakhine, Tibet, and other parts of the world, where Buddhism is threatened. Equally disturbing, even the historical legacy of Buddhism is being erased by Sunni Islamist forces in Afghanistan and further afield. Likewise, many Traditional Beliefs are still under threat from Christianity and Islam respectively – from small tribes in Brazil to tribes in Indonesia. Therefore, the beacon of the indigenous faith of Shintoism still shines brightly and this says much for Buddhism that did not seek to devour the indigenous faith – unlike the historical reality of Christian and Muslim forces throughout history that erased the past.

Overall, a stunning art piece by Utsumi that shows that two religious paths can co-exist naturally without seeking to crush and humiliate the other. Of course, this is a million miles from the two Abrahamic faiths of Christianity and Islam in history that sought to devour and control by endless power mechanisms.

Written by Lee Jay Walker

Please email Sawako Utsumi at sawakoart@gmail.com

BELOW IS AN ART BOOK BASED ON THE ART OF SAWAKO UTSUMI

Book Review: Sawako Utsumi and her Kindred Spirit

European and Japanese Art: Buddhism, Christianity, Landscapes, Rinpa, Shintoism, Ukiyo-e, and Dutch Masters

http://www.lulu.com/shop/lee-jay-walker/sawako-utsumi-and-her-kindred-spirit/paperback/product-22830732.html – Please click on to order the book.

https://fineartamerica.com/featured/art-of-buddhism-and-shintoism-and-two-paths-in-the-snow-sawako-utsumi.html Art of Buddhism and Shintoism and Two Paths in the Snow

http://fineartamerica.com/featured/exiled-buddhist-cleric-nichiren-in-the-snow-sawako-utsumi.html – Exiled Buddhist Cleric Nichiren in the Snow

http://fineartamerica.com/featured/buddhist-cleric-nichiren-in-exile-and-homage-to-yoshitoshi-sawako-utsumi.html Buddhist Cleric Nichiren in Exile and Homage to Yoshitoshi

http://fineartamerica.com/featured/buddhist-cleric-nichiren-and-bleak-winter-in-exile-sawako-utsumi.html Buddhist Cleric Nichiren and Bleak Winter in Exile

http://sawakoart.com

Contemporary Japanese Artist and Shintoism: Kano School and Independent Spirit of Sawako Utsumi

May 30, 2017February 14, 2019Posted in Japanese Art, Japanese culture, Landscapes, Nature, ShintoismTagged Art of Edo peridod, Art of Japan, Art of Kano Chikanobu, Art of Shinto, Art of Shintoism, Chikanobu art, Contemporary Japan art, Contemporary Japanese artist, Edo art, Edo period art, Folk Shinto and art, Japan art, Japanese art, Kano Chikanobu, Kano Chikanobu art, Kano Motonobu, Lee Jay Walker, Modern Japanese artist, Modern Tokyo News, Modern Tokyo Times, Sawako Utsumi, Sendai artist, Shinto art, Shinto culture and art, Shintoism and art, Tokyo artist, Tokyo news, Utsumi SawakoLeave a comment

Contemporary Japanese Artist and Shintoism: Kano School and Independent Spirit of Sawako Utsumi

Sawako Utsumi is a contemporary Japanese artist who hails from the land of the rising sun. In this art article, the emphasis is on the individualism of Utsumi who is paying utmost respect to two artists belonging to the Kano School of Art. Despite the respect being shown to Kano Motonobu (1476-1559) and Kano Chikanobu (1660-1728), it is abundantly clear that the independent spirit – and unique angle of Utsumi – creates a new approach.

The art pieces by Utsumi are titled In the Shadow of the Past: Utsumi and the Kano School and The Fading Spirit of Kano Chikanobu Awakened by Shintoism. Indeed, the Shinto angle by Utsumi is extremely significant because Buddhism during this period of Japanese history was dominant in major centers of power. Of course, Buddhism and Shintoism – and the powerful impact of Confucianism – flowed naturally either individually, based on fusions, interacted in various spheres of society, and so forth. Similarly, other ideas entered Japan from the Middle Kingdom (China), for example, Daoism.

Yet, for Utsumi, she is turning back to a different time period, whereby the Shinto faith solely guided the people of Japan before external faiths and philosophies impacted. At the same time, the color scheme and religious dominance of the Shinto shrine in both art pieces by Utusmi alter the role of the village depicted by Chikanobu – while moving further away from Motonobu.

I comment in a past article, in respect to homage being shown to Chikanobu, that “The title is a reminder that in time all artists and famous people fade into dwindling influence culturally and scientifically, irrespective of the name. Yes, famous artists, philosophers, scientists, and so forth, remain well known but scratch under the surface and most are known superficially apart from specialists. However, holy religious people including Abraham, the Buddha, Jesus, Lord Ram, St. Paul, Mohammed, and many others from faiths already mentioned or from other faiths including Sikhism, remain potent just like they were born yesterday. Hence, Shintoism awakens the fading spirit of Chikanobu because the Shinto faith will continue to be culturally and religiously significant to Japan until the end of time, even if shadows encroach.”

Interestingly, Motonobu belongs to the pre-Edo period of Japan, while Chikanobu was born during the Edo period. Hence, the continuity of the Kano School of Art was maintained based on interaction and opening up to new artistic concepts, irrespective of how minor or major.

Overall, Utsumi is turning the clock back in order to return to a time when the Shinto faith guided in a very limited sense. In the eyes of Utsumi, Folk Shintoism responds to the natural environment in a special way. This is further enhanced by regional Shinto influences that differ throughout this land.

Lee Jay Walker

Please email Sawako Utsumi at sawakoart@gmail.com

https://fineartamerica.com/featured/the-fading-spirit-of-chikanobu-awakened-by-shintoism-sawako-utsumi.html

https://fineartamerica.com/featured/modern-japanese-art-in-the-shadow-of-the-past-utsumi-and-kano-school-sawako-utsumi.html

BELOW IS A NEW BOOK BASED ON THE ART OF SAWAKO UTSUMI

Book Review: Sawako Utsumi and her Kindred Spirit

European and Japanese Art: Buddhism, Christianity, Landscapes, Rinpa, Shintoism, Ukiyo-e, and Dutch Masters

http://www.lulu.com/shop/lee-jay-walker/sawako-utsumi-and-her-kindred-spirit/paperback/product-22830732.html – Please click on to order the book.

http://sawakoart.com

Contemporary Japanese Artist: The Fading Spirit of Kano Chikanobu Awakened by Shintoism

April 15, 2017February 14, 2019Posted in Japanese Art, Japanese culture, Landscapes, Nature, ShintoismTagged Art of Edo peridod, Art of Japan, Art of Kano Chikanobu, Art of Shinto, Art of Shintoism, Chikanobu art, Contemporary Japan art, Contemporary Japanese artist, Edo art, Edo period art, Japan art, Japanese art, Kano Chikanobu, Kano Chikanobu art, Lee Jay Walker, Modern Japanese artist, Modern Tokyo News, Modern Tokyo Times, Sawako Utsumi, Sendai artist, Shinto art, Shintoism and art, Tokyo artist, Tokyo news, Utsumi SawakoLeave a comment

Contemporary Japanese Artist: The Fading Spirit of Kano Chikanobu Awakened by Shintoism

The contemporary Japanese artist Sawako Utsumi in her latest art piece titled The Fading Spirit of Kano Chikanobu Awakened by Shintoism, provides an adorable individual approach. This applies to a fusion of homage to Kano Chikanobu (1660-1728) along with a spark of individualism that takes you away from the original and then back again.

Another delightful approach by Utsumi applies to the Shinto angle. Indeed, while the impact of Buddhism, Confucianism, Daoism, and Shintoism was more powerful during the lifetime of Chikanobu (original art piece below), the contemporary artist focuses on the religious angle within her art piece. Of course, for Utsumi, the significance belongs to the indigenous faith of Shintoism that continues to endure in modern Japan, even if sometimes in the shadows.

The title is a reminder that in time all artists and famous people fade into dwindling influence culturally and scientifically, irrespective of the name. Yes, famous artists, philosophers, scientists, and so forth, remain well known but scratch under the surface and most are known superficially apart from specialists. However, holy religious people including Abraham, the Buddha, Jesus, Lord Ram, St. Paul, Mohammed, and many others from faiths already mentioned or from other faiths including Sikhism, remain potent just like they were born yesterday. Hence, Shintoism awakens the fading spirit of Chikanobu because the Shinto faith will continue to be culturally and religiously significant to Japan until the end of time, even if shadows encroach.

Chikanobu lived during the early Edo period and while Japan was mainly isolated – but not completely – the flows of the past continued. In other words, Chinese and Japanese classics impacted greatly on the famous Kano School of Art.

Utsumi herself plays on this but in the opposite direction because she is returning to the past. Therefore, while modern Japan is awash with modern technology, the reality of animation, communication via social media, skyscrapers, the impact of different cultures including America, and other realities, Utsumi binds her homage to the traditions of Shintoism. Equally important, Utsumi does this based on the distant approach taken by Shintoism, whereby nature and a subtle reality are more important than open proselytism or a rich theocratic dogma that belongs to other international faiths.

Lee Jay Walker

Please email Sawako Utsumi at sawakoart@gmail.com

https://fineartamerica.com/featured/the-fading-spirit-of-chikanobu-awakened-by-shintoism-sawako-utsumi.html

BELOW IS A NEW BOOK BASED ON THE ART OF SAWAKO UTSUMI

Book Review: Sawako Utsumi and her Kindred Spirit

European and Japanese Art: Buddhism, Christianity, Landscapes, Rinpa, Shintoism, Ukiyo-e, and Dutch Masters

http://www.lulu.com/shop/lee-jay-walker/sawako-utsumi-and-her-kindred-spirit/paperback/product-22830732.html – Please click on to order the book.

http://sawakoart.com

Japan Artist and Nichiren the Buddhist Preacher: Trilogy of Exile in the Snow on Sado Island

December 13, 2016Posted in Buddhism, Japanese Art, Japanese culture, Landscapes, NatureTagged Art of Buddhism and Nichiren, Art of exile, Art of modern Japan, Art of Nichiren, Art of Sado Island, Art of snow and exile, Buddhism in Japan and art, Buddhist art in Japan, Contemporary Japanese artist, Japan and Buddhist art, Japan news, Lee Jay Walker, Modern Sendai artist, Modern Tokyo artist, Nichiren in art, Sado Island art, Sawako Utsumi, Sendai artist, Tokyo artist, Tokyo news, Tokyo news and art, Utsumi SawakoLeave a comment

Japan Artist and Nichiren the Buddhist Preacher: Trilogy of Exile in the Snow on Sado Island

Lee Jay Walker

Modern Tokyo Times

Nichiren (1222-1282) is one of the most famous Buddhist teachers to emanate from Japan. Yet, he was very outspoken during his lifetime and this led him to be exiled and embroiled in the political processes of his day – irrespective if intended or unintended. Therefore, the contemporary Japanese artist Sawako Utsumi focuses on a trilogy of Nichiren during his exile on Sado Island.

The wintry theme of the trilogy is meant to endorse the harshness of Nichiren’s exile. Despite this, it is clear that the first art piece is based on serenity and peaceful contemplation. Intriguingly, the second art piece focuses on the start of his bleak journey but solace can be seen in the background based on prior human contact. However, the third art piece depicts Nichiren against the harsh and bleak wintry conditions of Sado Island, whereby his exile looks treacherous.

Yet, if you go back to the first art piece titled Buddhist Cleric Nichiren in Exile and Homage to Yoshitoshi, then clearly Nichiren is at peace in the mountains. Hence, the second art piece titled Exiled Buddhist Cleric Nichiren in the Snow and the third art piece of the trilogy titled Buddhist Cleric Nichiren and Bleak Winter in Exile, are actually in the wrong order. This is based on Utsumi focusing on reality and unreality alongside the actualities of life itself. After all, often moving forward becomes firmly based on taking a backward step because the smaller things in life are now being negated based on greater ambitions. Indeed, many a politician, for example, succumbed to power and wealth – similarly, many families and friends become torn apart – or soon to be mere shadows – based on the natural causes and effects of capitalism, modernity, new relationships, and so forth.

Turning back to Nichiren, then I state in a past article that, “Nichiren, himself, was very independent because he believed firmly that the true path lay within his teachings based on his knowledge of the written word. This holy Buddhist cleric made many enemies based on rebuking other Buddhist schools of thought. Yet, passion, the search for truth, questioning concepts deemed false, challenging authority, equally adhered people to Nichiren.”

The Buddhist teacher Nichiren said, “Worthy persons deserve to be called so because they are not carried away by the eight winds: prosperity, decline, disgrace, honor, praise, censure, suffering, and pleasure. They are neither elated by prosperity nor grieved by decline. The heavenly gods will surely protect one who is unbending before the eight winds.”

In the trilogy by Utsumi, her focus is on “the seen” and “unseen.” Likewise, the time of life is not based on natural phenomenon but the spirituality of Nichiren. Hence, the timeline is incorrect because like wisdom, knowledge, virtue, and other noble ideas, then these can come and flow from all individuals at such a short notice. In other words, many a bad person did good things – and many a good person did evil, and so forth. Therefore, moments in time, perceptions, cultural aspects to individuals, and other important areas, are really illusionary based on the multi-dimensions of this world.

Overall, Utsumi, in her trilogy of Nichiren and his exile on the beautiful island of Sado Island, is based on a complex approach to what is deemed to be the reality of life. Also, and especially powerful, even when a person is abandoned it doesn’t mean that weakness and decline will follow. Therefore, the wintry theme and the trilogy of her art pieces are focused on many dimensions that will have different meanings to the respective viewer of her art.

Lee Jay Walker

BELOW IS A NEW BOOK BASED ON THE ART OF SAWAKO UTSUMI