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cherry blossoms of my town. by ai*

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During World War II, female students from Saitama and Chichibu helped carry charcoal.

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In 1912 (Meiji 45), from the left, three sisters, Queen Tomoko, Queen Nobuko, and Queen Yoshiko. Queen Yoshiko later married Hirohito and became Empress Kojun.

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Uchikake wedding robe

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Nara, Japan

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Winter in Japan.. Photography by U92SAN

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Rakan at the Otagi Nenbutsu-ji Temple, Kyoto, Japan. Photographer John Paul Foster.

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Manicured pine tree, Japan. Photographer closer21 of Flickr

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Photographer Taichi Gonpei

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Tokyo Tower at night. Tokyo, Japan. Photographer John Paskey

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besidebloomingirises

Habōki (羽箒): feathers for brushing ash off the rim of the sunken hearth (Ro)

iamjapanese

TANAKA Ryōhei（田中良平 Japanese, 1933-2019）

Kamo Road 1994 Copperplate etching with aquatint 17.5 x 14.5 inches via more

This woodblock print, designed in late 1855 (Ansei 2), is a prime historical masterpiece of the namazu-e (catfish print) genre by an anonymous Edo-period artist. Following the catastrophic Ansei Great Earthquake that devastated the shogunal capital in November 1855, hundreds of these unauthorized, satirical prints flooded the underground market. They functioned simultaneously as protective amulets, expressions of public anxiety, and witty social commentary on the forced redistribution of wealth. In traditional Japanese mythology, earthquakes were believed to be caused by a colossal subterranean catfish thrashing beneath the earth whenever the deity Kashima let down his guard.

heaveninawildflower

Netsuke (Japan, 1701-1900). Hare grinding with a mortar and pestle.

Probably refers to the ‘Hare in the Moon’, a messenger of the moon deity. The hare mixes the elixir of immortality with his mortar and pestle.

Image and text information courtesy Wellcome Collection. Attribution 4.0 International (CC BY 4.0)

tofuist

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Hand-colored photo. About late 19th century, Japan

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Somekawa of the Kagaya. Ukiyo-e woodblock print. About 1800, Japan. Artist Utagawa Toyokuni I

japaneseaesthetics

Shinto Sculpture in the Shape of a Seated Fox

Japan, Momoyama period (1573-1615), 16th century

Sculpture

Wood with white pigment and sumi ink

13 1/2 x 4 1/2 x 10 1/2 in. (34.3 x 11.4 x 26.7 cm)

Gift of the 1993 Collectors Committee (AC1993.40.1). LACMA

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