Podcasts about Shikoku

En pleno mar Interior de Seto tenemos la Shimanami Kaido, una ruta ciclista de 70 kilómetros que une Imabari (en Shikoku) con Onomichi (en la prefectura de Hiroshima), pasando por varias islas. Te contamos qué puedes ver y hacer en cada una de esas islas, así como en los puntos de inicio y final de la ruta, así como consejos para disfrutarla al máximo. Además, hablamos también del evento Cycling Shimanami, que tiene lugar cada dos años (y en el que participamos nosotros). Luego, en Japonismo mini te contamos desde dónde estamos grabando este episodio, sobre la firma de libros que haremos en Barcelona, respondemos comentarios y, como no podía ser de otra forma, te contamos cómo se dice en japonés "bicicleta". Mata ne ¿Quieres colaborar con el programa? - Colabora en Patreon - Únete a la Comunidad Japonismo - Reserva hoteles en Japón (y en todo el mundo) - Consigue seguro de viajes (¡no sólo para Japón!) - Busca los mejores vuelos - Lleva Internet (pocket wifi o SIM) - JR Pass para viajes ilimitados en tren ---- Continúa la conversación en: - Web: https://japonismo.com - Discord: https://discord.gg/hZrSa57 - Facebook: https://facebook.com/japonismo - Twitter: https://twitter.com/japonismo - Instagram: https://instagram.com/japonismo - Pinterest: https://pinterest.com/japonismo - Newsletter semanal: http://eepurl.com/di60Xn

This episode is a bit long--we are talking about the last elements of the reign of Takara Hime, the fall of Baekje, and the attempt to restore the kingdom, which culminated in the Battle of Hakusukinoe, aka the Battle of Baekgang.  For more, check out our blog at https://sengokudaimyo.com/podcast/episode-124 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 124:  The Battle of Haku-suki-no-e. Echi no Takutsu looked out from where he stood on the deck of his ship.  The horizon seemed to bob up and down, but he knew that was just an illusion caused by the waves.  And upon those waves, hundreds of Yamato ships floated, ready to do battle.  As a veteran of this and other wars, Takutsu was used to surveying flotillas of ships, and yet, none of his years of experience had quite had this kind of impact upon him.  Yamato's ally, Baekje, had fallen in battle to the combined might of the Tang and Silla forces, and now they were assisting a band of rebels who were trying to once again restore their kingdom.  Silla was, of course, an all too common adversary for the Yamato court, but the Tang: now that was another matter. The Tang dynasty had only grown in the four and a half decades since it was founded.  They had destroyed their enemies and continued to expand.  They had defeated the Gokturks and expanded into the heart of Eurasia. Even in cases like Goguryeo, who had so far managed to hold out against their attacks, it was clear that they had an effect.  The Tang dynasty was the superpower of its day, and for whatever airs Yamato may have put on, they were still a backwater in comparison. And yet, on this day, that backwater seemed, by all rights, to have the upper hand.  In response to the destruction of Baekje, Yamato had marshalled all of their forces.  Their boats greatly outnumbered those of their opponents, and if they could defeat the Tang navy, then they could make landfall and connect with the remaining Baekje forces attempting to restore their kingdom.  And so here they were, at the mouth of the Baengma River, also known as the Baekgang, or, in Japanese, the Haku-suki-no-e.  The Tang forces were bottled up, and the greater Yamato forces seemed poised to take them out.   The only problem was that the river mouth narrowed quickly, so that only a few ships could attack at any given time.  Still, with overwhelming numbers, Echi no Takutsu and his fellow soldiers expected that they would still be able to overcome their enemies and place their allies back in control of their territory. With confidence in their victory, the Yamato ships sailed forward, prepared to crush their enemies, and restore Baekje…   Greetings, everyone, and welcome back.  As you may have figured out we are still in the later half of the 7th century.  During the last episode we talked about the embassy to the Tang dynasty court that got delayed—placed under house arrest for a year—because the Tang dynasty was conducting their special military operations over on the Korean peninsula.  That was in the year 660.  Specifically, the Tang were working in conjunction with Silla to destroy the Kingdom of Baekje, and they even returned to the Tang capital with prisoners, including the royal family and many high-ranking nobles.  That they didn't want the ambassadors leaving, and presumably informing Baekje on their way back, would seem to speak to the strong ties between Baekje and Yamato.  After all, several times in the Nihon Shoki we have seen where the Baekje royal line was endangered and a prince that had been living at the Yamato court was brought across the strait with Yamato support to place them back on the throne. This episode, we are going to look a little closer at what happened on the peninsula and what happened when news of the event reached the Yamato court.  This would culminate in one of the most famous naval battles in east Asia—certainly one of the most famous in Japanese history.  It is recorded in records from various sides, so unlike many of the raids on Silla, and other conflicts on the peninsula, we have multiple accounts documenting it, and if the Japanese account is to be believed than it may have been among the largest naval conflicts in the world at that time. So let me take you through what the Chronicles have to say up until the battle and then we can talk about what happened and a little bit about what it would mean for Yamato in the years to come. We'll start a bit before the conflict, while Baekje was still going strong.  The Chronicles are filled with portents and omens, and of course, they already knew what had happened.  Still, let's talk about some of what they mentioned leading up to the battle, as well as some of the remaining accounts demonstrating the cross-strait exchanges. We'll start in 655, the year after Takara Hime had assumed the throne, being given the name Saimei Tennou by the Chroniclers.  On the first day of the 5th month we are told that a “man of Tang” was seen riding a dragon in the sky.  He is described as wearing a broad hat of blue—or green—oiled cloth.  He rode fast from the peak of Mt. Katsuraki and disappeared on Mt. Ikoma.  At noon he galloped over the pines of Sumiyoshi and disappeared into the west. This is obviously a fantastical story, but let's talk about what we can.  It is hard not to see in this some of the importance that the Tang dynasty would play in this reign, especially given the fact that this occurred in the first year after Takara hime had ascended the throne.  It would seem to have been meant here as an omen.  I have not seen specific comments about this, though I'm sure someone has looked into it.  But for me, I am struck by the fact this person was, first and foremost, identifiable as Tang, likely meaning because of his clothing.  And he was riding a dragon.  Dragons were known in Japan, but not quite as popular in folklore as they are shown to be on the mainland.  The Dragon was the imperial symbol of the Tang and other dynasties.  Japan had its own stories of dragon kings and other such things, but in this case I can't imagine that the connection with the imperial throne would be ignored. The hat is also interesting.  The color is listed as “blue” though Aston translates this as “green”.  The term “aoi” was used for any color on the spectrum from blue to green.  In fact, it is still the case that the “green” light on a Japanese traffic signal is still referred to as “blue”.  There were more specific colors, but the word “midori” would have been more like a specific word, like “teal”, “cerulean”, or “aquamarine”, rather than a core color like we would use blue, yellow, or, in this case, green.  The fact that it was made of oiled stuff suggests to me that it was waterproofed.  It is noted specifically with the character for “kasa”, which typically refers to a wide brimmed hat used to keep the rain off. I suspect that in this case it was the kind of hat that we often see on Tang dynasty figurines of riders.  They often have a tall, wide-brimmed hat, often with drape of sheer fabric around the edge.  This kind of hat would eventually be popular in Japan amongst traveling noblewomen, as it helped keep them out of the sun and away from the bugs and, well, it also acted as a barrier between the them and the rest of the world.  The versions seen on the Tang figurines are usually somewhat short, probably just enough to obscure the face, and may have helped to cut down on glare.  These often aren't obviously oiled, but that certainly could have been the case, and that may have been another method of protecting travelers from anything that nature could throw at them. It does seem a very particular image. The course of the rider is somewhat interesting.  From Katsuraki, on the southwestern edge of the Nara basin, north to Mt. Ikoma.  Then west to Sumiyoshi and off to the far west—in other words, back to the Tang dynasty.  Sumiyoshi is also of particular interest. The pines of Sumiyoshi are a particular poetic trope, or utamakura.  They help to conjure famous imagery of a place, and so it is hardly surprising that they would be found in this context.  In this case I suspect that is the main reason they are mentioned.  However, Sumiyoshi also has its own importance.  Sumiyoshi was once on the seashore, and Sumiyoshi was a common shrine for travelers to pray at for safe travels.  In fact, there are Sumiyoshi shrines across the archipelago that all are tied back to the Sumiyoshi in the modern Ohosaka area, and they often found near the shore as places where travelers could pray for safe passage before they headed off on the sea. And so it would make sense that the rider would head off over Sumiyoshi and to the west, much as the various ambassadors would travel off to the west. There may be more to it, but I suspect that this was either referencing the growing links between Yamato and the Tang, or perhaps simply referring to the various kentoushi—the ambassadors who crossed the seas to the Tang court and brought back so much to the archipelago. The next obvious omen seems to come in 657.  In this case it was a white fox seen in the land of Iwami.  It was mentioned in the same record as when ambassadors Adzumi no Tsuratari and Tsu no Kutsuma came back from the Western Seas via Baekje.  It isn't clear that the two are connected, though.  Perhaps there is something I'm missing.  It is notable that this seems to be the only mention of Iwami that I could find, at least doing a quick search for the characters in the electronic version of the text.  Iwami is the land to the west of Izumo, on the western end of modern Shimane prefecture, and the western end of the San'in-do, along the northern edge of western Honshu.  It is a mountainous region on the edge of the Japan Sea, the Nihonkai. We've talked about many of the other accounts after that, until the following year, 658.  We have a note about a south-pointing chariot, which we'll discuss in a later episode, but that was clearly another connection to continental technologies.  After that we have an account from Izumo.  Huge numbers of dead fish were washing ashore, up to three feet, or roughly a meter, deep.  The fish were apparently the size of a pufferfish, with beaks like a sparrow and thorny scales, several inches long.  I wonder if, by the description, they could be referring to triggerfish or parrotfish, which are found in the Japan Sea.  Fish kills, or mass die-offs, are unfortunate events that occasionally happen for a variety of reasons.  The most common is actually asphyxiation—algae blooms or other such events that eat up the oxygen, causing fish to die off in an area.  Fish kills might also happen because of disease, undersea quakes, and other factors.  Of course, to anyone in Izumo, this would have been a terribly random event.  I can't tell whether or not it was an omen, but it certainly could have been.  If so, I doubt it would have been a very good one. The strange fish that were brought up were called “sparrow fish” by the locals.  They believed they were sparrows that had gone to the ocean and turned into fish. Immediately after that, in the Chronicle, we get a somewhat odd entry in that it seems out of place.  We are told that Baekje had sent to Japan requesting aid.  Tang and Silla had teamed up and captured King Wicha, his queen, and the heir to the throne.  It is probably notable that this is written as “one book says”.  Also, recall that dates were still somewhat problematic at this time.  They were based on the regnal years of the monarch or the dates according to the sexagesimal cycle, either of which could have been off, particularly at this time, in different sources.  I suspect that the fact that they mention it as “one book says” indicates that even the compilers of the Nihon Shoki weren't quite sure that this was in the right spot, but it was an account of what did eventually happen—just not until two years later.  This position is bolstered by the fact that the next account talks about how Azumi no Muarji no Tsuratari had returned from what was apparently another trip to the Western Seas and Baekje, just a year after the previous.  Again, this could be the same expedition, with accounts misplacing the dates, or with dates according to when he left and others when he arrived back.  Still, it brings us yet another omen. Apparently, around this point, Baekje had been successful against Silla.  This is a good reminder that Baekje was not exactly an innocent bystander in everything that had happened.  King Wicha was rather famous in his own day, seen as a paragon of courage, largely because he was taking the fight to Silla, often allying with Goguryeo to block Silla from their access to the Tang and others.  Silla, who had been adopting Tang culture and style, and even claimed some distant descent from ethnic Han immigrants during the time of the Han commandries on the peninsula, were still able to forge close ties with the Tang, who seemed to preference them over Baekje and Goguryeo.  This may have been part of the general diplomatic game of the Middle Kingdom going back to the Han times, where they would often look to ally with those states beyond the immediate border states, so that those on their immediate border would have to defend themselves on two fronts.  This was likely more aimed at Goguryeo than Baekje, at least initially, but the alliance meant that Baekje, whom the Tang regularly chastised for their actions against Silla, was also in the crosshairs. However, up through 658, it seems Baekje's actions were largely successful.  Both the Baekje and Silla annals mention attacks by Baekje against the country of Silla in the following year, which otherwise correlate with the record in the Nihon Shoki.  Here we should remember that the author of the Samguk Sagi, which preserved these records, was writing centuries later, and had a clear pro-Silla bias.  There are several years missing from the Baekje annals at this time, but the idea that Baekje was attacking Silla is hardly controversial.  In the Silla Annals, in 659,  we also get word that Silla sent envoys to the Tang court protesting Baekje's aggression and asking the Tang court for aid.  Aid that would soon come, unbeknownst to others—even Silla wasn't quite sure until they showed up. And this is likely why the Nihon Shoki records a strange incident in Baekje, where a horse, of its own accord, started circling the Golden Hall of a Buddhist temple in the Baekje capital, continuing day and night, and stopping only to graze.  In some regions, walking around a sacred temple or stupa was considered a particular form of prayer, and perhaps the horse knew something and was trying to make merit.  In the text we are told explicitly what this meant:  the downfall of Baekje was nigh, and it would fall in the coming year, 660.  In a similar fashion, the Baekje annals, and the Samguk Yusa, likely pulling from the same sources, go through a series of omens, from birds to fish, to various ghosts, all saying that Baekje was about to fall.  The annals at this point paint Wicha as consumed with the material world and debauchery, likely a largely later indictment to add a moral explanation to the events that would soon occur. In Yamato, there were other omens as well.  Things were not entirely well in the Yamato capital.  Remember, this was Takara Hime's second reign, and her son was fully grown, himself, so she was no spring chicken.  On the 13th day of the 7th month of the year 659, she had the ministers expound the Urabon sutra in all the temples in Asuka and had a requital made to the ancestors for 7 generations.  We are also told that in that same year, the Miyatsuko of Izumo was made to repair the Itsuki god's shrine.  I have to wonder if these were to help make merit, or were just regular occurrences, but we are also told that fox bit at the head of a creeper that a man was carrying and ran off with it, and a dog found a dead man's hand and forearm and dropped them at Ifuya shrine.  The chroniclers claim these omens were not about Baekje, but rather about Takara Hime herself—claiming that she was not long for this world. It is good to remember that it is only now that we can look back and see where things were leading.  At the time, nobody really knew what the future held, and business went on as normal.  The omens and portents were all well and good, but they are being interpreted after the fact.  There is no indication that people were telling Takara Hime that her time was about to come.  This is illustrated by the fact that there are plenty of regular accounts in here as well.  We have a few episodes that actually reference the “shiguma”—the polar bear or the brown bear—and Gogureyo.  The first is of Goguryeo merchants—likely part of an embassy—trying to sell a shiguma fur in the local markets for 60 pounds of floss silk, a price that was apparently laughable, as the market commissioner turned them down.  And here I'll digress briefly because this is rather a remarkable entry, even though it seems like almost nothing, because it demonstrates something we rarely see but often suspect.  For all that the ambassadors to various courts were performing their diplomatic functions, they were also there to trade.  This is part of how they funded the journey.  They would bring some goods for the court and the sovereign, of course, and hopefully get as much or more in return.  But they would also trade in the local markets.  This is probably part of what the embassy to the Tang was doing when they made landfall and then stayed put for a month or so.  I suspect they were working with the local government to ship off the tribute, but also availing themselves of the local markets.  You didn't necessarily exchange currency, but you would sell your trade goods and that would likely help fund the embassy for the time they were in the country, at least for anything the host nation didn't provide. It is also interesting that we talk of a market commissioner.  We've mentioned markets before, and their existence is likely more than just a random assortment of shops with goods to sell.  They were overseen by local officials, and they would have been regulated to some extent by the larger state, probably with taxes and other goods making their way up to the government.  I don't know that we have a clear idea of what it looked like until later, and so an entry like this just gives us a little hint at what was going on in the day to day administration of the entire country. Continuing with the shiguma theme, apparently a painter named Komaro—a Japanese name, but he's described as a “Goguryeo” painter, which could mean that he trained in Goguryeo, or came from there and changed his name.  It is also possible, I supposed, that he was simply trained in the Goguryeo style.  Anyway, he was apparently quite successful because he entertained guests from his own uji—his own surname—and so borrowed 70 official shiguma skins for them to sit on.  Apparently this was a garish display that left the guests astonished and ashamed to even be part of the event, so they went away. So sitting on fur rugs was apparently not a thing to do—or perhaps just not that many.  But I would note that he apparently borrowed them from the government—they were “official” after all.  So what was the government doing with them?  They were probably tribute from the Emishi in the north, or perhaps just the result of regular trade.  And Komaro must have had some pull to be able to request them for his own private use.  Unfortunately, I don't have any further details, so we are left to guess at most of the rest. But we do continue on with the Goguryeo theme in the following year, the first month of 660, with envoys from Goguryeo arriving in Tsukushi.  They likely had no idea that while they were in Yamato, big changes were about to take place back on the peninsula.  It would take them four months to get to Naniwa, arriving on the 8th day of the 5th month.  They couldn't have known everything that was happening on the peninsula, behind them. And that's because it was in the third month of tha year that Tang Gaozong commanded Su Dingfang, along with Kim Inmun and Liu Boying, to take 130,000 land and see troops to subdue Baekje.  They landed at Teongmul islands, west of Baekje, and, word having reached their court, the King of Silla sent the renowned general Kim Yusin in charge of a force of 50,000 troops to lend their support.  Kim Yusin was a veteran of fighting between Baekje and Silla, and he had already face the enemy on the battlefield, but now he had the aid of the Tang troops. King Wicha had heard of their advance, and asked his court for advice.  One suggestion was to try to crush the Tang soldiers as soon as they came ashore—force them to stay on their boats and destroy them before they could get on land and organized.  Another suggested that the Tang army, for all its size, was built for speed and a decisive victory.  If Baekje could simply harry them long enough, it would wear them down, and they would have to return.  They could then turn their sights on Silla, an enemy they knew how to deal with. One noble, Heungsu, who had been out of favor in the court, and even exiled at one point, offered his advice—that they should fortify the Baek river and Tanhyeon Pass, so that they could not approach.  It would be a near suicidal task, but brave soldiers could defend those narrow points against larger forces, since they would be forced to engage with fewer forces at a time.  Heungsu was ridiculed, however, and his ideas were abandoned. Instead, they devised a scheme whereby they would let the Tang ships enter the river, until they could only go two abreast, and then they would attack them from the shore and destroy them.  Likewise, at the pass, rather than fortifying it, as suggested, they would wait in ambush until the Tang forces could not maneuver, and they would then destroy them as well.  This seemed like a plan, and it was given to the general Kyebaek to carry out. At first, it looked like it would work.  General Kyebaek took five thousand soldiers to Hwangsan as soon as the heard that the Silla soldiers were advancing through the pass.  They engaged the Silla forces four separate times, defeating Silla each time.  However, every assault took its toll.  The five thousand troops could not prevail against a force 10 times their size, and eventually they were wiped out, along with general Kyebaek.  Without opposition, the Silla forces met up with the Tang, and the two armies joined forces.  They actually were able to use the mountainous terrain, which otherwise would have been used to keep them out, to their own advantage.  Eventually they were able to advance on the capital.  The Baekje forces fought to exhaustion, but they were outmatched by the Tang-Silla alliance.  Eventually, they marched on the city, and King Wicha knew that they would be defeated. Four years before this, an official had spoken up against King Wicha, and had been thrown in prison, where he died, emaciated.  However, before he died he offered advice that if an enemy were ever to come, the army should be deployed to the passes and to the upstream banks of the rivers, and that no enemy should be allowed to pass those points.  Looking at the enemy at his gates, King Wicha regretted that he had not listened to that advice.  He grabbed his son and fled to the northern border of Baekje while Su Tingfang and the combined forces besieged the capital.  He sought refuge at Ungjin fortress, in modern Kongju.  This all happened in the 7th lunar month of the year 660. With King Wicha fled, along with the crown prince, his second son, T'ae, declared himself king and led the defense of the city.  However, several others of King Wicha's sons looked at this and were afraid that it now didn't matter what happened.  If T'ae defended the city, then they would be next on his hit list, as they were clearly his rivals to power, and if the Tang defeated them, well, it didn't look good, either.  So they and their retainers all fled the city as well.  This sparked a mass exodus as other citizens tried to do the same, and T'ae could not stop them.  Eventually, the forces weakened, Su Tingfang took the city and raised the Tang banners.  T'ae opened the gates and pleaded for his life.  When King Wicha heard all of this, he knew there was no escape.  He and his sons surrendered themselves and the fortresses to the Tang-Silla alliance.  He and his sons, and many of his people, were taken captive and taken back to the Tang court, where the Yamato ambassadors saw them being paraded around. Now the king may have been captured, but Baekje was not completely subdued.  A few of the remaining citizens held out hope that they could gather their forces and kick out the Tang and Silla and take back their country.  They knew that, although most of the royal family was captured there was still one more:  Prince Pung.  Prince Pung, as you may recall from previous episodes, was residing in Yamato, a royal hostage—or perhaps more of a restrained guest.  The rebels acknowledged him as their king and sent word to Yamato asking that he come back, along with reinforcements, and retake the kingdom.  In the meantime, they gathered and fought as they could, wearing down the Tang and Silla forces.  The rebels, after all, knew the land, and the invaders were still reliant on their supply lines.  This situation persisted for several years. Back in Yamato, in the 5th month of 660, they still were likely unaware of what had happened on the peninsula.  There was no social media to alert them to the dangers, and it would still be a few months before the Baekje capital actually fell.  They were busy entertaining the envoys from Goguryeo, or preparing 100 raised seats an one hundred kesa, or Buddhist vestments, for a Benevolent King ritual.  They were focused on their wars in the north, with the Mishihase, which they had been successful in Praising Abe no Hirafu for his successful campaign.  There is one record that says that in the 5th month people started carrying weapons around with them for no good reason, because they had heard of the destruction of Baekje, but that hadn't actually happened yet, so this is likely out of place—possibly by a couple of years. There is a note about the destruction of Baekje in the 7th month, but that is from the “Records of the reigns of Japan” or Nihon Seiki, a work that is no longer extant that was apparently written by a Goguryeo priest, who noted Baekje's destruction in his history, but this was probably not exactly information available to Yamato at the time.  And no, I don't want to gloss over the fact that we are given another source that was likely being used by the Chroniclers.  I want to delve into the fact that this was by a Goguryeo priest, known in Japanese as Doken.  I want to talk about how this work pops up throughout the reigns of Saimei, Tenchi, and apparently even in the Fujiwara Kaden.  It seems like he was close to Nakatomi no Kamatari and the Fujiwara house, which probably explains how he had access to the events mentioned and why his work was known.  However, I don't really have time for all of that because we are trying to focus on what was happening with Baekje and what was happening Yamato at the time. And in Yamato it wasn't until the 9th month that word finally arrived via a Buddhist novice named “Kakchyong”, according to Aston.  He carried word of the defeat, but also word that Kwisil Poksin had taken up arms and was leading a rebellion against Tang and Silla control.    The royal city, which some records say had fallen in mere days, was once more under Baekje control, according to the word that reached Yamato.  It does seem that Poksin held it for a time, but they weren't able to set in for any kind of prolonged fight in any one spot.  It seems that the fighting was going back and forth, and the rebels were remaining on the move while fighting actions against the invading forces.  Poksin had apparently captured some of the enemy troops, though, and sent them to Yamato, possibly as tribute and payment for future reinforcements, and possibly to demonstrate their victories. And if that was the case, it seemed to have worked.  Takara Hime agreed to help Baekje.  She agreed to send troops, commanding them to go from a hundred directions and meet up in Sateok—likely meaning that this was an emergency deployment and rather than everyone gathering in Kyushu and heading over together, they were getting there as fast as they could, however they could, to try and come to Baekje's aid.  She also released Prince Pung to return as well, and basically named him the King of Baekje herself.  As for Takara Hime and the main force, they moved first to Naniwa and gathered there.  She was considering going on to Tsukushi and then traveling with the bulk of the navy from there. Omens were also coming in, and it wasn't good.  In the province of Suruga, they built a boat, but apparently, overnight, the bow and stern switched places, which the Chroniclers saw as a bad omen.  And then there were a swarm of insects reported in Shinano as coming from a westerly direction.  Another bad sign, especially given that Tang and Silla were both west of Yamato. Although they started preparing in the 9th month of 660, it took them until the first month of 661 to have the royal ship ready to go.  It is likely that much of what was happening was not just a waiting navy putting to sea, but rather there were emergency build orders to build or repair ships and make them ready for the crossing and eventual attack.  The royal ship made its through the Seto Inland Sea, past Bizen, the nearer part of ancient Kibi, and on to Iyo, on Shikoku.  They seem to have had a few setbacks in their journey, and it wasn't until the 5th month that they reached the Asakura palace, though to be in Chikuzen, in Tsukushi, aka northern Kyushu.  The month before, Poksin had written and asked to wait upon the prince, which I suspect was a polite way of asking when the reinforcements would finally arrive. Unfortunately, at Asakura, disaster struck.  The Chroniclers claim this was because they had cleared sacred trees in order to make room for the palace and the kami were none to pleased.  The palace itself was demolished and several notable people, including the Grand Treasurer, took ill and died.  Not a great start to things.  It was here that they met up with the envoys coming back from Chang'an who no doubt told them about their house arrest and everything else.  On top of this, we are told that in the 6th month Prince Ise, of whom little more is given, died, and then, a little more than a month later, he was followed by the sovereign herself: Takara Hime. I suspect that Prince Ise may have been one of Takara Hime's sons, possibly in line for the throne, otherwise, why make mention of his death.  However, Takara's passing would have no doubt thrown the war plans into disarray.  It is quite likely that she wasn't actually the one doing most of the heavy lifting—in all likely that was her son, Prince Naka no Oe, who was handling a lot of that.  But still, the death of the sovereign just before you head off to war, was not great.  They had to send a funeral procession back to Naniwa and Asuka.  Prince Naka no Oe accompanied it as far as the Iwase Palace, but didn't go all the way back.  As the procession headed for Naniwa, he composed a poem: Longing as I do For a sight of thee Now that I have arrived here, Even thus do I long Desirous of a sight of thee! Prince Naka no Oe had just lost his sovereign and his mother, and he was now fully in charge of the armada headed to try and relieve Baekje.  He would have to continue the plans while Takara Hime's remains headed back to Asuka.  The funeral procession arrived in the 10th month, and her body was put in temporary interment for at Asuka-gahara as 9 days of mourning began.  Her son, however, would continue to mourn from afar.  He put on white clothing—a symbol of purity and associated with funerals and death, at least in Buddhist tradition. He had no time, though.  By the 8th month, Prince Naka no Oe was sending Adzumi no Hirafu no Omi and Kawabe no Momoye no Omi, as generals of the Front Division, while Abe no Hirafu no Omi and Mononobe no Muraji no Kuma took up the mantle of generals of the rear division.  They sent men, along with arms and grain to help relieve the Baekje forces. After sending the initial forces to make way, in the 9th month he conferred a cap of woven stuff on Prince Pung, indicating his high rank in the Yamato court, and gave to him as a wife, the sister of a high ranking court official.  He then sent him off, with the help of Sawi no Muraji no Ajimasa and Hada no Miyatsuko no Takutsu, along with 5,000 troops to escort him back.  They made it to Baekje and were able to meet up with Poksin and their forces. On the Korean peninsula, one of the strategic objectives of the Tang was to create a foothold on the peninsula so that they could finally take out the Kingdom of Goguryeo.  That year was particularly cold, and apparently Tang forces tried to invade Goguryeo again, attacking with siege weapons and other war machines.  The Goguryeo soldiers fought valiantly, but appear to have reached a stalemate. In 662, some of the Yamato material started appearing for Poksin.  It included 100,000 arrows, 500 kin of raw silk, 1000 kin of floss silk, 1000 tan of cloth, 1000 hides of leather, and 3000 koku, or over 15,000 bushels, of seed rice.  The next month, he sent another 300 tan of silk to the king.  The Silk may not make much sense, but it would have likely been a form of currency that they could use to purchase other goods, and it could be used for clothing.  The leather may have even been useful for armor and other accoutrements.   But mostly, this was probably economic aid, outside of the 100,000 arrows.  That same month, the 3rd month of 662, the Tang-Silla alliance was trying to body Goguryeo,  and Goguryeo reached out for aid.  Yamato troops were reportedly sent to help, and the attacks against Goguryeo were blunted.  This really was, now, the Goguryeo-Baekje-Yamato alliance against the Tang-Silla alliance. Poksin and the rebels had holed up in a place called Chuyu, which they were using as their base of operations.  King Pung had arrived, and Poksin was officially made his Minister, but they decided to move out from Chuyu.  It was fine for defense, but the land was not fertile, and they wanted to establish a base where they apparently had more resources, so they found Phisyeong, with rivers to the north and west, and large earthworks to the south and east.  It had fertile land for growing crops, which could then feed the army. However, one of the veterans pointed out the Phisyeong was less than a day's march from their enemies' encampment, and it would be a simple nights march and the army could be at their doorstep.  Chuyu, for all it was not the most appealing place, was much more defensible.  In the end, though, they decided that they would move the capital to Phisyeong. In the 2nd month of the following year, in 663, Silla troops were ravaging southern Baekje, setting fire to the land, possibly trying to starve out any resistance. Sure enough, they moved in close to Phisyeong, and King Pung and his troops realized they were in danger, and moved back to the defensive position of Chuyu.  In the following month, the Yamato and Baekje forces began to take the fight to Silla.  They advanced on Silla territory with 27,000 troops.  They took some cities and fortresses. As all of this was going on, King Pung was beginning to wonder about Poksin and his loyalties.  After all, Poksin had been running things before Pung showed up, and why wouldn't he think he could run things just fine without Pung once this was all over?  He had raised the soldiers, right?  So who would they be loyal to?  Would they be loyal to Pung, who barely knew Baekje, having lived for so long in Yamato.  Or would they be loyal to Poksin, who had rallied them together at the brink of defeat? And so in the 6th month he conferred with his other ministers.  Now it isn't stated in the text, but I suspect that his other ministers were Baekje nobles, and Poksin, well, there really isn't much indication that he had started this out as a man of high station.  They all agreed that Poksin should be dealt with, and so Pung had Poksin taken into custody and beheaded. Now I don't know if it needs to be said, but putting your own top general to death in the middle of a war is not exactly the best thing for morale.  Silla heard about it, and made plans to attack, hoping to catch Baekje offguard.  Baekje heard about it, and they also knew that about 10,000 reinforcements were supposed to be arriving soon from Yamato.  Those were reinforcements that could turn the tide of any fight.  They just needed to make it up the Baek river, known in Japanese as the Haku-suki-no-e. The Silla and Tang troops surrounded the fortress of Chuyu, and Baekje desperately needed the reinforcements from Yamato.  The Tang navy had 170 ships sitting at the mouth of the Baek River, ready to prevent any reinforcements from getting in.  On the 17th day of the 8th month, according to the Nihon Shoki, the first ships of the Yamato fleet arrived, but they could make no headway against the Tang forces.  Based on other records, it appears that the Yamato fleet swelled to more than 400 ships, well over twice the size of the defending Tang navy.  They attacked at least four separate times, but despite their smaller size, the Tang ships had the advantage of the terrain, using the narrowing at the river, and they also had superior tactics.  Although the Yamato soldiers fought ferociously, they couldn't move the Tang fleet. Speaking of fighting, let's talk about what it meant.  There were no cannons or anything like that.  It is likely that the projectile weapons of the day were arrows, and based on the ship designs, it was likely that ships would need to get close and grapple with each other so that soldiers could actually do the fighting.  In this way, ships were like floating battlefields.  If you could burn the ships, then that was something, but fire would also be a danger to your own wooden vessel.  And so it is likely that ships would have to engage with each other and effectively let the other side grapple if you wanted to fight, unless you just wanted to exchange arrows. After being repulsed four times, ten days after they had first engaged, the Tang vessels finally counterattacked.  They were able to swarm out and envelope the right and left flanks or the Yamato ships.  Four hundred ships were burned and sent to the bottom of the sea.  The Yamato forces were unable to break through the blockade and had to turn around.  The Battle of Haku-suki-no-e was a total defeat, and only ten days later, Chuyu fell.  King Pung was able to escape, fleeing to Goguryeo, but the writing was on the wall: The Kingdom of Baekje would never be reconstituted.  The Yamato forces departed the continent and headed back to the archipelago.  They met up at Honye on the 24th day of the 9th month and started out for the archipelago on the following day, eventually returning to Yamato, along with some of the Baekje nobles and ministers who had fled with them. The results of this defeat were resounding.  The battle of Haku-suki-no-e, known in Korean as the Battle of Baekgang, or the Battle of the Baek River, would change the political landscape.  The Tang-Silla alliance would eventually continue to pressure Goguryeo, and the dictator, Yeong Gaesomun, would die three years later, in 666.  He had held out against Tang and Silla, but with his death, there was a moment of chaos as an internal struggle broke out in the Goguryeo court.  The divisions this caused weakened the country, which fell to the Tang-Silla alliance in 667. With both Goguryeo and Baekje gone, suddenly Silla was now the country on the Tang empire's borders.  Without their shared enemies, there was not longer an alliance between the two, and Silla would push back against the Tang.  The Tang held out on the peninsula for another decade, but without Silla support, it became too costly to continually ship supplies to the troops.  Silla was eventually able to force the Tang forces off of the peninsula, and thus began the period on the Korean peninsula known as Unified Silla, where Silla ruled all of the what is now north and south Korea. In the archipelago, in the aftermath of their ally's defeat, there was worry in the Yamato court.  They were afraid that the Tang empire would come after them, next, and they began building fortresses from Tsukushi all the way along Kyushu and the Seto Inland sea area.  These are peninsular style fortresses, often using earthworks and walls that were built up around the tops of mountains, using the terrain.  A large earthwork was put up between the coast and the Dazaifu, in case Tang troops landed in Hakata bay.  Today, many of these earthworks still exist.  Some were even repurposed for gun emplacements in the lead up to what would become World War II, as they were still highly defensible positions. The feared invasion never came, and the fortresses would eventually be abandoned, but they are still a testament to just how seriously Yamato took this threat. Next up, we'll take a look at Naka no Oe's reign.  Naka no Oe is known in the Chronicles as Tenchi Tennou, the sovereign of Heavenly Wisdom.  We'll talk about that some more as we get into his time on the throne.  Since 645 he had been a force in the Yamato court, but he had not taken the throne at a younger age.  Now, however, his power seemed secure.  He took the throne upon his mother's death, and we'll talk about that and more in future episodes. Until then, thank you once again for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan

Send us a textEpisode 49 of the podcast takes us to the smallest of Japan's main for islands, Shikoku, and onto the Shikoku Henro. Associated with the life and teachings of legendary Buddhist monk Kūkai - also known as Kōbō Daishi – the Shikoku Henro is an 88 temple, 1200km / 745 mile pilgrimage circuit that circumambulates the island. Long-known by Japanese, “the Henro” is increasingly popular for international visitors with many people traveling to Japan specifically to walk a section or the complete trail. Our guide in exploring the Henro today is guest Kōei Ervin. Kōei is an ordained priest in the Shingon tradition of Japanese Buddhism, Shugendō practitioner, and tour guide with Shikoku Tours including accompanying guests along the Henro. Kōei's depth of knowledge of the Henro and Japanese Buddhism is self-evident, and as a guide, he weaves an engaging and accessible story regarding the history of the trail, why people walk it, what to expect, traditional clothing and basic logistics of accommodation and when to do it.For more information about the Shikoku Henro, visit the Henro.org website, Shikoku Tourism website or Shikoku 88 Temple Pilgrimage website. For guided tours with Kōei, visit the Shikoku Tours website or contact him via his Scattered Blossoms blog or his Instagram. During the interview, Kōei makes several recommendations including the revised Shikoku Japan 88 Route Guide Book, Ohenro San Facebook Group, Shikoku 88 Ohenro Pilgrimage Facebook Group and Sumotoriya Asano supply store.A very big thank you to Kōei for making time to speak with me and for providing the images used in support of the episode. I hope you enjoy.Outland Japan is a bi-weekly podcast hosted by Peter Carnell - a freelance tour guide based in northern Nagano – that transports you to rural, regional and the wilds of Japan in pursuit of stories that lie outside the neon hum of Tokyo and golden trimmings of Kyoto. Stories of travel, life and culture beyond the big cities. Follow the show on Instagram, Facebook and YouTube. Please note, prior to October 2024, Outland Japan was named Snow Country Stories Japan.

Last time we spoke about the Visayas Offensive. In March 1945, the Pacific War raged on. On Iwo Jima, the US Marines, after intense fighting and heavy casualties, declared the island secured. Meanwhile, in northern Luzon, General Clarkson's division advanced towards Baguio, facing fierce Japanese resistance, while General Mullins pushed through Balete Pass. The Japanese army, grappling with severe supply shortages, was forced to evacuate Baguio. In the Visayas, General Eichelberger's forces targeted the Sulu Archipelago and Central Visayan Islands, securing key airfields. The 40th Division landed on Panay, capturing Iloilo, and launched an assault on northern Negros. On Cebu, the Americal Division landed near Talisay, encountering mines but minimal resistance, and secured Cebu City. By April, Allied forces had made strategic advances across the Philippines, overcoming Japanese resistance and establishing crucial airfields. This episode is the Invasion of okinawa Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  We have come to the grand final battlefield at last, that of Okinawa. Of course battles are raging in all sorts of other theaters like New Guinea, China, Burma, etc. However as you might imagine its becoming impossible given the week by week format to cover all of this in single episodes. So we are going to hardcore focus on Okinawa for awhile, we will circle back to the other theaters to catch up. Seriously it was the only logical way to do this and honestly in retrospect I wish the entire podcast was campaign by campaign instead of week by week. But I am a mere podcaster following the youtube series of this. But if you want to hear a campaign by campaign series, over at Echoes of War me and my cohost Gaurav are beginning to roll them out. The first series will be the entire Malayan Campaign, and I think after that I might try to do the Philippines. Regardless lets jump into the invasion of Okinawa. As previously noted, the directive issued by the Joint Chiefs of Staff on October 3 designated Okinawa as the final target for invasion, following the establishment of air and naval bases in Luzon and Iwo Jima. Capturing this crucial island would bring the conflict to Japan's doorstep, disrupt the enemy's air communications through the Ryukyu Islands, and flank their maritime routes to the south. Consequently, from these newly established air and naval bases in the Ryukyus, American forces would be able to launch attacks on Japan's main islands and implement a more rigorous sea and air blockade, isolating them from Japanese territories to the south. This made it imperative for the Japanese Empire to maintain control over Okinawa and the Ryukyus. To this end, the 32nd Army, led by Lieutenant-General Watanabe Masao, was formed there by late March 1944. Initially, it comprised four companies and one artillery regiment stationed at Amami Oshima; five companies and one artillery regiment at Nakagusuku Bay; four companies and one artillery regiment at Iriomote Island; along with various garrison units from the 19th Air District in Okinawa.  Under Operation Tei-Go, the Ryukyus and Formosa were to form a long zone of interprotective air bases. These bases were expected to defeat any American sea or air forces sent into the region. To avoid destruction from the air, each base was to consist of a cluster of airfields, such that if one were damaged others could be used immediately. Military and civilian crews were promptly set to work building the numerous fields. 13 base clusters had to be created, stretching in a line from Tachiarai in the northern Ryukyus to Pingting on Formosa in the south. The only remaining tasks for ground forces were the defense of these facilities and their support anchorages and the unenviable work of building the fields. Much of the energy of 32nd Army would be absorbed building these air facilities. This was more difficult since 32nd Army had only two bulldozers and one earth roller. Japan had produced dozers in small numbers at its Komatsu plant since 1943, but few had reached the front. Since soldiers were thus obliged to use shovels, hoes, straw baskets, and horse-drawn wagons, construction was slow. Moreover, because of enemy submarine raiders, it was impossible for the Japanese to deliver the large quantities of fuel, ammunition, and anti-aircraft guns needed to operate the bases. Even more seriously, the planes themselves were not available. Between April and June, the 32nd Army received reinforcements, including the 44th and 45th Independent Mixed Brigades, the 21st Independent Mixed Regiment, and the 27th Independent Anti-Aircraft Artillery Battalion, among other air garrison units. From these forces, Watanabe chose to send the 45th Brigade to establish bases on Miyako Island and Ishigaki Island, while the 21st Regiment was tasked with setting up a base on Tokunoshima. On June 27, the 1st and 2nd Infantry Corps (approx. 4100 men) boarded the Toyama Maru and began the voyage to Okinawa. The 44th Brigade HQ, Artillery and Engineer Units meanwhile boarded other vessels of the Taka-412 convoy. Two days later, while the convoy was sailing east of Tokunoshima, the submarine Sturgeon successfully sank the Toyama Maru with two torpedoes, therefore inflicting the loss of 3724 men and much heavy equipment. Because of this, the 1st Corps had to be deactivated.  Following the fall of Saipan, the Japanese Empire rapidly deployed significant ground forces to the 32nd Army, including the 9th, 24th, 28th, and 62nd Divisions, as well as the 59th, 60th, and 64th Independent Mixed Brigades, and the 27th Tank Regiment. Additionally, the 15th Independent Mixed Regiment was airlifted to bolster the beleaguered 44th Brigade, which was reorganizing its 2nd Corps with local recruits. The 32nd Army Staff wished to use as much of the indigenous population as it could in direct support of the war effort, so on January 1 1945 it ordered total mobilization. All Okinawan males aged 18 to 45 were obliged to enter the Japanese service. 39000 were drafted, of whom 15000 were used as nonuniformed laborers and 24000 as rear-echelon troops called the Home Guard (Boeitai). Many of the Boeitai replaced sea based battalions and rear-area supply units that had been reorganized and equipped for frontline duty. In addition to these, 1500 of the senior boys of the middle schools on Okinawa were organized into Iron and Blood Volunteer Units and assigned to frontline duty. Some of these students had been tried out in the signal service in the autumn of 1944 with good results, so the program was expanded. Since the fall of 1944, 600 senior students of the girls' middle schools also had been given training in the medical service. While most of these troops were sent to strengthen the main defenses at Okinawa, a large portion of the 28th Division was actually assigned to reinforce the garrisons on the Miyako and Yaeyama Islands. The 36th Regiment was dispatched to support the Daito Islands, the entire 45th Brigade was moved to garrison Ishigaki and the rest of the Yaeyamas, the 59th Brigade was tasked with defending Irabu Island, the 60th Brigade was sent to reinforce Miyako Island, and the 64th Brigade was deployed to the Amami Islands. On August 9, Lieutenant-General Ushijima Mitsuru took command of the 32nd Army. His initial strategy was to occupy all of Okinawa with a strong force and eliminate any invading troops at their landing sites. As fierce fighting began at Leyte, intensive training for the troops commenced, including divisional maneuvers at potential American landing points, artillery bombardments of beachheads, and nighttime assaults on bridges. However, on November 13, Tokyo decided to send the elite 9th Division to Formosa to prepare for a movement to the Philippines that ultimately did not occur. The unexpected withdrawal of the 32nd Army's best division disrupted Ushijima's operational plans. Ironically, this situation improved combat efficiency, as it compelled the army to achieve more with fewer resources. Ushijima chose to concentrate most of his forces in the mountainous and easily defensible Shimajiri area, located in the southern part of the island. This strategic location allowed the Japanese to maintain control over Naha port and target the northern airfields with artillery. Similar to the situation in Iwo Jima, this decision marked a departure from the previously favored strategy of a "decisive battle," opting instead for a war of attrition that had proven effective at Peleliu and Iwo Jima. As a result, Ushijima positioned Lieutenant-General Amamiya Tatsumi's reinforced 24th Division at the southern end of the island, Lieutenant-General Hongo Yoshio's reinforced 62nd Division along the central isthmus, Major-General Suzuki Shigeji's reinforced 44th Independent Mixed Brigade on the Hagushi plain, and Colonel Udo Takehiko's Kunigami Detachment, consisting of two battalions from the 2nd Corps, in northern Okinawa. These troop placements were successfully implemented in December; however, concerns arose that the 32nd Army was spread too thin to effectively counter the anticipated enemy invasion. Consequently, on January 15, Ushijima decided to move the 44th Brigade from the Hagushi plain southward to overlap with the 62nd Division's area on the east, significantly shortening the Japanese front. Additionally, one battalion from the Kunigami Detachment was sent to defend Iejima and its crucial airbase, which necessitated the rest of the unit to consolidate its positions and strengthen defenses on Yaedake Mountain in the Motobu Peninsula. Ushijima also had the support of the brigade-sized 5th Artillery Group, led by Lieutenant-General Wada Kosuke; the 21st Field Anti-Aircraft Artillery Corps; the 11th Shipping Group, which included several shipping engineer regiments and sea-raiding battalions; the 19th Air District overseeing various aviation service units; and Rear-Admiral Ota Minoru's Okinawa Naval Base Force, which comprised nearly 9,000 personnel stationed at the Oroku Naval Air Base near Naha. Ushijima had nearly 100,000 troops at his command, with 29,000 assigned to specialized units for anti-aircraft, sea-raiding, and airfield operations. Anticipating the nature of the impending conflict, these well-staffed service units were reorganized for ground combat. The 19th Air District transformed into the 1st Specially Established Regiment, responsible for defending the Yontan and Kadena airfields it had recently constructed and maintained. Most of the service personnel were integrated into the new 1st Specially Established Brigade in the Naha-Yonabaru area, while the sea-raiding base battalions became independent infantry units. Additionally, the remainder of the 11th Shipping Group was restructured into the 2nd Specially Established Brigade on the southwestern part of Okinawa. This reorganization, completed on March 21, bolstered ground combat strength by 14,000 men, leaving only 10,500 of the 67,000 Army personnel in specialized roles. To protect themselves, the Japanese began constructing robust fortifications, tunnels, and cave systems to shield against anticipated enemy bombardments.  Work on the caves was begun with great vigor. "Confidence in victory will be born from strong fortifications" was the soldiers' slogan. The caves meant personal shelter from the fierce bombardments that were sure to come, and they also offered a shimmering hope of victory. The combination was irresistible, and units began to work passionately on their own caves. Enthusiasm was essential because of the great toil it took to create the caves. Just as 32nd Army had only two bulldozers to make airfields, it had no mechanized tunneling equipment at all. Besides lacking cutting equipment, 32nd Army also lacked construction materials. It had no cement, no ironware, and no dynamite. The units had to rely entirely on wooden beams that they obtained themselves to shore up their shafts. This was not necessarily easy because there were no forests in the south of the island where the troops were now stationed. Pine forests were abundant in the mountainous north, however, so each unit was assigned its own lumbering district in the north. Several hundred men from each division were detailed as its lumbering squad. The problem remained, however, of how to move the several million logs that were needed over the 40 or so miles from the forests to the forts. With no railroads and the use of trucks limited by a shortage of gasoline, the solution was for each unit to cut its own logs, then transport them in small native boats called sabenis. The divisions acquired 70 of these, which then plied the waters steadily from north to south. In January 1945, however, the Leyte-based B-24s that began flying over daily for reconnaissance also began strafing the boats. So the waterborne delivery of logs had to be switched from day to night, greatly lowering efficiency. Ushijima aimed to prolong the fight from these positions and decided to destroy the indefensible Yontan and Kadena airfields to prevent their use by the enemy, effectively ending the ineffective air defense strategy initially devised by Tokyo. Meanwhile, Admirals Nimitz and Spruance were preparing for Operation Iceberg, the invasion of Okinawa. Given the expectation that the capture of Iwo Jima and recent air assaults on Japan would concentrate enemy air power around the Empire's core, which would respond aggressively to any attacks on Okinawa, the Americans needed to first neutralize or eliminate enemy air facilities in the Ryukyus, Kyushu, and Formosa to achieve air superiority over their objective. As a result, all available carrier-based and land-based air forces were tasked with this operation, including Admiral Mitscher's Task Force 58, General Kenney's Far East Air Forces, Admiral Hoover's Central Pacific Forward Area, and General Arnold's 20th Air Force. From the 20th Air Force, General LeMay's 21st Bomber Command was assigned to attack Okinawa before moving on to Kyushu and other vulnerable locations in the home islands. Meanwhile, Brigadier-General Roger Ramey's 20th Bomber Command, supported by General Chennault's 14th Air Force, focused on neutralizing Formosa. Aircraft from the Southwest Pacific Area were also set to conduct searches and continuous strikes against Formosa as soon as conditions on Luzon allowed. Additionally, the British carriers of Vice-Admiral Bernard Rawlings' Task Force 57 were tasked with neutralizing air installations on the Sakishima Group in the ten days leading up to the landings. Once air superiority was achieved, Spruance's 5th Fleet was to land Lieutenant-General Simon Buckner's 10th Army, which included Major-General John Hodge's 24th Corps and Major-General Roy Geiger's 3rd Amphibious Corps. The 24th Corps comprised the 7th and 96th Divisions, while the 3rd Amphibious Corps included the 1st and 6th Marine Divisions. As the Commanding General of Expeditionary Troops, Buckner also oversaw the 27th and 77th Divisions and the 2nd Marine Division for special operations and reserve purposes. Furthermore, the 81st Division was held in area reserve. In total, Buckner commanded a force of 183,000 troops, with 116,000 designated for the initial landings. The plan called for Major-General Andrew Bruce's 77th Division to first secure amphibious bases in the Kerama Islands on March 26, with one battalion further securing Keisejima five days later to establish a field artillery group there. On April 1, following a demonstration by the 2nd Marine Division in southern Okinawa, the main landings were set to take place. The 24th Corps and the 3rd Amphibious Corps would land simultaneously on the west coast beaches north and south of Hagushi. After landing, both corps were to quickly advance across the island, capturing the airfields in their designated areas before securing all of southern and central Okinawa. Subsequently, Buckner's forces were to invade and secure Iejima and northern Okinawa. Once this was achieved, there were tentative plans to launch an invasion of Kikaijima with the 1st Marine Division and Miyako Island with the 5th Amphibious Corps. For the invasion, Spruance relied on a Covering Force under his command, along with Admiral Turner's Joint Expeditionary Force. This force included Admiral Blandy's Amphibious Support Force, which comprised minesweepers, UDTs, and escort carriers; Rear-Admiral Morton Deyo's Gunfire and Covering Force, consisting of ten battleships and eight heavy cruisers; Rear-Admiral Lawrence Reifsnider's Northern Attack Force, responsible for landing the 3rd Amphibious Corps; and Rear-Admiral John Hall's Southern Attack Force, tasked with landing the 24th Corps. Similar to Iwo Jima, Okinawa had endured multiple air attacks since October 1944 as part of the preliminary operations for the landings on Leyte, Luzon, and Iwo Jima that we previously discussed. These operations also included air strikes aimed at neutralizing Japanese air power on Formosa. Throughout February and March, Mitscher's carriers and LeMay's B-29s brought the conflict back to the Japanese home islands with a series of strikes that caused significant damage and instilled fear in the population. On March 1, Task Force 58 launched the first strike of the month against the Ryukyus, targeting Amami, Minami, Kume, Tokuno, and Okino, as well as Okinawa. This operation resulted in the destruction of 41 planes, the sinking of eleven vessels, damage to five others, and significant harm to island facilities. In between the main assaults on Japan, the superfortresses frequently targeted key sites in the Ryukyus, leading the beleaguered Japanese forces to refer to these missions as the "regular run." Throughout March, aircraft from the Southwest Pacific and the Marianas conducted nearly daily operations over the Ryukyus and surrounding waters, searching for Japanese shipping and contributing to the isolation of Okinawa by sinking cargo ships, luggers, and other vessels, while American submarines intensified the blockade around the Ryukyus. Meanwhile, after completing extensive training and rehearsals, Task Forces 51 and 55 gathered at Leyte, Task Force 53 assembled in the Guadalcanal-Russells area, and the rest of the 5th Fleet convened at Ulithi. On March 12, Reifsneider's convoy, carrying the 3rd Amphibious Corps, was the first to depart, successfully reaching Ulithi nine days later. On March 18, the tractor group transporting the 77th Division began its journey from Leyte to the Kerama Islands. On the same day, Mitscher's carriers targeted 45 airfields in Kyushu, claiming the destruction of 102 Japanese planes, damaging or destroying 275 on the ground, sinking six vessels, and damaging three more. In response, Admiral Ugaki's 5th Air Fleet launched a counterattack against the carriers Enterprise, Intrepid, and Yorktown, inflicting minor damage while losing 33 aircraft. The next morning, after locating the majority of the Combined Fleet at Kure, Mitscher dispatched 436 aircraft to target naval installations and shore facilities in the Inland Sea. At 06:50 three C6N Saiun “Myrt” recon planes discovered Task Force 58, and by 07:00 Captain Genda Minoru's elite, handpicked 343rd Kokutai had scrambled 63 advanced Kawasaki N1K2-J “George” Shiden-Kai fighters from Shikoku to intercept the Americans. Minutes later, Genda's powerful Shiden-Kais “waded into the Hellcats and Corsairs as if the clock had been turned back to 1942.” Soon the 343rd Kokutai was engaged in a wild maelstrom with 80 US fighters, including VF-17 and VBF-17 Hellcats from Hornet and VMF-112 Corsairs from Bennington. For once the Japanese broke about even, losing 24 fighters and one scout plane to the Americans' 14 fighters and 11 bombers. Nevertheless, Genda's expert but outnumbered 343rd Kokutai proved unable to blunt the American onslaught. Despite facing a formidable intercepting force, they managed to inflict damage on 18 Japanese warships, including the battleships Yamato, Ise, Hyuga, and Haruna, as well as six aircraft carriers. Additionally, one incomplete submarine was destroyed, 97 enemy planes were shot down, and 225 were either destroyed or damaged at Japanese airfields. In response, Ugaki launched a kamikaze counterattack that successfully struck the carriers Wasp and Franklin, causing significant damage and forcing Franklin to head to Pearl Harbor immediately. As Task Force 58 slowly withdrew the afternoon of March 20, a damaged Zero crashed destroyer Halsey Powell, killing 12 and wounding 29. Shortly afterwards friendly anti-aircraft fire started fires aboard Enterprise. At 23:00 eight Japanese torpedo planes unsuccessfully attacked the carriers, while three overnight snoopers were splashed by anti-aircraft fire. Between March 17 and March 20 Ugaki had committed 193 aircraft to battle and lost 161. On March 21 Ugaki dispatched a 48-plane strike, including 16 G4M “Betty” bombers, carrying the very first Ohka (“Cherry Blossom”) suicide missiles. However the combat air patrol (CAP) of 150 Hellcats and Corsairs repulsed them. Franklin, Wasp, and Enterprise, all damaged, steamed to Ulithi as a reorganized Task Group 58.2. Except for April 8–17, when Task Group-58.2 was briefly reestablished, Task Force 58 strength would remain at three Task Groups throughout Iceberg's duration. Ugaki's 5th Air Fleet was meanwhile effectively incapacitated for several weeks, but Ugaki nevertheless reported five carriers, two battleships, and three cruisers sunk, which IGHQ found scarcely credible. Meanwhile, the Mine Flotilla departed Ulithi on March 19, followed two days later by the rest of Task Force 52 and Task Force 54 to support the Kerama operation. On March 23, to prepare for the imminent minesweeping operations of Iceberg, Task Force 58 conducted extensive bombing raids on all known installations in Okinawa, resulting in significant damage and the sinking of 24 vessels and damage to three others over the following five days. Furthermore, Admiral Lee's battleships traversed the cleared area and opened fire on Okinawa, sinking an additional two vessels. With this naval and air support, Blandy's minesweepers and UDTs successfully cleared the route for Rear-Admiral Ingolf Kiland's Western Islands Attack Group by nightfall on March 25. Their primary opposition in the following two days consisted of a series of kamikaze attacks, which caused damage to the battleship Nevada, light cruiser Biloxi, four destroyers, two destroyer minelayers, one minesweeper, and two transports, while the destroyer Halligan was sunk by mines. The next morning, supported by naval gunfire and carrier aircraft, Bruce initiated his first landings. The 3rd Battalion, 305th Regiment landed on the southern beaches of Aka Island, facing sporadic resistance. Meanwhile, the 1st Battalion, 306th Regiment landed unopposed on Geruma Island, which was quickly secured. The 2nd Battalion, 306th Regiment achieved even faster success at Hokaji Island, while the 1st Battalion, 305th Regiment invaded Zamami Island with light resistance. The 2nd Battalion, 307th Regiment encountered minor opposition as it took Yakabi Island. The Fleet Marine Force Amphibious Reconnaissance Battalion scouted Keisejima and found no enemy presence. After encountering some resistance, the units on Aka and Zamami pushed back the enemy garrisons, securing two-thirds of Aka by nightfall and successfully repelling a strong counterattack on Zamami that night. Simultaneously, Deyo's warships and Blandy's carriers began bombarding the demonstration beaches, while minesweepers cleared progressively larger areas around Okinawa, although the minesweeper Skylark was sunk by mines. By March 27, the remaining enemy forces on Aka and Zamami were finally eliminated, and a company took Amuro Island without opposition. Additionally, a company from the 307th moved to Kuba Island, which was quickly secured. At the same time, Bruce continued his main landings, with the 1st and 2nd Battalions of the 306th Regiment landing on the west coast of Tokashiki Island, facing minimal opposition. As the two battalions advanced north along narrow trails toward Tokashiki town, the 3rd Battalion landed to secure the southern part of the island. On March 28, they reached the town, clearing the entire island and concluding the Kerama operation.  In Kerama, "Island Chain between Happiness and Good," the Japanese tradition of self-destruction emerged horribly in the last acts of soldiers and civilians trapped in the hills. Camping for the night of March 28 a mile from the north tip of Tokashiki, troops of the 306th heard explosions and screams of pain in the distance. In the morning they found a small valley littered with more than 150 dead and dying Japanese, most of them civilians. Fathers had systematically throttled each member of their families and then disemboweled themselves with knives or hand grenades. Under one blanket lay a father, two small children, a grandfather, and a grandmother, all strangled by cloth ropes. Soldiers and medics did what they could. The natives, who had been told that the invading "barbarians" would kill and rape, watched with amazement as the Americans provided food and medical care; an old man who had killed his daughter wept in bitter remorse. Only a minority of the Japanese, however, were suicides. Most civilians straggled into American positions, worn and dirty. In all, the 77th took 1,195 civilian and 121 military prisoners. This operation resulted in the deaths of 530 Japanese soldiers, 121 captured, and the neutralization of over 350 suicide boats, with American losses totaling 31 killed and 81 wounded. While this initial operation was underway, the tractor groups of the Southern and Northern Attack Forces left their staging areas in Luzon and Ulithi on March 25, followed by the rest of Spruance's fleet two days later. On March 26 and 27, Rawlings' Task Force 57 conducted a series of strikes on the Sakishima Islands, primarily targeting Miyako. Meanwhile, after a 250-plane raid on the Mitsubishi plant in Nagoya on March 24, LeMay sent 165 B-29s from the 73rd and 314th Bombardment Wings to attack the Kyushu airfields on March 27, facing minimal resistance as they caused significant damage to the Tachiarai Army Airfield, the Oita Naval Airfield, and the Omura aircraft plant. Other bombers from the 313th Bombardment Wing laid aerial mines in the Shimonoseki Strait. The Japanese responded with a raid on Spruance's naval units using aircraft and suicide boats on the night of March 28, resulting in one LCM being destroyed and one cargo ship damaged. On March 29, Mitscher launched another strike against Kyushu, but poor weather conditions led to only minor damage, with 12 vessels sunk and one damaged. By this point, the “largest assault sweep operation ever executed” had cleared the Hagushi beach approaches in 75 sweeps, with minesweepers clearing 3,000 square miles of coastal waters. The following morning, as Task Force 58 once again targeted Okinawa, Deyo's ten battleships and eleven cruisers advanced to bombard Okinawa's defenses and demolish coastal seawalls with increased intensity. At the same time, the 314th sent 12 planes to attack the Mitsubishi engine works in Nagoya overnight. The next day, LeMay dispatched 152 B-29s for his second assault on Kyushu, completely destroying the Tachiarai machine works and heavily damaging the Omura airstrip. On March 31, back in Okinawa, the final underwater demolition operation off the Hagushi beaches was underway while the 420th Field Artillery Group was successfully positioned on Keisejima, prompting a strong reaction from Ushijima's artillery. That morning, a Ki-43 fighter crashed into Admiral Spruance's flagship, the Indianapolis, resulting in the deaths of nine crew members and severely damaging a shaft, which ultimately compelled Spruance to transfer his flag to the battleship New Mexico. Meanwhile, the frogmen completed their last demolition operations at Hagushi, and the final preliminary bombardment of Okinawa and the Sakishima Islands was executed successfully. By the end of the month, over 13,000 large-caliber shells had been fired in the shore bombardment, and approximately 3,095 sorties had been conducted against the Ryukyus. However, effective Japanese concealment prevented significant damage to Ushijima's defenses. As night fell, a vast fleet of transports, cargo ships, landing craft, and warships navigated the final miles of their long journey, successfully meeting off the Hagushi beaches in the East China Sea before dawn on April 1. While Turner's forces prepared for the landing, a fire support group consisting of 10 battleships, 9 cruisers, 23 destroyers, and 177 gunboats began the pre-landing bombardment of the beaches at 05:30, firing a total of 44,825 rounds of shells, 33,000 rockets, and 22,500 mortar shells. In response, the Japanese launched some scattered kamikaze attacks on the convoys, successfully hitting the transport Hinsdale and LST 884. At 07:45, carrier planes from Task Force 58 and Blandy's carriers targeted the beaches and nearby trenches with napalm. Fifteen minutes later, the first wave of amphibious tanks advanced toward the shore at four knots, followed closely by five to seven waves of assault troops in amphibious tractors. Alongside the primary landings, Major-General Thomas Watson's 2nd Marine Division staged a feigned landing on the southeast coast of Okinawa, near Minatoga, aiming to distract the enemy's reserves in that region. Meanwhile, on the main front, supported by rocket fire from LCI gunboats and artillery fire from Keisejima, a nearly continuous line of landing craft advanced toward the beaches at 08:20. Encountering no resistance, the first waves began to land on their designated beaches at 08:30, with additional troops following closely behind. Within an hour, Geiger's 3rd Amphibious Corps had successfully landed the assault elements of the 6th and 1st Marine Divisions north of the Bishi River, while Hodge's 24th Corps disembarked the 7th and 96th Divisions to the south of the river. The lack of significant opposition, coupled with the rapid disintegration of the untrained 5473 airfield service troops of the 1st Specially Established Regiment under heavy air and artillery bombardment, created a sense of foreboding among the men, prompting them to scout the area cautiously. As before, the enemy's primary response consisted of kamikaze attacks on naval units, resulting in damage to the battleships West Virginia and Tennessee, the British carrier Indefatigable, destroyers Prichett and Vammen, the British destroyer Ulster, the destroyer minelayer Adams, and four other vessels. Returning to Okinawa, after ensuring they were not walking into a trap, the troops began advancing inland while tanks and other support units were brought to the beaches. In the north, Major-General Lemuel Shepherd's 6th Marine Division deployed Colonel Merlin Schneider's 22nd Marines on the isolated Green Beaches and Colonel Alan Shapley's 4th Marines on the Red Beaches near Yontan Airfield. The 4th Marines advanced toward Yontan, encountering only scattered resistance, and quickly secured the objective east of the airfield by 13:00. Meanwhile, Schneider's 3rd Battalion moved through Hanza without opposition, but the 2nd Battalion's progress was hindered as it needed to protect its exposed flank, prompting the 22nd Marines to quickly commit its reserve battalion to maintain their momentum. To the south, Major-General Pedro Del Valle's 1st Marine Division landed Colonel Edward Snedeker's 7th Marines on the Blue Beaches and Colonel John Griebel's 5th Marines on the Yellow Beaches just north of the Bishi River. By 09:45, the 7th Marines on the left had advanced through the village of Sobe, their primary objective, while the 5th Marines were positioned 1,000 yards inland. At this point, it was decided to land the reserve battalions of both regiments, along with Colonel Kenneth Chappell's 1st Marines. With forces arranged in depth and reserves positioned to the right and left, Del Valle's units continued to advance steadily over the rolling terrain as the 11th and 15th Marines artillery units were also being landed. At 13:30, the 4th Marines resumed their advance, facing light resistance on the left but becoming overextended on the right while trying to maintain contact with the 7th Marines. As a result, Shapley landed his reserve battalion to fill this gap, while Shepherd also deployed his reserve 1st Battalion, 29th Marines, to secure the critical northern flank, allowing the 22nd Marines to keep advancing eastward. Meanwhile, further south, Major-General Archibald Arnold's 7th Division disembarked Colonel Frank Pachler's 17th Regiment on the Purple Beaches just south of the Bishi River and Colonel John Finn's 32nd Regiment on the Orange Beaches in front of Kadena Airfield. Both regiments quickly ascended the gentle hills at the landing sites and began advancing eastward. By 10:00, the 27th Regiment had patrols at Kadena Airfield, which was discovered to be empty; by 10:30, the front line was crossing the airstrip. Moments later, it advanced 200 yards beyond, heading towards Cholon. Simultaneously, the 32nd Regiment secured the southwestern edge of Kadena and continued along the road to Kozo. To the south, Major-General James Bradley's 96th Division landed Colonel Michael Halloran's 381st Regiment on the White Beaches in front of Sunabe and Colonel Edwin May's 383rd Regiment on the Brown Beaches at the extreme southern flank. Both regiments moved eastward with the same ease as the other units that day, making significant progress towards Momobaru in the north and successfully capturing Chatan in the south. Additionally, all divisional artillery of the 24th Corps landed early; Hodge's reserve regiments and battalions were successfully brought ashore, and by nightfall, direct-support battalions were in position. By the end of the day, over 60,000 men had landed, suffering only 28 dead, 27 missing, and 104 wounded, thereby establishing a beachhead 15,000 yards long and up to 5,000 yards deep in some areas. Shepherd's Marines paused for the night along a line stretching from Irammiya to the division boundary south of Makibaru, which the 1st Marine Division extended further south to Kadena. Meanwhile, the 7th Division advanced nearly three miles inland, destroying several pillboxes but losing three tanks to mines. The 96th Division secured positions along the river south of Chatan, on the elevated ground northwest of Futema, in the outskirts of Momobaru, and in the hills to the northwest and southwest of Shido. Although there were gaps in the lines in several areas, they were filled by reserve units or weaponry before nightfall. Thus, the Battle of Okinawa, seen by most as the final climactic battle of the Pacific War has only just begun. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. As Gandalf the White once said “The board is set, the pieces are moving. We come to it at last, the great battle of our time.” The battle of Okinawa will become the bloodiest campaign America has ever fought. The soul crushing journey has just begun as the Americans end the last stand of the Japanese in the Pacific War.

大阪(おおさか)から四国(しこく)に引っ越し(ひっこし)た友達(ともだち)と久しぶり(ひさしぶり)に会い(あい)ました。大阪(おおさか)という大都市(だいとし)での子育て(こそだて)に疑問(ぎもん)を感じ(かんじ)て、自然(しぜん)豊か(ゆたか)な四国(しこく)に引っ越し(ひっこし)た友達(ともだち)ですが、どうやら引っ越し(ひっこし)た先(さき)の人間関係(にんげんかんけい)にあまり馴染め(なじめ)なかったようです。人間関係(にんげんかんけい)というよりも、四国(しこく)という島(しま)の土地柄(とちがら)にも関係(かんけい)する人々(ひとびと)の人間性(にんげんせい)に慣れ(なれ)なかったと言い(いい)ました。これは何(なに)も四国(しこく)に限っ(かぎっ)たことではなく、沖縄(おきなわ)や、日本(にほん)自体(じたい)にも言える(いえる)ことだと思い(おもい)ます。島(しま)や田舎(いなか)という閉ざさ(とざさ)れた世界(せかい)から形成(けいせい)される、その土地(とち)の人々(ひとびと)の人間性(にんげんせい)について話し(はなし)てみました。I met a friend who had moved from Osaka to Shikoku for the first time in a long while.Feeling doubtful about raising children in a big city like Osaka, my friend moved to the nature-rich Shikoku. However, it seems that they had trouble fitting into the social dynamics in their new environment.Rather than just interpersonal relationships, they said they struggled to adapt to the mindset and behaviors of the people there, which were influenced by the unique characteristics of Shikoku as an island.This is not something limited to Shikoku—it can also be said about Okinawa and even Japan as a whole.We talked about the cultural traits shaped by the closed worlds of islands and rural areas.The script is available here: https://www.makiko-japanese.com/I will update this episode on Youtube as soon as possible!! Please check out and subscribe to our youtube channel: ⁠www.youtube.com/channel/UChu8-tNd_4RyWo-iE5cr-Ow⁠email, comments, requests, also Japanese lesson inquiries: toranomaki.nihongo@gmail.comにほんごのかいわのレッスンもしています。メールでれんらくください。toranomaki1212@gmail.com

Mokuhanga can be a standalone medium or combined with other artistic practices, offering endless opportunities for experimentation and creative exploration. In this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with printmaker Karen Kunc, who has worked with mokuhanga for many years. She integrates it into her broader printmaking practice, which includes book arts, mixed media, letterpress, Western woodblock, and more. We discuss her early encounters with mokuhanga, her travels to Japan, and her experience printing with Akira Kurosaki. Karen also shares how nature influences her work, the importance of taking creative risks, and her perspective on mokuhanga today. Plus, we talk about her own Constellation Studios and its role in her artistic journey. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Karen Kunc - website, Instagram  Aqua Alta - 26" x 72", woodcut Jocelyn Art Museum - is a fine arts museum located in Omaha, Nebraska, USA. The museum was opened in 1931. More info, here. The Agony and The Ecstasy   - is a biographical novel by the American author Irving Stone (1903-1989). It goes into detail of the life of Michelangelo Buonarroti (1475-1564). The novel was published in 1961.  Awaji Island - located in Japan's Seto Inland Sea, has a rich history dating back to ancient times. According to the Kojiki(Records of Ancient Matters), it is considered the birthplace of Japan—the first island created by the gods Izanagi and Izanami in Japanese mythology. Historically, Awaji played a vital role as a strategic hub for maritime trade and travel, connecting the Kansai region with Shikoku and Kyushu. During the Edo period, it was governed as part of the Tokushima Domain under the Hachisuka clan. Today, Awaji is renowned for its natural beauty, traditional industries such as Awaji Ningyō Jōruri (puppet theater), and its connection to mainland Japan via the Akashi Kaikyō Bridge—the world's longest suspension bridge. Kyoto Seika University - located in Kyoto, Japan, is a leading private institution specializing in art and design education. It offers undergraduate and graduate programs in fields such as painting, sculpture, graphic design, and manga. Known for its rigorous curriculum, Kyoto Seika emphasizes both practical skills and creative expression. With a strong tradition of nurturing talented artists and designers, the university fosters a dynamic environment that encourages innovation and artistic growth. Akira Kurosaki (1937-2019) - was one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. Aurora - 13" x 17" colour woodcut (1982)  ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century.  Utagawa Kuniteru (1808-1876) Sumo Wrestler (1861) Peter Max - is an American artist who is associated with the American Pop Art movement of the 1950's and 1960's. He used vibrant colours in his work. Max's art was seen on posters, paintings, even running shoes. More info, here.  Outer Spectrum - serigraph 8.75" x 12.5" (1978)  Mary Brodbeck - is a mokuhanga printmaker, based in Kalamazoo, Michigan. She has been producing mokuhanga for nearly 25 years. Her work refelcts nature, and the power it contains. Mary's interview with The Unfinished Print can be found, here.  GAZE - 10" x 14"  MI Lab - is a mokuhanga artists residency located in Awatabe Town, Echizen City, Fukui, Japan.  More info can be found, here.  Center For The Science of Human Endeavor - also known in Japanese as 一般社団法人産業人文学研究所  is a program to "research, study, design for a life style in the 21st Century," and is associated with MI Lab.  There is a brick and mortar gallery located in Shinbashi, Tōkyō.  McClains Woodblock Print Supply Co.  - based in Portland, Oregon, McClain's is the go-to supplier of woodblock print tools in the United States. Their website can be found here. The Unfinished Print: A Mokuhanga Podcast interview with Daniel Jasa of McClain's can be found here. nishinouchi paper - is a Japanese washi which is produced in Nishinouchi Kami no Sato, located in Hitachiomiya City, Ibaraki, Japan. More info can be found, here.  The Japanese Paper Place- is a Toronto based Japanese paper store servicing the mokuhanga and arts community in Toronto and around the world for many years. Nancy Jacobi of The JPP and her interview with The Unfinished Print: A Mokuhanga Podcast can be found,  here. Constellation Studios - is the studio of Karen Kunc located in Lincoln, Nebraska, USA. More info can be found, here.  Penland School of Craft - is a school which welcomes students from all over the world. Located in North Carolina, the school offers eight-week workshops in many different types of mediums. More info, here.  Anderson Ranch Arts Center - since the 1960s, Anderson Ranch Arts Center, located in Colorado, has been a beacon for the arts in the United States. The Ranch offers master classes, workshops, artist-in-residence programs, and more. For additional information, please click here. Virginia Center for the Creative Arts (VCCA) - founded in 1971, is located at Mt. San Angelo in Amherst, Virginia. It provides residency opportunities for artists and writers across various disciplines, offering a supportive environment for creative work. More info can be found, here.  Wayne Crothers - is an Australian mokuhanga printmaker, curator and artist who lives in Japan.  Patricia Olynyk - is a Canadian multimedia artist, photographer,  who resides in The United States. Patricia's work explores the way " social systems and institutional structures shape our understanding of our place in the world." More information can be found, here.  Oculus - digital sculpture  Ralph Kiggell (1960-2022) -  was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print: A Mokuhanga Podcast can be found, here. Park Winter Tuula Moilanen - is a Finnish mokuhanga printmaker and painter based in Finland. She lived and studied in Kyōto from 1989 to 2012, where she learned her printmaking at Kyōto Seika University and from printmaker Akira Kurosaki (1937–2019). Her work can be found here. Her interview with The Unfinished Print: A Mokuhanga Podcast can be found here. Daizuyama - 23cm x 34cm (2009)  Kari Laitinen - is a Finnish artist and printmaker based in Finland. His works explore colour and dimension. More information can be found, here. He helped write, with Tuula Moilanen, the book Woodblock Printmaking with Oil-based Inks and the Japanese Watercolour Woodcut. It was published in 1999. Dimensions VII - 48cm x 76cm (2017) Venice Printmaking Studio - is a printmaking residency located in Murano, Italy. Malaspina Printmakers - is a printmaking residency located in Vancouver, British Columbia, Canada. MNmore info, here.  Annu Vertanen - is a Finnish printmaker who has used mokuhanga in her work. Annu is currently a professor at the Academy of Fine Arts, University of the Arts Helsinki.  Aspect Guanlan I - 95cm x 65cm  © Popular Wheat Productions Opening and closing musical credit - Bruce Springsteen, Atlantic City (1982). From the album Nebraska (Columbia Records) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***          

Witamy po przerwie prosto z pero.ro - naszego studia podcastowego :)Startujemy z 4. Sezonem, a rozpoczynamy krótkim updatem, co się u nas działo i o najbliższych planach. W drugiej części podcastu opowiadamy o ostatniej podróży do Japonii, na wyspę Shikoku (atrakcje Shikoku top 3!).Już się nie możemy doczekać, by nadawać do Was o Japonii prosto z pero.roZobacz nas na Dniach Japońskich:  https://www.facebook.com/events/929228509314411 P.S. Dorzuć się na kabelki i postaw nam wirtualną kawę: https://btth.pl/kawa

Lauren Roerick is a Canadian adventurer from Southern Alberta who discovered her passion for long-distance hiking in her 30s. After being inspired by a fellow hiker training for the Appalachian Trail, she embarked on the Pacific Crest Trail, igniting a love for thru-hiking. ⁣ Since then, she has tackled challenging routes like the HexaTrek in France and the Te Araroa in New Zealand, embracing a "comfort light" approach to gear. ⁣ Currently based in Vancouver, Lauren works as a set decorator for film and TV while funding her travels through vlogging, guidebooks, and outdoor sponsorships. Her next adventure takes her to Japan, where she and her brother will complete the 1,200-kilometer Shikoku pilgrimage. 

With the big J2 kick-off less than a week away, the JTET team continue with their team-by-team previews of the 2025 season. In this episode, Jon and James begin in Shikoku, discussing newly-promoted Imabari (Start to 09:15), and their rather-more-established prefectural neighbors Ehime (09:15 to 17:20). After that, Tokushima come under the microscope as well (17:20 to 26:40). The boys then hand over to regular contributor Chris Hough to hear all about JEF Chiba's preparations for 2025 (26:40 to 35:50). Staying in Kanto, Jon then sits down with friend-of-the-pod Steve Fryer for an in-depth chat about Omiya's return to the second tier (35:50 to 01:04:30). There's also a bonus discussion with Steve about one of the biggest J.League news stories of the last twelve months: multinational energy drink conglomerate Red Bull's controversial takeover of Omiya (01:04:30 to Finish). Thank you as always to our contributors and listeners, and we hope everyone enjoys the show! *These are the questions that we asked Chris and Steve to think about: 1)     Please tell us about your team's transfer activity over the winter break (major players coming in, major players going out). 2)     Who will be your team's key player in 2025? 3)     What do you think of your team's manager? 4)     Where do you think your team will finish in the 2025 table (head and heart)? 5)     Which team in J2 do you think is going to surprise people this season (could be your team or any other, could be a positive or negative surprise)? Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod Get involved with our JLeague Chat Discord server here: https://discord.gg/p6PVbF9E Follow JTET on Bluesky here: @jtalket.bsky.social

2024 was a special year for Carnival and the Japan-New Orleans connection! Lafcadio Hearn's life & works inspired the theme for Rex Parade 2024: "The Two Worlds of Lafcadio Hearn - New Orleans & Japan". But why Hearn? What went into the float design? What other ways has Hearn left a lasting impact on both New Orleans & Japan? Find out today with a super-sized special Mardi Gras bonus episode, featuring insights from Rex historian/archivist Will French & historian/archivist emeritus Dr. Stephen Hales, Royal Artists float designer/artistic director Caroline Thomas, Lafcadio Hearn's great grandson Bon Koizumi,  legendary chef John Folse, Captain of the Krewe of Lafcadio John Kelly, JSNO's resident Lafcadio Hearn expert Matthew Smith, and even the Mayor of Matsue Akihito Uesada! Get ready for Mardi Gras 2025 by reflecting on this unique connection between New Orleans & Japan!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Music Credits ------Background music provided by: Royalty Free Music by Giorgio Di Campo for Free Sound Music http://freesoundmusic.eu FreeSoundMusic on Youtube  Link to Original Sound Clip------ Audio Clip Credits ------Thanks to Dominic Massa & everyone at WYES for allowing us to use some of the audio from the below Rex Clips:Segment about Royal Artist & Float DesignFull 2024 Rex Ball Coverage (Krewe of Lafcadio/Nicholls State segment)Thanks to Matsue City Hall & Mayor Akihito Uesada for their video message below:Message from Matsue Mayor Akihito Uesada------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Hearn/Matsue/History Episodes ------Foreign-Born Samurai: William Adams ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E17)Foreign-Born Samurai: Yasuke ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E16)Explore Matsue ft. Nicholas McCullough (S4E19)Jokichi Takamine: The Earliest Bridge Between New Orleans & Japan ft. Stephen Lyman (S4E13)The Life & Legacy of Lafcadio Hearn ft. Bon & Shoko Koizumi (S1E9)Matsue & New Orleans: Sister Cities ft. Dr. Samantha Perez (S1E2)------ Links about Rex ------2024 Rex Parade/Float PDF with Full DesignsCaroline Thomas's Website------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

Episode Notes Join our Patreon for early access and bonus episodes and help support the show! Get exclusive Japanese horror merchandise and join the Discord! This week we're heading to the island of Shikoku for a variety of ghosts and yokai of legend, as well as a few modern scares too. BGM thanks to Myuuji, Kevin MacLeod and CO.AG. Sound effects thanks to Free Sound and freeSFX. Licensed under Creative Commons: By Attribution 3.0 License Support Kowabana: 'True' Japanese scary stories from around the internet by contributing to their tip jar: https://tips.pinecast.com/jar/kowabana

This season was a long one! The Krewe re-groups to reflect on Season 5 as a whole, and everything that went into it...  with a SPECIAL GUEST! Join us for one last audio journey in Season 5 as we discuss all the milestones, top moments, challenges, & fun anecdotes, in addition to a look ahead to Season 6 & listener feedback! Let's GO!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

Boundaries have been a hot topic recently, mostly in relation to setting boundaries to protect your own peace. But in the context of recovering from unwanted addictions, boundaries are essential in keeping certain behaviors at bay and staying within a framework that aids in recovery. In this episode, we welcome Taylor Chambers, a licensed marriage and family therapist with extensive experience in treating unwanted pornography use and other mental health issues. Join us as we discuss healthy boundaries to support personal well-being and relationship dynamics. The Power of Community in Pornography Recovery: Download Relay and try it out for free, or learn more at Relay's website. Use code GEOFF1 for 15% off!  Broken trust? Download my FREE video series “The First Steps to Rebuilding Trust”  Join my 12-week program, The Trust Building Bootcamp, to heal your broken relationship. Sign up for our FREE weekly newsletter to stay up-to-date on exciting new announcements!  Download my FREE guide to help you quickly end arguments with your spouse:  Connect with me on social media: INSTAGRAM FACEBOOK Visit http://www.geoffsteurer.com for online courses and other supportive resources. About Geoff Steurer: I am a licensed marriage and family therapist, relationship educator, and coach with over 20 years of experience. I am the co-author of, "Love You, Hate the Porn: Healing a Relationship Damaged by Virtual Infidelity", the host of the weekly podcast, "From Crisis to Connection", and have produced workbooks, audio programs, and online courses helping couples and individuals heal from the impact of sexual betrayal, unwanted pornography use, partner betrayal trauma, and rebuilding broken trust. As a leader in the field, I am a frequent contributor on these subjects at national conferences, documentaries, blogs, magazines, and podcasts. I also write a weekly relationship advice column available on my blog. I founded and ran an outpatient sexual addiction and betrayal trauma recovery group program for over 14 years, co-founded and chaired a local conference to educate community members about harmful media, and founded and administered a specialized group therapy practice for over 10 years. I currently maintain a private counseling and coaching practice in beautiful Southern Utah where I live with my wife and children. About Jody Steurer: Jody has been a strong voice supporting women as co-host of the podcast “Speak Up Sister”. She completed a bachelor's degree in psychology from Brigham Young University and is an ACA certified coach. She runs a small business and has years of experience in corporate training and organization. Jody's most challenging work has been raising her four children (two of which are on the autism spectrum). She loves to do landscape design, paint in watercolor, spend time outdoors, and snow ski. About Taylor Chambers: Taylor Chambers is a licensed marriage and family therapist and sexual health coach with over a decade of experience working with a wide variety of mental health and relationship problems. One of Taylor's areas of speciality is treating unwanted porn use through sex-positive, systemic, and self-development perspectives. He draws from various evidence-based clinical models, spiritual traditions, philosophy, and the humanities to look beyond symptoms, to heal underlying issues, and to renovate worldviews. In his downtime, Taylor dreams up stories he never seems to write and gets outside… sometimes. His happy place is inside any book and the Shikoku pilgrimage is on his bucket list. More than anything, Taylor is a husband and father. His family means the world to him. www.taylorchambers.com

How many original castles does Japan ACTUALLY have standing? Where is Japan's oldest castle located? When counting castles in Japan, do castle ruins factor in? The Krewe is joined by William de Lange, the author of An Encyclopedia of Japanese Castles & many other Japan-related publications, to get the answer to these questions and so many more!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Architecture & History Episodes ------Foreign-Born Samurai: William Adams ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E17)Foreign-Born Samurai: Yasuke ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E16)Change in Urban & Rural Japanese Communities ft. Azby Brown (S5E15)KOJ Podcast S5E6 - Inside Japanese Homes & Architecture ft. Azby Brown (S5E6)Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16)Jokichi Takamine: The Earliest Bridge Between New Orleans & Japan ft. Stephen Lyman (S4E13)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 2] (S2E18)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 1] (S2E17)The Age of Lady Samurai ft. Tomoko Kitagawa (S1E12)------ Links about William de Lange ------An Encyclopedia of Japanese Castles (Amazon)Japan Then & Now (Amazon, Released June 2024)Walking the Edo Sanpu (Amazon, Released August 2024)William's Website------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

If you know me, you'll know that I love economic simulation games. I love trading stocks and shares. It feels great when I buy into someone else's company and ride their success to profit. It feels even better when my own company does well and I can take all the gains for myself, because nobody else believed it would do so well. Add to that my love for playing with toy trains and you can see why I'm in love with 18xx games. So allow me, if you will, to take you on a journey of trains, tracks, stations and shares. Read the full article here: https://tabletopgamesblog.com/2024/10/15/choo-choo-my-friend-from-shikoku-1889-to-1880-china-topic-discussion/ Useful Links Buy, Buy, Buy – my love affair with economic simulation board games: https://tabletopgamesblog.com/2024/02/06/buy-buy-buy-my-love-affair-with-economic-simulation-board-games-topic-discussion/ Dune review: https://tabletopgamesblog.com/2020/02/08/dune-saturday-review/ Oath: Chronicles of Empire and Exile review: https://tabletopgamesblog.com/2021/11/27/oath-chronicles-of-empire-and-exile-saturday-review/ Pax Pamir Second Edition review: https://tabletopgamesblog.com/2022/08/27/pax-pamir-second-edition-saturday-review/ 18xx games: https://tabletopgamesblog.com/tag/18xx-games/ Shikoku 1889 review: https://tabletopgamesblog.com/2024/07/06/shikoku-1889-saturday-review/ 18xx.games: https://18xx.games/ Intro Music: Bomber (Sting) by Riot (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/audiolibrary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) Tivinize by Sascha EndeFree download: https://filmmusic.io/en/song/62-tivinizeLicense (CC BY 4.0): https://filmmusic.io/standard-license If you want to support this podcast financially, please check out the links below: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/tabletopgamesblog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ko-Fi: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/TabletopGamesBlog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tabletopgamesblog.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠

At the center of the circle is Eiko Araki, a master of the Sanuki Kagari Temari, a Japanese traditional craft passed down for more than 1,000 years on the southwestern island of Shikoku. Each ball, or “temari,” is a work of art, with colorful geometric patterns carrying poetic names like “firefly flowers” and “layered stars.” A temari ball takes weeks or months to finish. Some cost hundreds of dollars (tens of thousands of yen), although others are much cheaper. These kaleidoscopic balls aren't for throwing or kicking around. They're destined to be heirlooms, carrying prayers for health and goodness. They might be treasured like a painting or piece of sculpture in a Western home. The concept behind temari is an elegant otherworldliness, an impractical beauty that is also very labor-intensive to create. “Out of nothing, something this beautiful is born, bringing joy,” says Araki. “I want it to be remembered there are beautiful things in this world that can only be made by hand.” The region where temari originated was good for growing cotton, warm with little rainfall, and the spherical creations continue to be made out of the humble material. These days, temari is getting some new recognition, among Japanese and foreigners as well. Caroline Kennedy took lessons in ball-making when she was United States Ambassador to Japan a decade ago. Araki has come up with some newer designs that feel both modern and historical. She is trying to make the balls more accessible to everyday life—for instance, as Christmas tree ornaments. A strap with a dangling miniature ball, though quite hard to make because of its size, is affordable at about 1,500 yen ($10) each. Today, only several dozen people, all women, can make the temari balls to traditional standards. “The most challenging aspect is nurturing successors. It typically takes over 10 years to train them, so you need people who are willing to continue the craft for a very long time,” Araki said. “When people start to feel joy along with the hardship that comes with making temari, they tend to keep going.” This article was provided by The Associated Press.

This one goes out to all the ladies out there... well, and the fellas too if you're interested! The Krewe sits down with avid shojo enthusiast Taryn of Manga Lela Instagram/TikTok fame to talk all things shojo. Together they explore the variety of shojo genres, some challenges faced in the shojo industry, & what makes shojo different from those rambunctious shonen titles! Don't miss out!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Anime/Manga/Pop Culture Episodes ------The Japanese Pop Music Scene ft. Patrick St. Michel (S5E10)Akira Toriyama: Legacy of a Legend ft. Matt Alt (S5E3)The History & Evolution of Godzilla ft. Dr. William (Bill) Tsutsui (S5E1)Thoughts on Godzilla Minus One ft. Dr. William (Bill) Tsutsui (S4Bonus)The History of Nintendo ft. Matt Alt (S4E18)Visiting Themed Cafes in Japan ft. Chris Nilghe of TDR Explorer (S4E15)Japanese Mascot Mania ft. Chris Carlier of Mondo Mascots (S4E8)Tokusatsu Talk with a Super Sentai ft. Sotaro Yasuda aka GekiChopper (S4E6)The Evolution of PokéMania ft Daniel Dockery [Part 2] (S4E3)The Evolution of PokéMania ft Daniel Dockery [Part 1] (S4E2)Japanese Independent Film Industry ft. Award Winning Director Eiji Uchida (S3E18)City Pop & Yu ft. Yu Hayami (S3E14)How Marvel Comics Changed Tokusatsu & Japan Forever ft Gene & Ted Pelc (Guest Host, Matt Alt) (S3E13)Talking Shonen Anime Series ft. Kyle Hebert (S3E10)Japanese Pro Wrestling ft. Baliyan Akki (Part 2) (S3E6)Japanese Pro Wrestling ft. Baliyan Akki (Part 1) (S3E5)Exploring Enka ft. Jerome White Jr aka ジェロ / Jero (S3E1)Japanese Arcades (S2E16)How to Watch Anime: Subbed vs. Dubbed ft. Dan Woren (S2E9)Japanese Theme Parks ft. TDR Explorer (S2E4)Manga: Literature & An Art Form ft. Danica Davidson (S2E3)The Fantastical World of Studio Ghibli ft. Steve Alpert (S2E1)The Greatest Anime of All Time Pt. 3: Modern Day Anime  (2010's-Present) (S1E18)The Greatest Anime of All Time Pt. 2: The Golden Age  (1990's-2010's) (S1E16)The Greatest Anime of All Time Pt. 1: Nostalgia (60's-80's) (S1E5)We Love Pokemon: Celebrating 25 Years (S1E3)Why Japan ft. Matt Alt (S1E1)------ Links about Taryn/Manga Lela------Taryn's LinksTaryn on TikTokTaryn on InstagramTaryn on Twitter/X------ JSNO Upcoming Events ------JSNO Event CalendarJapan Fest Sign-UpJSNO Annual Meeting RegistrationJoin JSNO Today!

When developing a business centered around Japanese prints, there are many factors to consider: the audience, the history, and how you want to be perceived by the public. The appeal of the Japanese aesthetic, along with your own personal aesthetic and brand identity, can also be just as important to your business. On this episode of The Unfinished Print, I speak with Malene Wagner, a gallerist, curator, writer, and art historian whose business operates under the name Tiger Tanuki. Malene shares her passion for collecting and selling Japanese prints, and we explore the European perspective on Japanese prints and printmaking. We also dive into Japanese aesthetics and how they are interpreted through a Western lens. Additionally, Malene discusses how these aesthetics influence her brand, Tiger Tanuki, the role history plays in shaping her business, and her upcoming book. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Malene Wagner & Tiger Tanuki - Instagram, website ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century.  Uniqlo -  a Japanese clothing brand known for its affordable, minimalist, and high-quality everyday wear. It focuses on functional designs, using innovative fabrics like Heattech for warmth and AIRism for breathability. Uniqlo is popular worldwide for offering essential wardrobe staples and often collaborates with well-known designers and artists to create unique collections. Clear Day With A Southern Breeze (1831) is a print usually known as "Red Fuji." From the series Thirty Six Views of Mt. Fuji this print was actually pink, red was used in later impressions by publisher Nishimuraya Yohachi.  The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous.  Yayoi Kusama -  is a pioneering Japanese artist known for her immersive installations and polka dot motifs that explore themes of infinity, identity, and mental health. Born in 1929 in Matsumoto, Japan, Kusama began her artistic journey through painting and avant-garde practices, eventually moving to New York in the late 1950s, where she became a key figure in the pop art and feminist movements. Her works, range from large-scale installations like the "Infinity Mirror Rooms" to her vibrant sculptures and paintings. Kusama's art is a deeply personal expression of her own experiences with mental illness, transforming her obsessions into stunning visual experiences that resonate globally. Today, she is celebrated as one of the most influential contemporary artists, with exhibitions and installations that captivate audiences worldwide. From "Life Is The Heart of A Rainbow", Installation (2017) MANGA - was an exhibition from May 23 - August 26, 2019 held at the British Museum in London, England.  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Tomoo Inagaki (1902-1980) - introduced to mokuhanga by Onchi Kōshirō and Un'cihi Hiratsuka in 1923. Beginning in 1924, Inagaki published his first prints in magazines such as Shi to hanga (issue 13), Hanga (issues 6, 9/10, 11, 14), and Kitsutsuki, and exhibited with the Nihon Sôsaku-Hanga Kyôkai (Japan Creative Print Association). He became a member of the Nihon Hanga Kyôkai (Japan Print Association) in 1932 and participated in various post-war international competitions, including the Paris, Tokyo, and Lugano biennales. His cat prints have been highly collectible. More info can be found at Viewing Japanese Prints, here. The Rival Cats - 18" x 24" (1960's - 1970's) Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Frances Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Japanese Bath (1937) - 11 7/8" x 9 5/8 " Yoshitomo Nara - is a renowned Japanese contemporary artist and is celebrated for his distinctive paintings and sculptures featuring figures with large heads and expressive eyes, often exploring themes of innocence, rebellion, and solitude.  Change The History (2007) acrylic on wood 74-7/16" × 55-1/2" × 3-1/8" Mingei - is a Japanese term that translates to "folk craft" or "people's art." It refers to a movement that emerged in the early 20th century, emphasizing the value and beauty of traditional, handmade crafts created by anonymous artisans. Mingei focuses on everyday objects, such as pottery, textiles, furniture, and utensils, that reflect the culture and daily life of the people who made them. Lawrin Smith - is the author of the book "The Prints of Yoshitoshi: A Complete Illustrated Catalog" (2009). This comprehensive catalog focuses on the works of Tsukioka Yoshitoshi. The book provides detailed descriptions and illustrations of Yoshitoshi's prints, showcasing his significant contributions to the ukiyo-e genre and his influence on modern printmaking. Wabi-sabi is a Japanese aesthetic philosophy that celebrates the beauty of imperfection, transience, and the natural cycle of life. It combines two concepts: "wabi," which refers to rustic simplicity and tranquility found in nature, and "sabi,"which denotes the beauty that comes with age and wear. Wabi-sabi values simplicity, asymmetry, and the unique characteristics of objects and experiences, encouraging appreciation for the impermanent and humble aspects of life. This philosophy is reflected in various forms of art, architecture, and design, emphasizing natural materials and handcrafted items, and fostering mindfulness and acceptance of the imperfections that make life beautiful. A-yo - is a renowned Japanese artist associated with the Gutai Art Association, an avant-garde group that emerged in post-war Japan. Known for his vibrant colors and distinctive style, Ay-O's work often incorporates elements of nature, light, and movement, reflecting themes of playfulness and spontaneity. He engages with materials in innovative ways and has explored performance art as part of his creative expression. With extensive exhibitions both in Japan and internationally, Ay-O has made significant contributions to contemporary art, emphasizing the joy of creation and the aesthetic experience. Marcel Duchamp (1887–1968) was a French-American artist and a key figure in modern art, known for his significant influence on the Dada movement and conceptual art. He initially trained as a painter but became renowned for challenging traditional notions of art through his controversial works, such as "Fountain"(1917), a readymade sculpture of a urinal that questioned the definition of art and the role of the artist. Duchamp's other notable pieces, including "The Large Glass" (1915–1923) and "Bicycle Wheel" (1913), explored themes of chance and perception. His innovative ideas about art as a conceptual experience rather than a purely visual one continue to resonate, solidifying his status as one of the most influential artists of the 20th century.   Fountain (1917) replica (1964)   Naoko Matsubara - is a contemporary Japanese printmaker known for her expertise in mokuhanga. Born in Osaka, she studied at Kyoto Seika University, where she specialized in printmaking and mastered the techniques of this ancient art form. Matsubara's work often blends traditional methods with contemporary themes, exploring the relationship between nature, culture, and identity. Her prints are characterized by intricate details, vibrant colors, and a deep appreciation for the materials and techniques involved in woodblock printing. She teaches and promotes mokuhanga both in Japan and abroad, exhibiting her work in galleries and museums worldwide and receiving numerous awards for her contributions to the field. Naoko's interview with The Unfinished Print can be found, here.    Gihachiro Okuyama (1907-1981) - was a prominent Japanese printmaker and painter associated with the sōsaku hanga (creative prints) movement. Born in Tokyo, he studied traditional Japanese painting and was influenced by Western art styles, leading to innovative woodblock prints characterized by bold colors and dynamic compositions that blend traditional aesthetics with modern elements. Throughout his career, Okuyama exhibited extensively in Japan and internationally, contributing significantly to contemporary printmaking while also playing a vital role in art education by sharing his expertise with future generations. His work reflects a deep engagement with the cultural exchanges between East and West during the post-war period.     Moonscape - 10" x 21"   Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.   Prince Rokuson Tsunemoto from Suikoden of Japanese Heroes (1843) 10" x 7"    Utagawa Kunisada III (1848–1920) - was a ukiyo-e print designer from the Utagawa school of mokuhanga. Kunisada III's print designs were designed during the transformation of the Edo Period (1603-1868) into the Meiji Period (1868-1912) of Japanese history, where his prints showed the technological, architectural and historical changes in Japan's history.    Kabuki Plays - Narukami and Princess Toki (ca. 1890's) triptych   Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.    Dog, Daschund 2 10" x 15"   Edvard Munch (1863-1944) - was a Norweigan artist, who initially was a painter, but also ventured into printmaking making 850 images. His print medium was etching, lithography, and woodcut. More information can be found here, at Christie's.      Anxiety (1894)   Pieter Cornelius Mondrian (1872-1944) - a Dutch artist who's work helped found De Stijl in 1917, a group of Dutch painters who helped codify Mondrian's abstraction and industrial design. Mondrian has a wide spectrum of works and styles created throughout his career. More information can be found, here from the Guggenheim.   Mill in Sunlight (1908). Credit: Kunstmuseum Den Haag, The Hague, The Netherlands © 2021 Mondrian/Holtzman Trust   Shunga - meaning "spring pictures," is a genre of Japanese erotic art that flourished during the Edo period (1603–1868), characterized by woodblock prints, paintings, and illustrated books depicting explicit sexual scenes often combined with humor, romance, and social commentary. Notable for its vibrant colors and intricate details, shunga explores themes of intimacy and sexuality, serving both as entertainment and education in a culture where such topics were often taboo. The genre reflects societal attitudes toward love and relationships and has a rich history despite facing censorship at various times. Today, shunga is recognized as a significant part of Japanese art history, appreciated for its aesthetic qualities and cultural context. Paul Binnie - Candlelight (1994) kappazuri print 24" x 18"  Tosa Prefecture - historically known as Tosa Province, is located in the southern part of Shikoku, Japan, and corresponds to present-day Kochi Prefecture. Renowned for its natural beauty, including mountains, rivers, and coastal landscapes, Tosa has a rich cultural heritage that includes traditional crafts like Tosa washi (handmade paper) and Tosa pottery. The region is famous for its vibrant festivals, such as the Yosakoi Festival, which features lively dance performances, and is known for its agricultural products, particularly citrus fruits like yuzu and sudachi, along with seafood. Kochi City, the capital of Kochi Prefecture, serves as the cultural and economic center, showcasing local cuisine, historical sites, and museums. Tosa's unique blend of natural scenery, traditional crafts, and cultural events contributes to its significance within Japan. © Popular Wheat Productions opening and closing credit - I Am Pentagon by the band Make Up from their album Save Yourself (1999) released by K Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

Ivo Tšetõrkin, Merike Villard

Shikoku on Jaapani neljast suurest saarest väikseim - ning jääb ka turismi mõttes "peavoolust" veidi kõrvale.

Historians Nathan Ledbetter & Dr. Samantha Perez rejoin the Krewe to continue our conversation on foreign-born samurai, this time highlighting the life of William Adams! In this episode, we explore his relationships with both Japanese & non-Japanese while in Japan, the similarities between William Adams's story & House of the Dragon (what?!), how he was a big inspiration for James Clavell's classic novel (and the adaptations) Shogun... AND SO MUCH MORE!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ History Episodes ------Foreign-Born Samurai: Yasuke ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E16)Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16)Jokichi Takamine: The Earliest Bridge Between New Orleans & Japan ft. Stephen Lyman (S4E13)How Marvel Comics Changed Tokusatsu & Japan Forever ft Gene & Ted Pelc (Guest Host, Matt Alt) (S3E13)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 2] (S2E18)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 1] (S2E17)The Age of Lady Samurai ft. Tomoko Kitagawa (S1E12)The Life & Legacy of Lafcadio Hearn ft. Bon & Shoko Koizumi (S1E9)------ Links about Nate ------Ubisoft's Echoes of History "Japan's First Unifier: Oda Nobunaga"Ubisoft's Echoes of History "Samurai vs Shinobi: The Tensho Iga War"Nate on BlueSky------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

The journey of an artist is a winding one. You make the decision to start, not knowing where it will take you. Over time, if you're fortunate, you build a career from your work while gaining the freedom to explore new forms of expression, with each project becoming an important and affirming part of that journey.   In this episode of The Unfinished Print, I speak with Mariko Jesse, a professional illustrator who has integrated mokuhanga into her artistic practice. Mariko draws inspiration from her life experiences, sharing insights on her family and travels. We discuss how living in San Francisco, Hong Kong, and Japan has shaped her outlook and creative process. Mariko also reflects on her involvement with MI Lab, now based in Echizen, Japan, as well travelling to the International Mokuhanga Conference in April 2024.  Finally, we explore Mariko's collaborations with The Mokuhanga Sisters and wood+paper+box, and how these partnerships shape her own artistic practice. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.   Mariko Jesse - website, Instagram   Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here.    Yoonmi Nam - is a contemporary mokuhanga printmaker, lithographer, sculptor, and teacher, based in Lawrence, Kansas. Her work can be found, here. Her interview with The Unfinished Print can be found, here.   From Yoonmi Nam's exhibition Among Other Things, as seen at The University at Buffalo Art Gallery, Buffalo, NY (2024) photo by me.    Katie Baldwin -  is a contemporary mokuhanga printmaker, illustrator, book maker, and artist based in Huntsville, Alabama.  Her work can be found, here. Her interview with The Unfinished Print can be found, here.    Looking For Different Places to Call Home, from the series Family Tree (2004) 18"x14" mokuhanga and letterpress   Ralph Kiggell (1960-2022) -  was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print can be found, here.   Leaf Change   linocut -A linocut is a relief or block print type, similar to woodblock printing. The artist carves an image into a linoleum block, printing what's left.    Central Saint Martins - is a renowned art and design college in London, formed in 1989 through the merger of St Martin's School of Art and the Central School of Art and Crafts, both known for their innovative, hands-on teaching methods. It later integrated the Drama Centre London and the Byam Shaw School of Art.  Central Saint Martins continues its tradition of radical art and design education while adapting to modern shifts in its disciplines and teaching approaches.   intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.     Into The Garden (mokuhanga printed book)   cat + jug (etching)       A4 paper size - is a size of paper from the ISO 216 standard, with the dimensions of 210x297 mm.    Summer Blooms (2021)     MI Lab - is a mokuhanga residency located in Echizen, Fukui, Japan. More info can be found, here.    The Mokuhanga Sisters - are a mokuhanga collective consisting of Yoonmi Nam, Mariko Jesse, Lucy May Schofield, Melissa Schulenberg, Kate MacDonagh, Katie Baldwin, Mia-O, Patty Hudak, and Natasha Norman. Instagram   Masaban - was the exhibition held at the Udatsu Paper Museum in Echizen, Fukui, Japan in April, 2024. More info can be found, here.  Udatsu Paper & Craft Museum - is a museum dedicated to washi and its history. More information can be found, here.  gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints.  Paul Binnie - Travels with the Master: New York Night T/P 11 3/8" by 8 1/8" Awaji Island - located in the Seto Inland Sea of Japan, has a rich history that dates back to ancient times. It is considered the birthplace of Japan in the *Kojiki* (Records of Ancient Matters), as the first island created by the gods Izanagi and Izanami in Japanese mythology. Historically, Awaji was a strategic point for maritime trade and travel, linking the Kansai region with Shikoku and Kyushu. During the Edo period, it was part of Tokushima Domain under the rule of the Hachisuka clan. Today, Awaji is known for its natural beauty, traditional industries like Awaji Ningyo Joruri (puppet theater), and as the site of the Akashi Kaikyō Bridge, the world's longest suspension bridge, connecting it to mainland Japan. 弁  - is the Chinese character for ben, "dialect." Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here.  sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used. Gotō Hidehiko - is a mokuhanga printmaker and baren maker based in Tōkyō, Japan. You can order baren from him, here.  Terry McKenna -  is a mokuhanga printmaker and teacher residing in Karuizawa, Japan. He received guidance in the art form from Richard Steiner, a prominent mokuhanga printmaker based in Kyoto. Terry established the Karuizawa Mokuhanga School, a renowned residency dedicated to mokuhanga education, located in Karuizawa, Japan.  For further details about Terry and his school, here. Additionally, you can listen to Terry's interview with The Unfinished Print, here and Richard Steiner's interview here.  The Western Sky (22.4"x9") 2022 Lucy May Schofield - is a printmaker, photographer, and scroll maker (kakemono, 掛物) and is based in England. More information cane found on Lucy's website, and  Instagram. Lucy's interview with The Unfinished Print can be found, here.  The Last Light series (cyanotype) 2016 Tiffany & Co. - is a luxury jewelry and specialty retailer founded in 1837 in New York City. Known for its iconic blue boxes and high-quality craftsmanship, Tiffany's specializes in fine jewelry, particularly diamond engagement rings, as well as silver, watches, and luxury accessories. Over the years, it has become a symbol of elegance, style, and timeless sophistication. The brand is also known for its collaborations with renowned designers and its presence in popular culture. wood+paper+box - is a collaborative art group made up of Katie Baldwin, Mariko Jesse, and Yoonmi Nam. It is based on their experiences at Nagasawa Art Park, the precursor of MI Lab.  mica - in mokuhanga, mica (kirazuri) is used to add a shimmering, reflective effect to prints. Mica powder is typically mixed with glue and applied to the surface of the print in areas where a subtle sparkle or luminous texture is desired, often to highlight details such as clothing, water, or the sky. This technique gives the print a luxurious quality and enhances the visual depth. Historically, mica was used in ukiyo-e prints to elevate the status of the work, and it continues to be used by contemporary printmakers for its unique aesthetic appeal. © Popular Wheat Productions opening and closing credit - sounds of the Sumida River 2024  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                      

We interview the awesome ‪@bitsii‬ (Bethany Nakamura) on what life is really like in an old "kominka" (traditional Japanese farmstead), deep in Shikoku's rural countryside - what are the challenges, both physical and mental? What are the locals like? How to deal with Japanese social hierarchies? Who is this lifestyle suitable for (or not)? Is it all worth it? Tune in for one of our best interviews yet!

In Japan, a country popularly perceived as highly secularized and technologically advanced, ontological assumptions about spirits (tama or tamashii) seem to be quite deeply ingrained in the cultural fabric. From ancestor cults to anime, spirits, ghosts, and other invisible dimensions of reality appear to be pervasive. In Spirits and Animism in Contemporary Japan (Bloomsbury Academic, 2019), international scholars from various backgrounds consider together this “invisible empire” and highlight the “agency of the intangible.” The contributors of this edited volume approach spirits and animism in contemporary Japan from diverse perspectives. Satō Hiroo opens the book with a chapter on the transformation in Japanese visions of the afterlife, the status of the dead, and regional traditions of memorialization. Andrea De Antoni looks further into the ontology of spirits via an investigation into recent cases of spirit possession (tsuki, hyōi) that is treated at the Kenmi Shrine in Shikoku. Jason Josephson-Storm traces both the European and Japanese genealogies of theorizing “primitive” civilizations and their beliefs in spirits, magic, and an animated nature. In Fabio Rambelli's chapter, a unique type of epistemological system for understanding the existence of spirits is introduced: Minataka Kumagusu's “Minakata mandala,” which involves Buddhist philosophy, Western science, and an awareness of the Japanese folk tradition all at the same time. In Ellen Van Goethem's chapter, she explores how and why there were widespread assumptions about how the city of Kyoto was animated by invisible agencies such as guardian spirits and the flow of qi (Jp. Ki). Carina Roth continues the discussion on enchanted landscapes by drawing our attention to “power spots” (pawā supotto) and “healing” forests as recent developments in contemporary Japanese religiosity. Focusing on the role of media in the public perceptions of new religious movements (NRMs) and their animistic positions, Ioannis Gaitanidis shows how the media paradoxically both helps to normalize animism as part of “traditional” Japanese culture while chastising animistic NRM's egregious behaviors. Concerning spirits in modern Japanese fiction, another type of powerful media in contemporary Japanese society, Rebecca Suter identifies in her chapter a “fantastic hesitation” that authors take on, which opens doors to the “undecidability of reality” that seems to be a main gateway to the spirit world. Centering on the media arts scene in Japan, Mauro Arrighi in his chapter highlights how animism serves as one of the main creative sources for contemporary artists. Then, Jolyon Thomas turns our focus to anime and their depictions of humanity's connection with nature. In doing so, he invites us to reflect on the term “animism” and how the spirits of anime are really rooted in late capitalist modernity with its attendant pleasures and woes. In the closing chapter, Andrea Castiglioni points out a growing tendency in recent Japanese films to focus on violent spirit entities (araburugami), rather than benign figures. He argues that this perhaps is related to the emergence of a new kind of national identity for Japan as a country that is uniquely able to control the unpredictability of nature and malignant invisible agencies. In this podcast episode, I spoke with the editor of this edited volume, Dr. Fabio Rambelli. Fabio Rambelli is a professor in the Department of Religious Studies at the University of California, Santa Barbara. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Japan, a country popularly perceived as highly secularized and technologically advanced, ontological assumptions about spirits (tama or tamashii) seem to be quite deeply ingrained in the cultural fabric. From ancestor cults to anime, spirits, ghosts, and other invisible dimensions of reality appear to be pervasive. In Spirits and Animism in Contemporary Japan (Bloomsbury Academic, 2019), international scholars from various backgrounds consider together this “invisible empire” and highlight the “agency of the intangible.” The contributors of this edited volume approach spirits and animism in contemporary Japan from diverse perspectives. Satō Hiroo opens the book with a chapter on the transformation in Japanese visions of the afterlife, the status of the dead, and regional traditions of memorialization. Andrea De Antoni looks further into the ontology of spirits via an investigation into recent cases of spirit possession (tsuki, hyōi) that is treated at the Kenmi Shrine in Shikoku. Jason Josephson-Storm traces both the European and Japanese genealogies of theorizing “primitive” civilizations and their beliefs in spirits, magic, and an animated nature. In Fabio Rambelli's chapter, a unique type of epistemological system for understanding the existence of spirits is introduced: Minataka Kumagusu's “Minakata mandala,” which involves Buddhist philosophy, Western science, and an awareness of the Japanese folk tradition all at the same time. In Ellen Van Goethem's chapter, she explores how and why there were widespread assumptions about how the city of Kyoto was animated by invisible agencies such as guardian spirits and the flow of qi (Jp. Ki). Carina Roth continues the discussion on enchanted landscapes by drawing our attention to “power spots” (pawā supotto) and “healing” forests as recent developments in contemporary Japanese religiosity. Focusing on the role of media in the public perceptions of new religious movements (NRMs) and their animistic positions, Ioannis Gaitanidis shows how the media paradoxically both helps to normalize animism as part of “traditional” Japanese culture while chastising animistic NRM's egregious behaviors. Concerning spirits in modern Japanese fiction, another type of powerful media in contemporary Japanese society, Rebecca Suter identifies in her chapter a “fantastic hesitation” that authors take on, which opens doors to the “undecidability of reality” that seems to be a main gateway to the spirit world. Centering on the media arts scene in Japan, Mauro Arrighi in his chapter highlights how animism serves as one of the main creative sources for contemporary artists. Then, Jolyon Thomas turns our focus to anime and their depictions of humanity's connection with nature. In doing so, he invites us to reflect on the term “animism” and how the spirits of anime are really rooted in late capitalist modernity with its attendant pleasures and woes. In the closing chapter, Andrea Castiglioni points out a growing tendency in recent Japanese films to focus on violent spirit entities (araburugami), rather than benign figures. He argues that this perhaps is related to the emergence of a new kind of national identity for Japan as a country that is uniquely able to control the unpredictability of nature and malignant invisible agencies. In this podcast episode, I spoke with the editor of this edited volume, Dr. Fabio Rambelli. Fabio Rambelli is a professor in the Department of Religious Studies at the University of California, Santa Barbara. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

In Japan, a country popularly perceived as highly secularized and technologically advanced, ontological assumptions about spirits (tama or tamashii) seem to be quite deeply ingrained in the cultural fabric. From ancestor cults to anime, spirits, ghosts, and other invisible dimensions of reality appear to be pervasive. In Spirits and Animism in Contemporary Japan (Bloomsbury Academic, 2019), international scholars from various backgrounds consider together this “invisible empire” and highlight the “agency of the intangible.” The contributors of this edited volume approach spirits and animism in contemporary Japan from diverse perspectives. Satō Hiroo opens the book with a chapter on the transformation in Japanese visions of the afterlife, the status of the dead, and regional traditions of memorialization. Andrea De Antoni looks further into the ontology of spirits via an investigation into recent cases of spirit possession (tsuki, hyōi) that is treated at the Kenmi Shrine in Shikoku. Jason Josephson-Storm traces both the European and Japanese genealogies of theorizing “primitive” civilizations and their beliefs in spirits, magic, and an animated nature. In Fabio Rambelli's chapter, a unique type of epistemological system for understanding the existence of spirits is introduced: Minataka Kumagusu's “Minakata mandala,” which involves Buddhist philosophy, Western science, and an awareness of the Japanese folk tradition all at the same time. In Ellen Van Goethem's chapter, she explores how and why there were widespread assumptions about how the city of Kyoto was animated by invisible agencies such as guardian spirits and the flow of qi (Jp. Ki). Carina Roth continues the discussion on enchanted landscapes by drawing our attention to “power spots” (pawā supotto) and “healing” forests as recent developments in contemporary Japanese religiosity. Focusing on the role of media in the public perceptions of new religious movements (NRMs) and their animistic positions, Ioannis Gaitanidis shows how the media paradoxically both helps to normalize animism as part of “traditional” Japanese culture while chastising animistic NRM's egregious behaviors. Concerning spirits in modern Japanese fiction, another type of powerful media in contemporary Japanese society, Rebecca Suter identifies in her chapter a “fantastic hesitation” that authors take on, which opens doors to the “undecidability of reality” that seems to be a main gateway to the spirit world. Centering on the media arts scene in Japan, Mauro Arrighi in his chapter highlights how animism serves as one of the main creative sources for contemporary artists. Then, Jolyon Thomas turns our focus to anime and their depictions of humanity's connection with nature. In doing so, he invites us to reflect on the term “animism” and how the spirits of anime are really rooted in late capitalist modernity with its attendant pleasures and woes. In the closing chapter, Andrea Castiglioni points out a growing tendency in recent Japanese films to focus on violent spirit entities (araburugami), rather than benign figures. He argues that this perhaps is related to the emergence of a new kind of national identity for Japan as a country that is uniquely able to control the unpredictability of nature and malignant invisible agencies. In this podcast episode, I spoke with the editor of this edited volume, Dr. Fabio Rambelli. Fabio Rambelli is a professor in the Department of Religious Studies at the University of California, Santa Barbara. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In Japan, a country popularly perceived as highly secularized and technologically advanced, ontological assumptions about spirits (tama or tamashii) seem to be quite deeply ingrained in the cultural fabric. From ancestor cults to anime, spirits, ghosts, and other invisible dimensions of reality appear to be pervasive. In Spirits and Animism in Contemporary Japan (Bloomsbury Academic, 2019), international scholars from various backgrounds consider together this “invisible empire” and highlight the “agency of the intangible.” The contributors of this edited volume approach spirits and animism in contemporary Japan from diverse perspectives. Satō Hiroo opens the book with a chapter on the transformation in Japanese visions of the afterlife, the status of the dead, and regional traditions of memorialization. Andrea De Antoni looks further into the ontology of spirits via an investigation into recent cases of spirit possession (tsuki, hyōi) that is treated at the Kenmi Shrine in Shikoku. Jason Josephson-Storm traces both the European and Japanese genealogies of theorizing “primitive” civilizations and their beliefs in spirits, magic, and an animated nature. In Fabio Rambelli's chapter, a unique type of epistemological system for understanding the existence of spirits is introduced: Minataka Kumagusu's “Minakata mandala,” which involves Buddhist philosophy, Western science, and an awareness of the Japanese folk tradition all at the same time. In Ellen Van Goethem's chapter, she explores how and why there were widespread assumptions about how the city of Kyoto was animated by invisible agencies such as guardian spirits and the flow of qi (Jp. Ki). Carina Roth continues the discussion on enchanted landscapes by drawing our attention to “power spots” (pawā supotto) and “healing” forests as recent developments in contemporary Japanese religiosity. Focusing on the role of media in the public perceptions of new religious movements (NRMs) and their animistic positions, Ioannis Gaitanidis shows how the media paradoxically both helps to normalize animism as part of “traditional” Japanese culture while chastising animistic NRM's egregious behaviors. Concerning spirits in modern Japanese fiction, another type of powerful media in contemporary Japanese society, Rebecca Suter identifies in her chapter a “fantastic hesitation” that authors take on, which opens doors to the “undecidability of reality” that seems to be a main gateway to the spirit world. Centering on the media arts scene in Japan, Mauro Arrighi in his chapter highlights how animism serves as one of the main creative sources for contemporary artists. Then, Jolyon Thomas turns our focus to anime and their depictions of humanity's connection with nature. In doing so, he invites us to reflect on the term “animism” and how the spirits of anime are really rooted in late capitalist modernity with its attendant pleasures and woes. In the closing chapter, Andrea Castiglioni points out a growing tendency in recent Japanese films to focus on violent spirit entities (araburugami), rather than benign figures. He argues that this perhaps is related to the emergence of a new kind of national identity for Japan as a country that is uniquely able to control the unpredictability of nature and malignant invisible agencies. In this podcast episode, I spoke with the editor of this edited volume, Dr. Fabio Rambelli. Fabio Rambelli is a professor in the Department of Religious Studies at the University of California, Santa Barbara. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In Japan, a country popularly perceived as highly secularized and technologically advanced, ontological assumptions about spirits (tama or tamashii) seem to be quite deeply ingrained in the cultural fabric. From ancestor cults to anime, spirits, ghosts, and other invisible dimensions of reality appear to be pervasive. In Spirits and Animism in Contemporary Japan (Bloomsbury Academic, 2019), international scholars from various backgrounds consider together this “invisible empire” and highlight the “agency of the intangible.” The contributors of this edited volume approach spirits and animism in contemporary Japan from diverse perspectives. Satō Hiroo opens the book with a chapter on the transformation in Japanese visions of the afterlife, the status of the dead, and regional traditions of memorialization. Andrea De Antoni looks further into the ontology of spirits via an investigation into recent cases of spirit possession (tsuki, hyōi) that is treated at the Kenmi Shrine in Shikoku. Jason Josephson-Storm traces both the European and Japanese genealogies of theorizing “primitive” civilizations and their beliefs in spirits, magic, and an animated nature. In Fabio Rambelli's chapter, a unique type of epistemological system for understanding the existence of spirits is introduced: Minataka Kumagusu's “Minakata mandala,” which involves Buddhist philosophy, Western science, and an awareness of the Japanese folk tradition all at the same time. In Ellen Van Goethem's chapter, she explores how and why there were widespread assumptions about how the city of Kyoto was animated by invisible agencies such as guardian spirits and the flow of qi (Jp. Ki). Carina Roth continues the discussion on enchanted landscapes by drawing our attention to “power spots” (pawā supotto) and “healing” forests as recent developments in contemporary Japanese religiosity. Focusing on the role of media in the public perceptions of new religious movements (NRMs) and their animistic positions, Ioannis Gaitanidis shows how the media paradoxically both helps to normalize animism as part of “traditional” Japanese culture while chastising animistic NRM's egregious behaviors. Concerning spirits in modern Japanese fiction, another type of powerful media in contemporary Japanese society, Rebecca Suter identifies in her chapter a “fantastic hesitation” that authors take on, which opens doors to the “undecidability of reality” that seems to be a main gateway to the spirit world. Centering on the media arts scene in Japan, Mauro Arrighi in his chapter highlights how animism serves as one of the main creative sources for contemporary artists. Then, Jolyon Thomas turns our focus to anime and their depictions of humanity's connection with nature. In doing so, he invites us to reflect on the term “animism” and how the spirits of anime are really rooted in late capitalist modernity with its attendant pleasures and woes. In the closing chapter, Andrea Castiglioni points out a growing tendency in recent Japanese films to focus on violent spirit entities (araburugami), rather than benign figures. He argues that this perhaps is related to the emergence of a new kind of national identity for Japan as a country that is uniquely able to control the unpredictability of nature and malignant invisible agencies. In this podcast episode, I spoke with the editor of this edited volume, Dr. Fabio Rambelli. Fabio Rambelli is a professor in the Department of Religious Studies at the University of California, Santa Barbara. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

In Japan, a country popularly perceived as highly secularized and technologically advanced, ontological assumptions about spirits (tama or tamashii) seem to be quite deeply ingrained in the cultural fabric. From ancestor cults to anime, spirits, ghosts, and other invisible dimensions of reality appear to be pervasive. In Spirits and Animism in Contemporary Japan (Bloomsbury Academic, 2019), international scholars from various backgrounds consider together this “invisible empire” and highlight the “agency of the intangible.” The contributors of this edited volume approach spirits and animism in contemporary Japan from diverse perspectives. Satō Hiroo opens the book with a chapter on the transformation in Japanese visions of the afterlife, the status of the dead, and regional traditions of memorialization. Andrea De Antoni looks further into the ontology of spirits via an investigation into recent cases of spirit possession (tsuki, hyōi) that is treated at the Kenmi Shrine in Shikoku. Jason Josephson-Storm traces both the European and Japanese genealogies of theorizing “primitive” civilizations and their beliefs in spirits, magic, and an animated nature. In Fabio Rambelli's chapter, a unique type of epistemological system for understanding the existence of spirits is introduced: Minataka Kumagusu's “Minakata mandala,” which involves Buddhist philosophy, Western science, and an awareness of the Japanese folk tradition all at the same time. In Ellen Van Goethem's chapter, she explores how and why there were widespread assumptions about how the city of Kyoto was animated by invisible agencies such as guardian spirits and the flow of qi (Jp. Ki). Carina Roth continues the discussion on enchanted landscapes by drawing our attention to “power spots” (pawā supotto) and “healing” forests as recent developments in contemporary Japanese religiosity. Focusing on the role of media in the public perceptions of new religious movements (NRMs) and their animistic positions, Ioannis Gaitanidis shows how the media paradoxically both helps to normalize animism as part of “traditional” Japanese culture while chastising animistic NRM's egregious behaviors. Concerning spirits in modern Japanese fiction, another type of powerful media in contemporary Japanese society, Rebecca Suter identifies in her chapter a “fantastic hesitation” that authors take on, which opens doors to the “undecidability of reality” that seems to be a main gateway to the spirit world. Centering on the media arts scene in Japan, Mauro Arrighi in his chapter highlights how animism serves as one of the main creative sources for contemporary artists. Then, Jolyon Thomas turns our focus to anime and their depictions of humanity's connection with nature. In doing so, he invites us to reflect on the term “animism” and how the spirits of anime are really rooted in late capitalist modernity with its attendant pleasures and woes. In the closing chapter, Andrea Castiglioni points out a growing tendency in recent Japanese films to focus on violent spirit entities (araburugami), rather than benign figures. He argues that this perhaps is related to the emergence of a new kind of national identity for Japan as a country that is uniquely able to control the unpredictability of nature and malignant invisible agencies. In this podcast episode, I spoke with the editor of this edited volume, Dr. Fabio Rambelli. Fabio Rambelli is a professor in the Department of Religious Studies at the University of California, Santa Barbara. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

【図解】台風１０号の予想進路台風１０号は３１日未明から朝にかけて四国を抜け、紀伊半島の南海上を東へ進んだ。 Typhoon Shanshan traveled east over Pacific waters south of the Kii Peninsula in western Japan on Saturday morning after crossing the Shikoku western region earlier in the day.

Joined by guest host Dr. Samantha Perez, the Krewe sits down with Princeton's Nathan Ledbetter to unpack how the term "samurai" evolved over the centuries and dig into foreign-born samurai, specifically Yasuke. Uncover everything they you need to know about the African samurai right here in this episode... AND SO MUCH MORE!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ History Episodes ------Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16)Jokichi Takamine: The Earliest Bridge Between New Orleans & Japan ft. Stephen Lyman (S4E13)How Marvel Comics Changed Tokusatsu & Japan Forever ft Gene & Ted Pelc (Guest Host, Matt Alt) (S3E13)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 2] (S2E18)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 1] (S2E17)The Age of Lady Samurai ft. Tomoko Kitagawa (S1E12)The Life & Legacy of Lafcadio Hearn ft. Bon & Shoko Koizumi (S1E9)------ Links about Nate ------Ubisoft's Echoes of History "Japan's First Unifier: Oda Nobunaga"Ubisoft's Echoes of History "Samurai vs Shinobi: The Tensho Iga War"Nate on BlueSky------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

Fran from Step Up Japanese and I discuss a few different topics in today's episode, including:The Shikoku 88 Pilgrimage (walking around the Japanese island of Shikoku)The Tadoku reading method for languagesAn embarrassing language mistake on TVAnd more!If you're a fan of hearing casual British English conversations, and also finding out something new about language learning, then this should be a good episode for you.Show notes page - https://levelupenglish.school/podcast286Sign Up for Free Lessons - https://www.levelupenglish.school/#freelessonsJoin Level Up English - https://courses.levelupenglish.schoolBy becoming a member, you can access all podcast transcripts, listen to the private podcast and join live lessons and courses on the website.

What's your Japan version of "Ain't Dere No More"? Between changes within the megalopolis of Tokyo to the struggles of keeping countryside communities alive & thriving, Azby Brown returns to the podcast to discuss urban migration, depopulation, revitalization projects, centuries-old feuds raging on today... AND SO MUCH MORE!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode (timestamps [hh:mm:ss] where you can find the code)!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  (00:53:00)------ Links about Azby ------KOJ Podcast S5E6 - Inside Japanese Homes & Architecture ft. Azby BrownAzby's WebsiteTitles by Azby (Amazon)Azby on Twitter/XAzby on IG------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!