The period ca. 645-770 marked an extraordinary era in the development of East Asian Buddhism and Buddhist art. Increased contacts between China and regions to both its west and east facilitated exchanges and the circulation of ideas, practices and art forms, giving rise to a synthetic art style uniform in both iconography and formal characteristics. The formulation of this new Buddhist art style occurred in China in the latter part of the seventh century, and from there it became widely disseminated and copied throughout East Asia, and to some extent in Central Asia, in the eighth century.
A Tokyo Romance is a memoir of living in Japan from 1975 to 1981 that immerses the reader in a world of avant-garde theatre and film. It serves as an interesting look at a time when Japan, not China was taking the world by storm. The author, Ian Buruma, currently editor of the New York Review of Books, meditates on living in Japan as a foreigner and how to approach being a perennial outsider. For Buruma, the experience is liberating and Japan is a catalyst for finding his own artistic voice.
When George F Kennan was named director of the US State Department’s Policy Planning Staff (PPS) in 1947, he had little knowledge of, or interest in, the Far East. Kennan’s diplomatic experience was limited to Eastern and Central Europe and Russia. His influence in policy-making circles in Washington stemmed from his authorship of the “Long Telegram” from the US Embassy in Moscow in February 1946, and “The Sources of Soviet Conduct” in the journal Foreign Affairs (using the pseudonym “X”) in 1947.
Jun’ichirō Tanizaki (1886-1965) was a major Japanese author and a finalist for the 1964 Nobel Prize for Literature. A prestigious award, the Tanizaki Prize, was established to honor his contributions to Japanese literature. Many of his works have been adapted for film. So, it came as a surprise that one of his novels discovered in a collection of his works had never been translated.
It’s always been a pleasure to handle a Folio Society book, and having three of them at one time, all on Asian themes, was even better.
In one nightmarish vignette from his 1990 film Dreams the legendary Japanese director Akira Kurosawa imagines how life might look and feel following a nuclear meltdown in Japan. With the breach of six nuclear reactors, Japan’s residents flee to the sea, where most of them eventually drown, leaving a handful of humans amidst a radioactive landscape of blackened earth and sky. The only other living organisms are immense mutant dandelions, whose weighty yellow flower heads tower over the human figures. Twenty-one years later, the imagined world of nuclear disaster became reality when the March 2011 Tōhoku earthquake and tsunami resulted in the Fukushima Daiichi nuclear incident.
That there are over 800,000 ethnic Koreans living permanently in Japan, including fourth and fifth generation Korean-Japanese, is not well known outside of Asia. The historical details of how the Koreans came to live in Japan is both fascinating and tragic, mainly because of the conscript labor forced on Koreans during Japanese occupation of the peninsula beginning over 100 years ago and ending with World War II. Even less well known is the discrimination the Korean-Japanese face in their adopted, officially or not, country. Known in Japan as Zainichi (“resident of Japan”), the ethnic Koreans have been largely relegated to marginal occupations as were other minority groups in Japan. That is changing, but discrimination and hate still exist.