“Road of Light and Hope”,
Museo Nacional de las Culturas del Mundo (National Museum of the World Culture)

Chain of Sympathy

Not only calamity and blight, the roots of war and poverty, but also imminent issues like the increasing tendency of social, regional and global fragmentation, or environmental pollution and global warming, cannot be frozen in time. They must be addressed now and we must treat the Earth as if it were one precious life and foster solidarity by truly empathizing with each other.

To determine our future is to act with sympathy; being part of the problems, we now must be part of the solution. Even though the empathy of one individual may only be a tiny ripple, it can resonate through the whole world as through a tuning fork…

Just as a pebble exists on the ground, so does a star in the cosmos. A pebble, star, plant, animal, or human, all complement and support each other as fellow travelers. This Weltanschauung universally permeates East and West, North and South…

“Split a piece of wood and I am there, Lift a stone and you will find me” (Jesus, in the Gospel of Thomas, Nag Hammadi Collection)

This common wisdom of West and East should be the guideline of our actions with   empathy for all forms of life on our Blue Planet, where a speck of dust as well as the endlessly vast universe can both be regarded as ONE.

“All is one and one is all”

With the kind support of the Japanese Ministry of Foreign Affairs as well as the Japan Foundation, following the invitation of the “Road of Light and Hope” exhibition series to various events or cultural institutes commemorating milestones in Japan’s relations with other nations, it is a great honour for me to have growing speaking engagements in those contexts. (*co-organized by Japanese overseas missions, the Japan Foundation, Media Art League, Japan Camera Industry Institute, etc.)

What began with a speech at the Council of Europe in 2016, is continuing with “Artist’s Talks” at the Japan Foundation Toronto, workshops at the University of Chicago, lectures at the opening event of the “Japan Month” in Rio de Janeiro and in Mexico City in November 2018…

My recurring themes are from Eastern Kegon (Hua-yen) philosophy which has much in common with Western Neo-Platonism including the notion that “All is one and one is all” that the universe is “one living entity” and that there is sympathy (συμπαθεια) within everything (Neo-Platonism).

In order to inspire such sympathy between East and West, my intention is to focus —via photo exhibitions, movie screenings and lectures— on select ancient tangible and intangible World Cultural Heritage of Japan, which reflects the legacy of Hellenistic cultural influences in Nara.

Showing photographic art work of outstanding National treasures of Japan and  Important Cultural Property, that can be traced as far back as 14 centuries ago, as “evidence” to connect the cultural origins of West and East transcending the Silk Roads, our activities are intended to convey the message that we all are one and all is interconnected.

Speaking Engagements in Rio and Mexico City

In July, I had the honour of holding a lecture with short movie screenings at the opening event of the “Japan Month” at the venue of my “Road of Light and Hope” exhibition (Cultural Center Correios Rio de Janerio) in commemoration of the 110th anniversary of the Japanese immigration to Brazil.  After the event, the former American Consul General expressed her sympathy for my message which she took as an inspiration. Moreover, what I experienced at the Rio de Janeiro State University enhanced my conviction on the importance to point out the ancient cultural interrelations of West and East. In the end, the “Japan Month” in Rio had 62,000 visitors over three and a half weeks.

Lecture at the opening event of “Japan Month” in Rio

On 8th November 2018, the memorial event to commemorate the 130th anniversary of the establishment of diplomatic relations between Japan and Mexico was held at the National Museum of the World Cultures in Mexico City. This event is showing Japanese   culture in an extent as has not been seen in recent years. As my “Road of Light and Hope” exhibition was also invited, I had an opportunity to speak, following introductions by Japanese Minister to Mexico, Ryosuke Kuwana as well as Ms. Naoko Sugimoto, Director of Japan Foundation Mexico. On the following day, I held an affiliated lecture to the exhibition at the Museum Library. The chain of sympathy will hopefully extend further to Mexico via this exhibition which still runs until 3rd December 2018)…

Connecting ourselves with the history of East and West, and with the sympathy of and for the globe…

Miro Ito (artist & author, producer & director/Media Art League)

Lecture for “Road of Light and Hope’ exhibition, Museo Nacional de las Culturas de Mundo, Mexico City

Signs of the Intangible

Bodyscapes reflecting Japan’s 1400 Years of Performing Arts by Miro Ito 

Photo Exhibition, Artist Talk & Short Film Screenings

Commemorating the 90th Anniversary of Diplomatic Relations between Canada and Japan, our new exhibition“Signs of the Intangible” can be experienced at the Japanese Canadian Centre in Toronto. Co-organized by Media Art League and Japan Camera Industry Institute, this presentation showcases the 1400 years of continuity in Japan’s performing arts in exquisite photographs as well as short film format.

It features 55 outstanding photographic images of select National Treasures of Japan, as well as UNESCO Intangible Cultural Heritage such as Noh performers, or avant-garde Butoh dancers as well as contemporary dancers. Topical film shorts by Miro Ito will also be shown.

The uniqueness of this presentation accentuates a “never-seen-before” perspective on how these exceptional tangible or intangible arts and traditions interact: 8th century Buddhist sculptures influenced by Hellenistic culture, Gigaku and Bugaku masks (that came to Japan in the 7th century via the Silk Road), Noh performance and Kobudo martial arts with their 600 year tradition, as well as contemporary dance performances like Butoh.

[Artist Talk & Reception]
Thursday, 21st June 2018 @7:00 PM (Telephone reservations are recommended)

— Word of greeting from Consul General Takako Ito
— Artist Talk & Short Film Screenings by Miro Ito, Media Art League
— Solo Performance of Gigaku Ballet combined with Konron mask by Shunso  (Artistic Direction by Miro Ito / Music by Sukeyasu Shiba)

[Duration & Venue]

Preliminary viewing start: Thurs., 23rd May 2018

Artist Talk & Reception: Thurs., 21 June 2018 (7:00 PM)

Last day: Wed., 27th June, 2018
Opening Hours: 9:00AM – 8:00PM (daily)

Japanese Canadian Cultural Centre
6 Garamond Court, Toronto, ON, M3C 1Z5    Tel.(416) 441-2345  http://www.jccc.on.ca/en/

※Click to download the exhibition poster in PDF:_signs_of_the_intangible_poster_2018June11

Searching for an Ideal of mind-body unity

Nurtured in a nature worshipping environment (Shintoism) where everything is seen as a manifestation of kami, and influenced by Buddhism, the key element that provides continuity is the dedicatory tradition evident in the Shinto-Buddhist syncretism prevalent in Japan since the 7th century.

From the 12th century onward, Zen Buddhist influences, advanced an ideal of mind-body unity called “shinshin ichinyo“, as the path to emancipation/liberation (gedatsu) — not only in religious contexts, but also —- in performing arts like Noh and in martial arts, such as Kobudo, under the patronage of the samurai clans that inherited the shogunate.

As Zen Buddhist teacher, Hakuin put it “our soul has a physical dimension and our body has a spiritual dimension”, so the body is the “ba” (topos) for the transformation towards an ultimate goal of “gedatsu” (lvimokṣa in Sanskrit) in Oriental ascetic tradition and meditation.

Icons of Unity for East and West

This project’s unique perspective pursues the foundations of the profundity of Japanese culture as well as the origins of various types of Japanese performing arts as an enduring legacy of ancient cultures from the Eurasian continent.

Evidently, the origins of many Asian sculpting traditions can be traced back to statues (Άγαλ&α) dedicated to ancient Greek deities. This presentation, “Signs of the Intangible” showcases select artwork as “evidence of the interconnectedness of East and West”.

Finding common ground transcending the Eurasian continent within the cultural heritage along the Silk Road may present a ray of hope for one day realizing true unity and solidarity among mankind…

This is the very essence of the messages enciphered in the history of 1400 years of Japanese Performing Arts.

Co-organizers: Media Art League and Japan Camera Industry Institute
Host: Japanese Canadian Cultural Centre
Exhibits: 55 Photographic Images by Miro ITO (Media Art League)
Project Management & English Editing: Andreas Boettcher (Media Art League)

Special Permission: Tōdai-ji Temple, Kasuga-taisha Shrine, Nara National Museum

Participating Performers: Hodaka KOMPARU, Yukifusa TAKEDA, Tomoyuki TAKEDA, Fumiyuki TAKEDA, Ko MUROBUSHI, Sal Vanilla, Shunso

Exhibits of Photographic Art in Scroll Format: Tenpyō era sculptures of Tōdai-ji Temple (National Treasures of Japan) , Gigaku masks of Tōdai-ji Temple (Important Cultural Property), Bugaku masks of Kasuga-taisha Shrine (Important Cultural Property)

Support by: The Consulate-General of Japan in Toronto, the National Federation of UNESCO Associations in JAPAN, the Tokyo Club, Nara Visitors Bureau, etc.

Text by Media Art League. Photographs: Miro Ito. All Rights Reserved.

Exhibition: Road of Light and Hope

National Treasures of Todai-ji Temple, Nara  Photographs by Miro Ito

Consulate-General of Japan in Chicago, 1st – 28th Nov.2018

Our globally touring exhibition series, “Road of Light and Hope: National Treasures of Todai-ji Temple, Nara / Photographs by Miro Ito” will start its next VISIT in Chicago 1st November 2017.  Commemorating the 120-year history of the Consulate General of Japan in Chicago, this exhibition will run until 28th November presenting 41 photo art works in scroll format, featuring prominent 8th century Tenpyo era sculptural masterpieces owned by the Todai-ji Temple, that are truly rare National Treasures of Japan.

Paragon of resilience

Previously an exhibition, “The Great Eastern Temple: Treasures of Japanese Buddhist Art from Todai-ji” was held at the Art Institute of Chicago in 1986. Although 30 years have passed since then, the enduring existence of these 1300-year-old treasures shines a ray of hope to art aficionados even today.

In an era where hardships such as natural disasters, famine and blight; kept recurring, similar to the present time, singular events such as the historical one of erecting the Vairocana Buddha 1300 years ago which nearly half of Japan’s able population of 5 million at the time endorsed.

Moreover, although the Great Buddha statue was destroyed twice during war, it was miraculously restored in the 12th and 18th centuries, which many Japanese see as a paragon of resilience.  Today it constitutes part of the UNESCO World Heritage Site: Historic Monuments of Ancient Nara**.

The custom of crafting larger-than-life statues representing the enlightened Gautama Buddha himself originated along the Silk Road in Central Asia. I firmly believe that these imposing giant statues — from the 15 metre-high Great Buddha of Nara to the 30 metre-tall Christ the Redeemer statue in Rio— with their profound religious symbolism exude a sort of power that can unite people’s hearts. Both Buddha and Christ were opposed to their followers creating or worshipping statues of them. Nonetheless, they make us aware that only humanity has the urge to pray.

Power of universality

This power of universality found in many works of art is the theme that I would like to address in my prospective lectures at two universities in Chicago, in the context of the coming photo exhibition of National Treasures of Todai-ji Temple.

For example at the University of Chicago, I will hold a workshop-style lecture; Visual and Material Perspectives on East Asia, where artists / historians/ aesthetics / creators present their perspectives on respective visual material. I would like to talk about the universality that art can embody and convey —transcending 1300 years of history— to our 21^st century world.

Namely, I would like to advocate the power of universality in art to foster unity and tolerance that is reflected in the 1300-year cultural heritage from the Silk Road.

The universality of art

Essentially, the universality in nature permeates everything as well as the fundamental truth that all humans are created equal despite any differences in appearance or customs.

This is the very basis of our consciousness for accepting diversity. For example, such marvelous examples of the acceptance and co-existence of diversity can be found in Gigaku masks with 14 types of characters including

a king of the Sogdian traders along the Oasis Road, Konron, a hermit of the Kunlun Mountains, Karura/ Garuda, man-bird deity, etc. Through this ancient cultural heritage brought from along the Silk Road, we can encounter with a newfound sense of appreciation that comes from universality, transcending time and space, feeling that “every one of us is an indispensable flower”.

Embodying one of the most important core philosophies of Hua-yen (Kegon) Buddhism, this is  why the Great Vairocana Buddha was erected by Emperor Shomu in 752 AD.

The mecca of the US modernism movement 

As for Chicago, this city is the center of modernism in the fields of architecture, design and photography in the USA. For example, Lazlo Moholy=Nagy, a photographer, typographer, painter, and educator came to Chicago, after leaving the legendary Bauhaus, the German national school of art closed down by the Nazis in 1933. There he founded the New Bauhaus (later integrated into the Illinois Institute of Technology [IIT]). Its leading modern architect, Mies van der Rohe became Director of the School of Architecture at Chicago’s Armour Institute (later IIT) in 1937.

The Bauhaus in its own right embraced the spirit that art changes society, born of the Central-European revolutionary socialist movements forming in Germany, Hungary and Czechoslovakia in 1920’s.

In the field of photography, Construction, Movement and Light were the dominant themes in its bold formative and visual experiments. In architecture, the Bauhaus aimed to establish a rational functionalist style, having pronounced similarities with the Sukiya-zukuri or Shoin-zukuri of Japanese architectural styles of Samurai residences during the medieval to early modern eras. Bauhaus-dominated modernist architecture thus has many elements in common with Japanese traditional architecture.

As for the assertion that art changes the world central to the 1920’s movement of modernism, if art can change the world, I believe that very key for such change should be the message of “universality”.

Universal Heart & Mind

Incidentally, the concept of “universal space” was first proposed by one of the three great modern architects, Mies van der Rohe, whereby a wide variety of functions can be allocated in a large long-span single space. Similarly, in today’s architecture and design sectors, the concept of “universal design” applies to accessibility for everyone, regardless of age or ability.

In a similar sense, the universality of mind & heart must apply to everyone. For this to be achieved, we must respect and accept everyone’s inherent differences, and consciously strive for solidarity rather than segregation, tolerance rather than discrimination, compassion rather than hate.

Coming back to the National Treasures of the Todai-ji Temple, although the Great Buddha statue was destroyed twice, it could be reconstructed both times only because the statue and the task of its reconstruction made people adhere to the above principles, dedicating their hearts & minds to perform a miracle that only universality can foster.

Of course, this is but one example from my own culture. There are numerous statues, monuments and buildings around the world that could only be saved or restored due to people’s power of prayer for peace.

My core message is that everyone, every individual, is an indispensable and invaluable flower –none worth more than the other…

Gigaku + Ballet

Besides sending this message, this appeal for solidarity, compassion and understanding, we at Media Art League are going to hold a special opening event on the night of 1^st Nov. (18:00 -19:00) at JIC Hall, Consulate-General Chicago.

We are going to show two short movies that we produced, accompanied by an exceptionally rare Gigaku + Ballet performance by fellow artist, ballet dancer/performer, Shunso.

Gigaku is the enigmatic mask theater with a 1400 year-old tradition that can be traced back to ancient Greek mask theatre, which had once been lost but survived with 14 character masks only in Japan; at major temples in Nara such as the Todai-ji and Horyuji.

We are revisiting it as a Ballet mini performance, seeking to connect our common cultural origins in East and West. The core message being: we all are one.

Should you have any chance to come to Chicago from 1st to 28th of November, please visit my touring exhibition in Chicago.

We would like to welcome you from the bottom of our hearts.

Miro Ito

artist & author, initiator of Media Art League

Please click here to download the exhibition flyer.

chicago_exhibition_17Oct06

Referral links:

Consulate-General of Chicago / Japan Information Center Hall

http://www.chicago.us.emb-japan.go.jp/itpr_en/jic.html

University of Chicago – Visual and Material Perspectives on East Asia

https://voices.uchicago.edu/vmpea/