Form Muji to World

“The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion.”

Ukiyo-e is the name given to one of the most important art forms in all of Japan. Arriving as a new form of art in the 1700's these prints served as a record of daily life and pleasures in a newly wealthy Japanese society. The Japanese themselves had long regarded pleasure as transient because of their Buddhist heratige, because of this the word Ukiyo-e actually means "pictures of the floating world". These prints were truly art which reflected the whims of the masses. They record popular styles of dress, new hairstyles etc. They also record the popular Kabuki theater actors, the most beautiful geisha's (or prostitutes), and later even landscapes. Within the realm of Ukiyo-e there are many masters, but there is one master,

Musui will deliberately continue his transgressions during his adult years. He kept visiting the Yoshiwara repeatedly in many occasion, he traveled without permission, dealt with merchants, and became materialistic. At one occasion, he even shamelessly pulled a big farce (p. 135) of committing seppuku, which was considered as a sacred samurai ceremony, in order to get money from peasants. What is striking in all this is that he shows no indication of regret for his act, but instead describes the whole situation with pride.

On October 18th, 2017 the Museum of Fine Arts in Boston opened up an exhibition of contemporary works by Takashi Murakami, called "Takashi Murakami: Lineage of Eccentrics" it is one of the most imaginative exhibitions out today. The new modern works are juxtaposed with traditional pieces from the Museum of Fine Arts established collection of Japanese art. The exhibition shows the viewer how Murakami’s contemporary works has taken reference from the bountiful and dynamic art of the historical past. The exhibition includes, paintings and sculpture created by the Murakami in direct response to Japanese pieces from the Museum of Fine Arts collection.

However, every person in one’s life will have an effect whether it is directly or indirectly, will affect someone and how they perceive themselves. The desire of living in a livable world without judgment of any implications of that person isn’t an ideal virtue. In every part of life there are experiences in which we take hold from the outside and undergo a transformation, such as childhood. We’re exposed to so many indeterminable factors whether its race, social or bodily construction, that we don’t realize how we are changing and slowly morphing into society’s version of “traditional” or “standard”. “ But this is only because to live is to live a life politically, in relation to power, in relation to others, in the act of assuming responsibility for a collective future” (Butler 131). We’re made to believe that order is systematic to prosperity. We live a life where there is no individual power since we are succumbed to the appeal and desire for recognition of others. Initially we can’t escape the thought-provoking questionable matter of what makes us, us, for that reason we’ve been morphed in a course of direction that was already paved out for us; our bodies don’t belong to us but is a public

“You do not wipe away the scars of centuries by saying: Now you are free to go where you want and do as you desire, and choose the leaders you please. You do not take a person who, for years, had been hobbled by chains and liberate him, bring him up to the starting line of race and say, ‘you are free to compete with all the

This quote does not relate as strongly to my thesis, but it is a very important thing for the reader to consider. This statement causes the reader to consider what we have changed through time and how it has had

The 20th century brought with it a rapid expansion of the global interrelatedness of the world. In the beginning of the 20th century the world was dominated by a European world system of colonial empires that was created through expansion by sea (Findley, 2011). The competition between Britain and the other colonial powers led to an insatiable appetite to expand their empires across the globe (Findley, 2011). As the 20th century progressed this European world system collapsed and a new three world system of the United States, Soviet Union, and the rest of the world emerged (Findley, 2011). The end of the century coincided with a new era of globalization that was made possible by the introduction of global communication via the internet (Findley, 2011). This new technology brought the entire world closer together than it had ever been before. The four events that best illustrate the progression of global interrelatedness throughout the 20th century are the Great Depression, World War II, Cold War, and the introduction of instant global communications via the internet.

For thousands of centuries, Japanese artists had been breaking the boundaries with their relentless creations of shocking pieces that made people question if there was a life after death. The popular subject of restless spirits or dark beings drove many artists from the Heian Period to modern-day times to express their stylistic techniques and narrative stories through woodblock printing and other alternative forms of art. Unlike most Western art, Japan’s disturbing representations of decaying bodies and death did not promote unrealistic, commercial expectations of death that commonly exists in art today. While handling such abstract ideas of the afterlife alongside the uncensored authenticity of death, each piece arouses fear and empathy for

* All humans are born free and equal in dignity and rights; everyone has duties to the community in which alone the free and full development of his personality is possible

“What we wish, we readily believe, and what we ourselves think, we imagine others think also.”

and insecurity. Murakami takes all of these hardships of human living and includes them in his

MISSHA saw cosmetics as daily necessaries and regarded packaging as where cost can be cut.However, customers started having various low-priced brands with similar price and the quality. As a result, the target

They Have The Best Musubi: Ma'ona Musubi serves a unique style of musubi. Packed with flavor, the musubi is made with the freshest ingredients available.The chef combines delicious ingredients with authentic Japanese cooking techniques to make

Miyake basic philosophy can be traced to the traditions of the kimono and, Samurais, paper arts, the tea ceremony and Buddhist concepts. The kimonos simple construction makes it accessible to very social strata of Japan. Despite being boxy, it drapes the body loosely with plenty of space between the body and cloth, allowing freedom of movement with simplicity of cut. While traditional Japanese clothes have been made of natural fibres such as cotton, silk and paper, Miyake places emphasis on the ancient interest and import of industrially produced clothes with synthetic materials. He sees technology as a way to revive rather than replace tradition and craftsmanship. He comments that “the joint power of technology and manual work enables us to revive the warmth of the human hand, in other words, to come close to the value inherent in artisanal work” (Sato, 1998, p. 55). By doing this he harnesses