New Home, New Experiances

I am a farmer's son. We recently had to give up our home due to a monsoon that destroyed our land. My father   is now searching for a new land, and prospecting many different villages. I never expected to travel so far, nor have I had any experience with larger, more urban villages. Five images in particular have impressed themselves upon me along the way. 


The first was just this creek bend, a little while away from my old home.

I never knew it existed, because we were on the other side of that mountain, to the right. And I was shocked to see that the land was untouched by the heavy rainfall; my father explained that the valley almost functioned like a drain so it was equally spread. It makes the mountain look so big, with this meek river snaking through. It is very different, looking up at the mountain and across the river, rather than down from the mountain and at eye level with gushing water. I realized how hills work. They are beautiful and dangerous, like the river. I admired the man I saw, crouched down to the left. First he is insignificant, but it is his insignificance that then makes him bold. 


But I knew nature. I had known it, sown it- since I was born. What we came across a few days later, I had never before experienced. 



It took me by surprise, suddenly coming out of the woods to a neat fence, guiding our way down, and hosting a splendid view of tidy fields and organized houses. The crowded village gives way to the sea, in a clash that fascinated me. How could so many people reap the benefits of the sea? Were there enough fish? I had only ever seen few fishermen share a wharf, and never anyone who chose to live nestled up to the temperamental sea. I could not believe how neatly planned the town was. Nature here was so manipulated, from the fence cut into the rock, to the houses along the shore, with the closely-plotted fields taking up every ounce of land in between. It was a groomed nature, and I didn't know if I liked it, but I was certainly impressed with how the villagers had tamed it. 


Then, of course, came the villagers themselves. 



She looked at me curiously. Casually. I shouldn't have been peeking in the window anyway, but I suppose her mind was wondering as the shampooer performed his massage and she caught my eye. I didn't know you could pay someone to rub your muscles. I thought that's what mothers were for. It seemed kind of silly to me, all the tools and pampering, when you could just stretch out on a mat and do it yourself. I guess we didn't have the luxury of having people to do it for you, so it struck me as kind of a silly, lazy thing. But I wondered if I wasn't a little jealous. She seems so calm, all the tools splayed out on the floor, the man easy with his work and the second women, ever attentive. The main woman just looks like a queen, spoilt in this pretty room. She wasn't particularly well-dressed, I thought, but I didn't know much about women's clothing, I didn't know that it was the lowly entertainers who showed off, and that it was the posh women who wore their modesty proudly.


And then I fell in love.



It may have only been for a second, but I'm sure that's what love feels like. I still wish I had got her name. She was practicing a dance, not yet in dance clothes, but caught off guard when she saw me, she was clearly in her element. Poised. She was so young! I couldn't believe someone so young was already employed. I only found out later that it wasn't much of a choice, and that her profession was a constraining one. She must have been poorer than I was, to have been so quickly 'bought' and 'sold.' But at that moment, she was just a girl, in common clothing. Just a kettle at her side, a fan carefully in her arm. Natural, in an unnatural stance, and it makes you wonder about her, what she was thinking. What her life must be like. 


We grew tired of the villages. My father did not like them. Nor did my younger siblings, who were used to open spaces and unaccustomed to the formalities required in the cities. We hiked a little more, and then stumbled upon this view.


Here. Here is where we now live. 

It is beautiful. It is is not too hilly like home, but it is wide, bountiful and green, with just a trace of a mountain in the distance. There are no crowded villages, no fields to compete with. The simplicity, straightness of the horizon is becoming to me, even after it seems that we have come so far just to be back at some place like we started. I can't imagine living anywhere else. Maybe farming is in my blood, because I know this image might be nothing but boring to the boys from the village. But trees, soil- they're all you need, and they're beautiful unto themselves. You don't need a sea, a village, a people- anything to frame it. It just is; raw. And it's better that way. 

Globe trotting

There is something very serene about this image. The Buddha is the central focus, a cool blue grey stone, framed by greenery. He rests atop a simple base, an elegant alter before him which is being made use of  at the moment the photo was taken. In the foreground you can see a wooden ladder, making the image more casual and modern than if it had been left out and demonstrating how the statue is perceived and used. 

This communicates the enormity of the Buddha, and impresses his significance upon the viewer. The natural setting he is in implies that he is indeed one with peace, as his relaxed, meditative position already shows. The most intriguing part of the picture is the interaction of people with the statue. The distant, peaceful atmosphere of the statue is tainted with their presence, the man leaning against him casually, observing the photographer, is almost disrespectful as he is out of place. The women looks caught off guard, turning to face the photographer. If anything, this photo takes a natural, religious idea of the Buddha and exemplifies how it is applied in modern, daily life.

This lightly colored, carefully composed image possesses a calmness and symmetry. Two woman are bowed facing one another, and the sunlight fills the wide, fairly empty room. There are few things within the room besides the women and the small objects in front of them, emphasizing space. By extension, it emphasizes simplicity, and the beauty in it. The pastel colors add to this theme. The photograph is also at an interesting angle, placing the subjects not directly in front of it nor as a profile but at an almost awkward diagonal. This seems to demonstrate the naturalness of the scene, as if just coming upon it and observing it in its natural state rather than focusing on a more professional, direct photographic angle. The scene is light, natural, simple and perhaps that is why I as the viewer am so taken by it. 

Felice Beato's Japan: People and Places

This candid shot is at once very beautiful and very homey. It portrays four people, two young Japanese women and two older Japanese men. They are sitting causally playing a game, and appear to be studying it attentively. The setting is plain; so are their clothes. This could be anywhere, and these people could be anyone, likely from a lower class, given their attire. The stillness communicated by the grey background and somber clothing is emphasized by the fact that none of the people are speaking, and none of them are smiling. The game is either one more of concentration, or not working in its purpose to beguile laughter. One of the women has her head tilted in a natural stance indicating careful thought, the other is also staring at the board with a nondescript expression. The males seem less concerned, patiently waiting as one exams what may be a sort of smoke. The men are considerably darker than the females, and may be by extension day laborers. That the women are present with them could either mean that they are obliged, as wives or geisha, to do so, or are also poor themselves and by acquaintance decided to join the game. There may be subtle symbolism in that the men are older and darker and the women fairer and younger, perhaps insinuating the sad state of affairs they have come to. The simplicity and honesty of the photo is somewhat perturbing, given the dark hues and expressions, showing an altogether familiar act of playing a game, but one that does not so readily induce pleasure. It is a serious, candid shot that does not hide reality but instead puts it forth, allowing the viewer to decide if this is a setting they themselves would enjoy. 



The immersion of the people within nature is striking. This image is wholly dominated by the beautiful nature behind the few fishermen in the foreground, but the figures seem very at home within the habitat. Depicted here are two groups of fishermen, one with three men and two female companions facing the viewer, the other three men with their backs turned, observing an unknown stature in the distance. They are all on a river, the bank of which is filled with trees. 


There is a serenity communicated solely due to the natural aspect of water and plants, but also because the figures are all casually seated, apart for one, who stands akimbo. The photographer must have disrupted their moment, for they are all looking at the viewer, though it is hard to tell whether it is hostile or simply curious. Nonetheless, this tells the viewer that their position and actions here must be usual, and it is noticeable to have a foreigner watch.  That they are on the river at all shows that they must have business there, or some sort of occupation; because although they are leisurely, the upper class would instead utilize private ponds for their nature intake. The general mood is of one creeping into the normal life for these people, disrupting them at their most candid- but that is what makes the image so authentic and interesting. 

By the River

Before one even notices the image content, this painting is noticeable for a wonderfully delicate, soft look, due to the small, curved strokes and use of light, similar hues. There is a subtle effect of everything blending into one. The actual image portrays natives of dark descent engaged in some actions for which the river is necessary. Those to to the right are men; it appears that they are either worshiping or carrying something to the water. The women are to the left, they appear to be washing clothes. All of them are dressed in white. Both sides are separated by river; the background shows a sandy, rocky environment with few scattered trees and a village house in the distance.


Within the context of the narrative, this image is during a trip en route to Japan, showing another port of call. There is a purity and simplicity communicated by the white clothes and natural actions, within a natural environment; the water is clear. Although foreign, there is something very beautiful and at once identifiable with the scene- people worship and clean in rivers around the world. Interestingly, none of the faces are given in detail, generalizing them all into one people. They seem to melt into the landscape, the white of their clothing the same as that of the foam. There is clearly a reverence for nature, being part of it or maybe being made less significant by it. The divide between men and women must be noted; the women still partaking in a more subservient role, they are also the minority. The men with his back to the viewer stands between the group and appears to be walking into the heart of the river; perhaps containing a certain symbolism as he is abandoning his working comrades to be engulfed in nature. All the figures are younger and attractive, again adding to the beauty and serenity of the scene. As a shipman surveying the scene, the artist must have been taken with this particular port to portray it in such a manner.

Stilts and Candids: The Japanese Take

Photo One: Japanese Gum Advertisement 
http://larsmartinson.com/wp-content/uploads/2009/03/gum.jpg

This advertisement caters to a younger crowd, one that is a frequent customer of gum. It is difficult to tell at first whether it is a male or female, leading no one gender to being excluded- but moreover, their attire is noticeably trendy, cheerily-colored and eye catching. The bright colors certainly appeal to gum, yellow and pink being lighter, 'sweeter' than darker hues such as blue or green. The background is pixilated and made to look like a cartoon-strip background, further emphasizing youth and pleasure. The simplicity of the graphic also makes a very clear point: the figure is being licked; a seductive message heightened by the cool gaze of the looker. The words compliment this, choosing the phrases 'TASTE LONG' and 'JUICY' to describe the flavor and texture of their product. Note that it is the figure that is saying 'Too long', in regards to the flavor/tongue, and it is the gum package that says 'Juicy', in smaller print, as in comic strips- almost as a response in regards to the figure. At the bottom is a helpful strip of a variety of flavors and innocent fruits, alluding to health and nature in addition to just telling the content. The viewer sees an attractive, brightly colored, confident figure resting atop an exaggeratedly long tongue. Youth, pleasure, a certain sexual allure and happiness is demonstrated in addition to an abundance of flavors and natural fruit taste. This both ensures the audiences attention as well as stimulating their interest. 

The image is characteristically Japanese in its generous use of bright color, and color contrast, simple but creative graphics and an overall 'effortlessly cool' vibe. It also has a signature childishness to it, because of its exaggerated graphic and color- which is not a bad thing. 

Photo Two: "Party at Le Baron, Tokyo."
 http://hypebeast.com/2009/06/gucci-celebration-party-at-le-baron-tokyo/

In the direct center, a young Japanese man stares straight into the camera, poised to raise a cigarette to his lips. He  is dressed in avant garde cloths; dark to keep it classy, but not without the attention-grabbing stud embellishments. He even has undergone the effort to dye his hair and bleach his eye-brows blond- looks matter. The addition of a loose tie and a strategically placed bright blue scarf around his head shows that he put thought into his clothing and is not afraid to stand out, indeed to set a trend if he is not following one. The cigarette he holds is a classic symbol of being calm and cool; his mouth is unabashedly open in a pout that compliments his almost pretentious gaze. Though he may have been caught off guard, he certainly looked as if posed. He stands among an equally trendy crowd; pink pants, a bow tie and suspenders are spotted in the background- as well as another man with a cigarette. The bright lights and crowd, the flash of curled hair in the corner- definitely show a party atmosphere, it is only the clothing that distinguishes it as an upscale party. Because the lights are moving and colored, it may even be implied that it is a concert, or at least that there is entertainment being lighted. The viewer sees a cool, almost meticulously cool, Japanese man disguised as a Western one, with a nontheless modern Japanese style flair. Tokyo clearly has excellent parties that many attend, and they are exclusive attendees at that, as shown through clothing and the ever-symbolic cigarette.