A Chinese teacher, Gion Nankai, taught Confucian ethics and was also a painter. One of his students was Ike Taiga (1723-1776). Nankai marked this landscape with one of the 24 poems for painting subjects by the Chinese scholar and painter Tang Yin (1470-1524). This is the poem: The mountain pavilion is empty, few people come. Mud covers the brushwood gate; leaves cover my garments. I don't rise from the bamboo mat, my head is like snow. Already without intention, I leave behind Zen's queries.
A teacher of Confucian ethics, the Chinese philosophical system focused on social harmony and familial responsibility, Gion Nankai was also a painter. Ike Taiga (池大雅) (1723–1776) was among his students. Nankai inscribed this landscape with one of 24 poems for painting subjects composed by the scholar and painter Tang Yin (唐寅) (Chinese, 1470–1524). It reads as follows: The mountain pavilion is desolate, visitors are rare. Mud patches the brushwood gate; leaves patch my clothes. Rising not from the bamboo bed, my head like snow. Already without intent, I abandon questions of Zen.
View the original at Cleveland Museum of Art →Article 1 describes the Ainu as the indigenous people of the northern part of the Japanese archipelago and of Hokkaido in particular, and cites international circumstances concerning indigenous peoples as a reason for acting. It requires the government to set a basic policy, and lets municipalities draw up regional plans for approval by the Prime Minister.
The cool part. The definition in Article 2 is the part to sit with. Ainu culture means the Ainu language, and the ways of living, music, dance, crafts and other cultural products inherited among the Ainu, and cultural products developed from these. That final clause refuses to freeze the culture at a date, and treats what is made next as equally the thing being protected. The Act then reaches into trademark law, reducing or waiving registration fees for regional collective trademarks used by approved projects.
Verify at e-Gov 法令検索 →Use it A motif small enough to blind-deboss, which is where restraint actually shows.
Description source: museum curator text, translated — not generated