The Living Artist
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Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2002 The living artist Haruhisa Handa Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Arts and Humanities Commons Recommended Citation Handa, H. (2002). The living artist. https://ro.ecu.edu.au/theses/738 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/738 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. \ The Living Artist . "' ,. A thesis presented to The Western Australian Academy of Performing Arts Edith Cowan University In partial fulfilment of the requirements for the degree of Master of Arts (Creative Arts) Haruhisa Handa August 2002 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgement any malarial praviously submitted for a degree or diploma in any institution of higher education; (ii) conlain any malarial previously published or wnllen by another person except where due reference is made in the text; or (iii) contain any defamatory material. Haruhisa Handi:l August2002 ' ACKNOWLEDGEMENTS Thesis origlnally written in Japanese by Haruhisa Handa and translated by Yasuo Sakamoto and Kazuhlko Kozu. (Haruhisa Handa's rellglous name is Toshu Fukami.) ii ABSTRACT "The Living Artist" describes Haruhisa Handa's diverse activities in the arts as analyzed by himself. He investigates why he ventured out to learn both western and eastern styles of art, and researches what it is that truly motivates him to take on such challenging activities. In this thesis, Handa begins with recollectlons and an evaluation of his own life. At present he is Involved 1n art from a wide variety of periods and cultures Including calligraphy, painting, tea ceremony, and Noh drama from Japanese culture, oil painting, composition, classical music and ballet from western culture as well as classical Chinese opera. Throughout he questions what It is that drives him into each of these areas, and returns to his elementary and junior high school days to probe for an answer. As he discusses his own history from hls childhood to the present, he also analyses his own trail as a man of religion, which underpins all of his artistic ventures. After reflecting on the past, he moves through to the present, and evaluates the Influence of the Shinto retlgfon on his artistic activities. He seeks to justify the reasons for the diverse path he has followed as both a businessman and as an artist through his understanding of Shintoism, a religion that is deeply rooted In the foundation of Japanese culture. He continues his narrative from various points of view, and reveals the methodology through which he engages in his artistic activities as well as in his primary role as a successful businessman. In particular, he evaluates his activities as a businessman and draws comparisons to his business peers and their involvement In the arts. Throughout the study Haruhisa Handa's arts practice is evidenced in his supplementary package of videos, CDs and monographs that are appended to this work. Nol all of Handa's activities in the arts are traditional performances or paintings; many of his projects creatively integrate religion and business. Indeed, all aspects of his life are tied together by one common factor. In this study he identifies what It is that motivates his wide ranging artistic ventures, and in so doing reveals a unique approach to arts participation and patronage. ill TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION .................................................................................. 1 CHAPTER TWO: HARUHISA HANOA-THE LIVING ARTIST ........................................ 3 CHAPTER THREE: WHAT IS SHINTO, THE FUNDAMENTAL BACKGROUND TO JAPANESE CULTURE? ....................................................... :.............. 46 CHAPTER FOUR: MY OWN METHODOLOGY RELATED TO ARTS .............................. 74 CHAPTER FIVE: MANAGEMENT AND ART .................................................................. 89 CHAPTER SIX: CONCLUSION ................................................................................... 100 REFERENCES ..................................................................................................................... 119 APPENDIX 1: HANDA'S ARTISTIC ACTIVITIES ................................................................ 124 Career in Opera ................................................................................................................ 124 Career in Conducting ........................................................................................................ 124 Career in Vocal performing ............................................................................................... 125 Career In Noh perforn,Jng ................................................................................................. 127 Career in Performing Arts ................................................................................................. 129 Career in Arts .................................................................................................................... 130 Career In Calligraphfc Arts ................................................................................................ 131 Career Jn Flower Arrangements ........................................................................................ 132 APPENDIX 2: LIST OF SUBMITIED WORKS .................................................................... 134 iv CHAPTER ONE: INTRODUCTION Over the past decade alone, Haruhlsa Handa has donated millions to the arts and other charities. For example, in 1999 he sponsored the Australian Ballet's New York season, the Australian Chamber Orchestra on its last Tokyo tour, the annual Australian Singing Competition and the Art Gallery of Western Australia's annual Year 12 Perspectives show. His patronage in Australia reached new heights In 2002 when he opened the Australian Opera School with a $1.4° million donation and promised to provide the Perth International Arts Festival with a $1 million donation making him the biggest single donor ever to an Australian arts festival. Haruhisa Handa is himself a prolific artist. From the traditional Japanese arts of Noh Theatre and calligraphy, to the Western Arts of opera, ballet and music most recently to the visual arts, Haruhise Handa represents a unique example of a living tradition in evolution; an art!st who emerged from a tradil!onal Japanese culture to become an artist who now is generating his own tradition. (See appendix for detailed reference to his artistic activities) Such a passion for the arts has occurred infrequently during the course of history with notable examples being the Medici family in the Western world. Living in Florence during the renaissance period, the Medici family patronized the arts and commissioned many Important pieces from top artists working in various media. However, while the underlying phenomena of arts patronage may be the same in different cultures throughout history, the physical manifestations are often quite different. Japan has a long history of philanthropy emanating from many different segments of society in different periods. Frc.rri Emperor Shomu and his consort Komyo in the mid 8th century who spared no expense to build a vast temple complex (Todaijl Temple complex In Nara) for the general populace, to Toyotomi Hideyoshi (1536-1598), one of the three unifiers of Japan during the later :16th century who patronized the performing and visual arts to an almost unheard of extant, there has been a !inking of sponsorship and participation that Is fundamental to the . system of traditional artistic patronage in Japan:" Patterns of patronage in Japan become clear during its own renaissance period, namely the later 15th through 16th centuries, when the class structures were loosened and various arts, Including the performing arts flourished. One early example of this type of sponsorship was Yoshimasa, the 8th ~shlkaga Shogun (1436-1490). Oni:e he retired from office as Shogun, he spent his remaining years as a patron of the arts. He bunt up his own collectlon of Chinese treasures, cataloged the 3rd Shogun Yoshimitsu's collection, hired cultural connoisseurs (doboshu) to help with his artistic progl'am, patronized