Lenticular Clouds / Altocumulus lenticularis

From the Wikipedia citation:

Lenticular clouds (Altocumulus lenticularis) are stationary lens-shaped clouds that form in the troposphere, normally in perpendicular alignment to the wind direction. Lenticular clouds can be separated into altocumulus standing lenticularis (ACSL), stratocumulus standing lenticular (SCSL), and cirrocumulus standing lenticular (CCSL). Because of their shape, they have been offered as an explanation for some unidentified flying object (UFO) sightings.

As air flows along the surface of the Earth, it encounters obstructions. These are human-made objects, such as buildings and bridges, and natural features, like hills, valleys, and mountains. All of them disrupt the flow of air into eddies. The strength of the eddies depends on the size of the object and the speed of the wind. It results in turbulence classified as ‘mechanical’ because it is formed through the “mechanical disruption of the ambient wind flow”. Where stable moist air flows over a mountain or a range of mountains, a series of large-scale standing waves may form on the downwind side. If the temperature at the crest of the wave drops to the dew point, moisture in the air may condense to form lenticular clouds. As the moist air moves back down into the trough of the wave, the cloud may evaporate back into vapour. Under certain conditions, long strings of lenticular clouds can form near the crest of each successive wave, creating a formation known as a “wave cloud.” The wave systems cause large vertical air movement, enough that water vapour may condense to produce precipitation. The clouds have been mistaken for UFOs (or “visual cover” for UFOs), particularly the round “flying saucer”-type, because these clouds have a characteristic lens appearance and smooth saucer-like shape; also, because lenticular clouds generally do not form over low-lying or flat terrain, many people have never seen one and are not aware clouds with that shape can exist. Bright colours (called irisation) are sometimes seen along the edge of lenticular clouds.[1] These clouds have also been known to form in cases where a mountain does not exist, but rather as the result of shear winds created by a front.

Pilots of powered aircraft tend to avoid flying near lenticular clouds because of the turbulence of the rotor systems that accompany them, but glider pilots actively seek them out. The precise location of the rising air mass is fairly easy to predict from the orientation of the clouds. “Wave lift” of this kind is often very smooth and strong, and enables gliders to soar to remarkable altitudes and to great distances. As of 2016 the gliding world records for both distance (over 3,000 km; 1,864 mi)[citation needed] and absolute altitude (15,460 m; 50,721 ft)[2] were set using such lift.

Text, Links, Credit/Copyright (c): Wikipedia / Images, Links, Credit/Copyright (c): Lentucular Clouds Advancing upon Mount Rainier, Washington, 2014. Amanda Booberry via Wikimedia Commons / Lenticular Clouds over Lisbon, Portugal by Funcl via Wikimedia Commons / Lenticular Clouds over the Cocino National Forest, Nevada by Brady Smith, United States Department of Agriculture via Wikimedia Commons / Lenticular Clouds over Harold´s Cross by OmniMedium via Wikimedia Commons.


Skies of Coupled Colours is in a state of temporary suspension owed to a variety of unanticipated circumstances that have temporarily interrupted the normal flow of posts and information. SCC will resume refreshed and renewed as soon as possible and we thank all who have silently followed the blog for their prayers and support.

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Lam Qua / 林官 (Chinese painter, b.1800 – d.1860): Chronicling Cancer.

From the Wikipedia / Yale University citation:

Lam Qua (Chinese: 林官; Cantonese Yale: Lam Kwan; 1801–1860), or Kwan Kiu Cheong (關喬昌), was a Chinese painter from the Canton province in Qing Dynasty China, who specialized in Western-style portraits intended largely for Western clients. Lam Qua was the first Chinese portrait painter to be exhibited in the West. He is known for his medical portraiture, and for his portraits of Western and Chinese merchants inCanton and Macau. He had a workshop in ‘New China Street’ among the Thirteen Factories in Canton.

In the 1820s, Lam Qua is said by some contemporaries to have studied with George Chinnery, the first English painter to settle in China – although Chinnery himself[1] denied this. Lam Qua became well-known and skilled in Chinnery’s style of portraiture. He developed a following among the international community, and undercut Chinnery’s prices.

From 1836 to 1855, Lam Qua produced a series of medical portraits of patients under treatment with physician Peter Parker, a medical missionary from the United States. Parker commissioned Lam Qua to paint pre-operative portraits of patients who had large tumors or other major deformities. Some of the paintings are now part of a collection of Lam Qua’s work held by the Yale University in the Peter Parker Collection at the Harvey Cushing/John Hay Whitney Medical Library; others are in the Gordon Museum, Guy’s Hospital, London.

John Thomson: LUMQUA was a Chinese pupil of Chinnery, a noted foreign artist, who died at Macao in 1852. Lumqua produced a number of excellent works in oil, which are still copied by the painters in Hong-Kong and Canton. Had he lived in any other country he would have been the founder of a school of painting. In China his followers have failed to grasp the spirit of his art. They drudge with imitative servile toil, copying Lumqua’s or Chinnery’s pieces, or anything, no matter what, just because it has to be finished and paid for within a given time, and at so much a square foot. There are a number of painters established in Hong-Kong, but they all do the same class of work, and have about the same tariff of prices, regulated according to the dimensions of the canvas. The occupation of these limners consists mainly in making enlarged copies of photographs. Each house employs a touter, who scours the shipping in the harbour with samples of the work, and finds many ready customers among the foreign sailors. These bargain to have Mary or Susan painted on as large a scale and at as small a price as possible, the work to be delivered framed and ready for sea probably within twenty-four hours. The painters divide their labour on the following plan. The apprentice confines himself to bodies and hands, while the master executes the physiognomy, and thus the work is got through with wonderful speed. Attractive colours are freely used ; so that Jack’s fair ideal appears at times in a sky-blue dress, over which a massive gold chain and other articles of jewellery are liberally hung. These pictures would be fair works of art were the drawing good, and the brilliant colours properly arranged ; but all the distortions of badly taken photographs are faithfully reproduced on an enlarged scale. The best works these painters do are pictures of native and foreign ships, which are wonderfully drawn. To enlarge a picture they draw squares over their canvas corresponding to the smaller squares into which they divide the picture to be copied. The miniature painters in Hong-Kong, and Canton do some work on ivory that is as fine as the best ivory painting to be found among the natives of India, and fit to bear comparison with the old miniature painting of our own country, which photography has, now-a-days, in a great measure superseded. I shall have occasion to notice Chinese art and artists in a subsequent portion of this work.
Images, Text, Links, Credit/Copyright, Collection: Yale University, Beinecke Rare Book and Manuscript Library / Massachusetts Institute of Technology / Account by John Thomson (Beinecke Library) / Wikipedia / Wikimedia Commons

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Peter Parker (American physician, b.1804 – d.1888): The Fixed Desire to Live in Reference to the Whole of My Existence –Portraits of Cancer Patients.

From the Yale University Cushing/Whitney Medical Library citation:

In early youth the contrast between things which are merely temporal and those that are eternal, was deeply impressed upon my mind, and the fixed desire was formed to live in reference to the whole of my existence’; that portion which is beyond the grave, as well as on this side of it. With these views, my purpose (providence permitting) of becoming a missionary to China was made, and before leaving America, the sincerest and strongest desires of my heart were Jell and cherished to labour for the accomplishment of permanent good; good that shall extend be yond the brief period or the longest life. The reflection often crossed my mind and lingered as it passed, that a thousand years hence it will be of comparatively little consequence what the bodies of the Chinese suffered or enjoyed here ; but that no coming period or cycle of ages will diminish the benefit done to the soul. I mention this, my respected friends, not for the take of obtruding upon you things of so personal a nature, and which may be regarded as belonging exclusively to one’s own bosom; but I do it for the sake of showing under what circumstances so much of my time and energies have been devoted to healing the maladies of the body. It has been with these feelings, and with the best exercise of my judgment, and the approbation of God, that my course as a Medical Missionary has been adopted. When the house is built we shall be willing the staging be taken down. After presenting an account of the origin of the Medical Missionary Society, and facts illustrative of the benefits of the hospitals; that Dr. Colledge had treated 4000, Dr. Parker 8000, Dr. Lockhart 3000, and Dr. Hobson a considerable number more, he gave some details of his own practice in diseases of the eyes and tumours, and other surgical cases, which were listened to with deep interest. He then adverted particularly to Dr. Lockhart of Liverpool, who had sacrificed flattering prospects at home, that he might extend to the Chinese the blessings of the Gospel, and said that God had most signally owned his labours, particu larly in Chushan, where such multitudes had sought his aid. He spoke of the interest manifested by ladies in London and in Edinburgh ; gave a feeling account of the desolations of war in that country; that though oceans and continents obstruct the reports of cannon from falling upon our ears, yet they reverberate on the hills and through the valleys of China. Mothers and daughters there had been violated, and widows and orphans have been multiplied.  — Peter Parker, Statement Respecting Hospitals in China, 1852; Glasgow, Bell and Bain.

Peter Parker, medical missionary and diplomat to China, was born in Framingham, Massachusetts in 1804. His parents were farmers and devout followers of the orthodox Congregational faith. Parker attended Yale College, graduating in 1831, and remained in New Haven to study theology and medicine, earning his M.D. from the Medical Institution of Yale College in 1834. In January of the same year he was ordained to the Presbyterian ministry in Philadelphia, one month before departing for Canton as the first Protestant medical missionary to China. One year after his arrival, with assistance from American and British benefactors, he opened the Ophthalmic Hospital at Canton. Parker specialized in treating diseases of the eye, particularly cataracts, but also performed general surgical operations including the removal of tumors. He is probably best known for the introduction of anesthesia to China in the form of sulphuric ether.

During his first trip to China, Parker made the acquaintance of the Western trained Chinese painter, Lam Qua. In the 1820s Lam Qua had studied under the patronage of George Chinnery, the first English painter to settle in China. Lam Qua’s training and the level of mastery he developed enabled him to become one of the most revered Chinese painters utilizing the Western style of portraiture. As a result of his talent, he developed a sizable clientele from the Western community within as well as outside of Asia. The most celebrated body of work by Lam Qua is the impressive collection of portraits, commissioned by Peter Parker in the 1830’s, of patients at the Canton Hospital with large tumors or other major deformities. These startling and somewhat gruesome paintings of pathological subject matter are unsettling to the viewer. One of the most noticeable aspects of each portrait is the expressionless look on the subject’s face. The lack of emotion turns the viewer’s eye from the subjects’ face to their pathology, or illness. Each subject appears to express neither pain nor sadness and serves as a testament to the human spirit in the face of physical adversity. Images displayed here represent only a part of the collection of Lamqua’s work held by the Medical Historical Library at Yale University. The portraits are of men, women, and children of a variety of ages and at various stages in the progression of their tumors. Entries about each portrait have been taken from Peter Parker’s journals when available; otherwise, they are accompanied by descriptive material provided by Karina Corrigan, Jack Lee, Ph.D., and William Strole, M.D. under the auspices of the Essex Peabody Museum in Salem, Massachusetts. Peter Rachmann, Ph.D., of Michigan State University has identified some of the sitters.

Parker displayed these portraits on trips to the United States to promote his missionary activities. He left them to the Pathology Department of the Yale Medical School, which later gave them to the Historical Library. At some point, the portraits were numbered. Since most of the sitters are still unknown, the titles of the portraits are the numbers.

There are 80 portraits in this collection.


Images, Text, Links, Credit/Copyright, Collection: Yale University / Yale University Medical School

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Anonymous Artisan (Japanese; Meiji Period, 1868-1912): Long-Sleeved Kimono (Furisode) with Hydrangeas and Cherry Blossoms / 白平絹地桜紫陽花模様振袖.

From the Metropolitan Museum of Art citation:

A furisode is a robe with long, fluttering sleeves worn by young, unmarried women. The white satin of this furisode is dyed beige around the hem, collar-line (eri), and lower sections of the sleeves. Delicate cherry blossoms, symbols of spring, and blue hydrangeas, which usually bloom in June, are painted on the beige ground. Similar compositions appear in Meiji period kimono-pattern books, such as the Collection of Shōun’s Patterns (1901).

Text, Links, Images, Credit/Copyright, Collection: The Metropolitan Museum of Art, New York.

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The Servant of God, Paul Takashi Nagai / 永井 隆 (Japanese radiologist and Roman Catholic layman, b.1908 – d.1951)

From the Wikipedia citation:

Takashi Nagai (永井 隆Nagai Takashi?, February 3, 1908, Matsue – May 1, 1951, Nagasaki) was a physician specializing in radiology, a convert to Roman Catholicism, and a survivor of the atomic bombing of Nagasaki. His subsequent life of prayer and service earned him the affectionate title “saint of Urakami” and has subsequently been honoured with the title of Servant of God, the first step towards the Roman Catholic sainthood.

Dr. Takashi is best known for his efforts in helping the victims of the atomic bombing of Nagasaki, despite his very serious injuries and the loss of his wife to the bomb, and for his plea to the world that it move on with the utilization of atomic energy for the progress of civilization so that the victims of the bombings may rest in peace. In the “Atomic-bomb rescue and relieve report” of October 1945 he has stated: “Everything was finished. Our mother land was defeated. Our university had collapsed and classrooms were reduced to ashes. We, one by one, were wounded and fell. The houses we lived in were burned down, the clothes we wore were blown up, and our families were either dead or injured. What are we going to say? We only wish to repeat this tragedy with the human race. We should use the principle of the atomic atom (sic). Go forward in the research of atomic energy contributing to the progress of civilization. A misfortune will be then transformed to a good fortune. The world civilization will change with the utilization of atomic energy. If a new and fortunate world can be made, the souls of so many victims will rest in peace.”[1]

In April 1928, he joined the Nagasaki Medical College. The reason he chose the college is unclear, due to the fact that neither did Nagai explain it clearly to his parents, siblings, friends or classmates nor did he write anything about it.[4][5] However, according to the accounts of Hajime Nagai, his younger brother, while Nagai’s classmates rumored that Nagai would go to Tokyo University, Nagai said that he wanted to go to Nagasaki, because he could become a professor there.[6] It is also said[by whom?] that Nagai used to be fascinated with the exotic attractions of Nagasaki.[7]

It was during these studies that he embarked upon the spiritual journey that would eventually lead him from atheism to Catholicism. The college was located 500 meters from Urakami Cathedral, but Nagai had faith only in man, patriotic values, science and culture[further explanation needed]. He belonged to the branch of Araragi, a group of tanka (short poems) found by Mokichi Saito[8] and the university basketball team (he measured 1.71 m and weighed 70 kg).[9]

In 1930, a letter from his father had informed him that his mother was seriously ill: having become a victim to brain haemorrhage, she was conscious but was unable to speak. He went to her bedside. She looked intensely into his eyes and died soon after (March 29)[citation needed]. Takashi remained upset and believed in the existence of the soul; his mother remained present in his mind. One of his professors spoke about the philosopher and scientist Blaise Pascal, quoting a sentence from the Pensées: “Man is only a reed, the weakest thing in nature; but he is a thinking reed.” He began then to read the Pensées and ponderate on human life and existence. Gradually, he changed, becoming more sensitive. In his third year of medical school, he was surprised by the stiff attitude of the professors at the bedsides of their patients.

During 1931, he constantly read Blaise Pascal and wondered about Christian Life and prayer. He became interested in Christianity while boarding with the Moriyama family, who for seven generations had been the hereditary leaders of a group of Kakure Kirishitans in Urakami. Sadakichi Moriyama lived with his wife and daughter, Midori, who was a primary school teacher in a nearby city. Takashi learned that the construction of the cathedral was financed by the poor Christian farmers and fishermen.

In 1932, he passed his examinations. He was supposed to deliver an address at a graduation ceremony, but 5 days before the ceremony, he became intoxicated with alcohol in a farewell party held at a Chinese restaurant ”Tsutenkaku” and had returned completely soaked with water from the rain. He slept without drying himself.[10] The next morning, Nagai contracted a disease of the right ear (signs of meningitis), which made him depressed and made him partially deaf. He could not practice medicine and agreed to turn to radiology research.[11] At the time, as he was aware, safety standards were poorly understood, leading to a high casualty rate from radiation exposure among practitioners of the field.

In the evening of December 24, Sadakichi Moriyama invited him to participate in a midnight Mass.[12] In the packed cathedral, Takashi was impressed by the people in prayer, their singing, their faith and the sermon. He would later say: “I felt somebody close to me whom I did not still know.” The next night, Midori was struck down by an acute appendicitis. Takashi made a quick diagnosis, telephoned the surgeon at the hospital and took Midori there on his back through the snowy weather. The operation had been successful; Midori survived.

In January 1933, Takashi began his military service. Before leaving for the campaign of Manchukuo, he did his training in Hiroshima during which a package was sent to him: it was Midori offering him gloves, socks and a Catholic catechism.[13] During this period in Manchuria, Takashi cared for the wounded and the sanitary service. He was strongly shaken in his faith in Japanese culture when had seen for himself the exactions of the Japanese soldiers and their brutality towards the Chinese civilian population. On his return, he continued his reading of the Catholic catechism, the Bible, and the Pensées of Blaise Pascal, and met a priest, Father Matsusaburo Moriyama, the first son of Jinzaburo Moritya[14] who was deported to Tsuwano (Shimane Prefecture) for his faith with many other Christian villagers in Urakami by the Meiji Government from the 1860s to the 1870s (Urakami Yoban Kuzure). Midori continued to pray for him. Eventually, his progress took a decisive turn when he thought attentively about Blaise Pascal’s words: “There is enough light for those who wish only to see, and enough darkness for those who have an opposite mood.”

On June 9, 1934, he received baptism in the Catholic faith and chose the Christian first name, Paul. Thus he joined the Catholic community, among whom the life of the Japanese saint Paul Miki strongly marked him. Then he asked Midori’s hand in marriage and she accepted. In August 1934, a Wednesday, at 7 a.m., during the usual first mass in the cathedral of Urakami, the wedding of Maria Midori Moriyama and Paul Takashi Nagai was celebrated in the presence of the priest and of two witnesses. Of their union were born four children: a boy, Makoto (April 3, 1935 – April 4, 2001) and three daughters, Ikuko (July 7, 1937 – 1939), Sasano who died shortly after her birth and Kayano (August 18, 1941 – February 2, 2008).

Takashi received the sacrament of confirmation in December 1934. Midori was president of the association of the women of the Urakami district. Takashi became a member of the Society of Saint Vincent de Paul (SSVDP), discovered its founder, Frédéric Ozanam, and his writings, and visited his patients and the poor, to whom he brought assistance, comfort and food.

From 1931 to 1936, Fr. Maximilian Kolbe resided in a suburb of Nagasaki, where he started a monastery. Takashi met him several times.

The day after the birth of his first daughter Ikuko, the war between Japan and China broke out with no declaration. Takashi was mobilized as surgeon in the service of the 5th division. He suffered from the harsh winter in China but also in view of the distress of all victims of this war, civilians and soldiers, Chinese and Japanese, caring for the wounded and thinking about justice and peace. On 4 February 1939, he received news of the death of his father and that of his daughter Ikuko by mail. He remained in China until 1940. On his return, he continued his studies at the college.

He returned to the district of Urakami (the epicenter of the bomb) on October 15, 1945. He had a small hut built from pieces of his old house. He remained there with his two surviving children (Makoto and Kayano), his mother-in-law and two other relatives.[18] This hut measured a little more than six tatami. In 1947, the local Society of Saint Vincent de Paul (SSVDP) built a simple two-tatami teahouse-like structure for him. Nagai named it “Nyokodo” (如己堂, Nyoko-dō to, literally “As-Yourself Hall”, after Jesus’ words, “Love your neighbor as yourself.” He styled it as a hermitage and spent his remaining years in prayer and contemplation.[19][20][21]

For six months, he observed mourning for Midori and let his beard and hair grow. On November 23, 1945, a mass was celebrated, in front of the ruins of the cathedral, for the victims of the bomb. Takashi gave a speech filled with faith, comparing the victims to a sacred offering to obtain peace. In the following years, Nagai resumed teaching and also began to write a number of books. The first of these, The Bells of Nagasaki, was completed by the first anniversary of the bombing. Although he failed to find a publisher at first, eventually it became a best-seller and the basis for a top box-office movie in Japan. In July 1946, he collapsed on the station platform. Now disabled, he was henceforth confined to bed.

In 1948, he used 50,000 yen paid by “Kyushu Times” to plant 1,000 three-year-old cherry trees in the district of Urakami to transform this devastated land into a “Hill of Flowers”. Even though some have been replaced, these cherry trees are still called “Nagai Senbonzakura” (1,000 cherry trees of Nagai) and their flowers decorate the houses of Urakami in spring. By 2010, the numbers of these cherry trees have reduced to only about 20 due to aging and other causes.[22]

On December 3, 1949, he was made freeman of the city of Nagasaki.[23] He received a visit from Helen Keller in October, 1948. He was also visited, in 1949, by Emperor Hirohito and by Cardinal Gilroy, emissary of the Pope.

On May 1, 1951, he asked to be transported to the college hospital so that the medical students could observe the last moments of a man preparing to die from leukemia. He prolonged the day of hospitalization to wait for the statue of Our Lady, a gift from the Italian Catholic Medical Association.[24]

Until the evening, his condition seemed stable. However, around 9:40pm, Nagai complained of dizziness and become unconscious. After two injections of cardiotonics, he regained his consciousness and prayed “Jesus, Mary, Joseph, into your hands, I entrust my soul.” Then he took the cross from the hand of his son Makoto, who rushed into the room, and shortly after he shouted the words “Please pray!” Nagai breathed his last: it was 9:50 pm.[25]He died at the age of 43. On the following day, his body underwent an autopsy at the hospital according to his will.[26] His spleen had swelled to 3,410g (normal weight: 94g) and his liver weighed 5,035g (normal weight: 1,400g).[27]

On May 3, his funeral Mass was said by Bishop Paul Aijirō Yamaguchi in front of the cathedral.[28] On May 14, an official ceremony took place in memory of Doctor Nagai. About 20,000 persons attended. The city of Nagasaki observed one minute of silence while the bells of all the religious buildings rang.[29] His remains were interred in the Sakamoto international cemetery.[30]

Takashi Nagai (1908-1951)

Le docteur Nagai s’était converti au catholicisme avant la guerre. Traumatisé par ce qu’il avait vécu, s’accusant même d’avoir été lâche et de n’en avoir pas fait assez, il porta le deuil durant six mois recherchant la “paix” et le réconfort dans la prière. Cette photographie a probablement été prise durant cette période. De cette expérience de retour sur soi, il tira un livre (Rozario no Kusari, The rosary chain). NASHIM (Nagasaki Association for Hibakushas Medical Care).
Il avait été envoyé comme soldat en Chine après l’accident de Mandchourie (1931), période durant laquelle il s’était converti au catholicisme puis fait baptiser à son retour à Nagasaki. Au début de la guerre, il retourne en Chine en tant que médecin militaire avant de revenir à Nagasaki en 1940.
En 1945, le docteur Nagai est assistant professeur à l’université de Nagasaki et chef du service de radiologie. Au mois de juin, deux mois avant l’attaque américaine, il apprend qu’il est atteint d’une leucémie du fait de ses activités comme radiologue. On lui donne trois ans à vivre.

Le docteur est à son bureau de l’Université médicale de Nagasaki, au moment de l’explosion à 700 m de l’impact. Il improvise des secours avec le personnel du département qui a survécu. Du 9 août au 8 octobre 1945 il dirige le onzième corps médical de l’Université, composé de 11 infirmiers, infirmières et étudiants ainsi que d’un docteur associé, et qui travaillera durant 3 mois sans relâche pour sauver la vie d’innombrables patients dans et autour du quartier Urakami. Le docteur Nagai et son équipe quittent Urakami dévasté le 12 août pour établir une station de secours dans la vallée de Mitsuyama

Ayant miraculeusement survécu, il reprend ses activités de secours et son enseignement, ayant été nommé professeur en 1946. Mais durant un de ses déplacements, il perd connaissance à la gare de Nagasaki. A partir de ce moment, sa santé empire de jour en jour. Bien que confiné au lit, le docteur poursuit ses recherches et ses écrits : « Depuis ce jour, la maladie a graduellement progressé. Maintenant je dois compter sur autrui même pour m’apporter un bout de papier. J’ai à peine la force de regarder dans un microscope, encore moins d’examiner un patient. Heureusement, mon sujet de recherche – la maladie de la bombe atomique – est dans mon propre corps ».

Au printemps de 1948, au moment où les gens commencent à réinstaller des cabanes primitives sur le terre dévastée d’Urakami, le docteur Nagai s’installe dans un petit ermitage qu’il appela Nyokodo selon un principe évangélique « Love others as you love yourselves ». C’est dans une minuscule pièce de deux tatamis (4 mètres carrés) qu’il produit des œuvres destinés à encourager les habitants d’Urakami : peintures, poésies japonaises et surtout essais et romans comme Rozario no Kusari (La chaîne du rosaire), Kono Ko wo Nokoshite (Laissant ces enfants derrière) dont on fit un film, Seimei no Kawa (Rivière de vie) et Nagasaki no Kane (Les cloches de Nagasaki) le plus connu.

Takashi Nagai avait perdu sa jeune femme, brûlée vive dans sa maison réduite en cendres. Heureusement ses deux enfants avaient été envoyés à la campagne avant le bombardement. Mais la perspective qu’ils allaient bientôt perdre leur père après avoir perdu leur mère le plonge dans une profonde détresse. Elle est la force motrice derrière son acharnement à écrire et à porter témoignage durant le peu d’années qui lui restent à vivre. Il meurt en mai 1951 à 43 ans.


Homiletic and Pastroral Revicw: The Catholic Holocaust of Nagasakihttp://www.hprweb.com/2010/08/the-catholic-holocaust-of-nagasaki-why-lord/

NHK: Nagasaki Revisitedhttp://www.nhk.or.jp/peace/english/library/program/20000807_02.html

Text, Images, Links, Credit/Copyright: Wikipedia / Wikimedia Commons / Vimeo

Video, Links, Credit/Copyright: Art.43via Vimeo

Link: Оставляя этих детей / Дети Нагасаки / Children of Nagasaki (1983) — godtv.ru/Дети-Нагасаки-1983-смотреть-онлайн



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Nin’ami Dōhachi (Dōhachi II; Japanese ceramist, b.1783–d.1855): Bowl with Hydrangeas.

From the Orandajin.com citation:

Nin’ami is often referred to as Dōhachi I. However, because his father was likewise active as a potter under that name we also find him designated Dōhachi II. Like his father, Dōhachi was active in Kyoto; he had a kiln at the Nishi Honganji and in the Saga district. He also worked in Takamatsu on the island of Shikoku. Dōhachi studied with Okuda Eisen (1753-1811), who had also been Aoki Mokubei’s teacher. Although he made excellent copies of Chinese and Korean ceramics, he generally favoured Japanese styles. Among his finest works are imitations of Nonomura Ninsei and Ogata Kenzan, and of raku ware. Unlike Mokubei, who often worked for the Chinese-style sencha tea ceremony, Dōhachi is associated with cha no yu. From 1806 he was permitted to conduct official business with the prince-abbot (monzeki) of the Shoren-in temple, which secured his reputation. Along with Mokubei and Eiraku Hozen (1795-1854) he is considered one of the great masters of Kyoto pottery of the late Tokugawa period. (AB)

Images, Links, Credit/Copyright, Collection: The Metropolitan Museum of Art, New York. Text, Links, Credit/Copyright: Orandajin.com with references cited.

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Anonymous Artisan (Japanese; Edo Period,1615-1868): Drum (Kotsuzumi) with Design of Hydrangea and Lacquered Storage Box.

Images, Links, Credit/Copyright, Collection: The Metropolitan Museum of Art, New York.

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Gustav Klimt (Austrian painter, b.1862 – d.1918): Two Girls with an Oleander.

Image, Link, Credit/Copyright: Public Domain via Wikimedia Commons


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Aftermath: Hiroshima, 1946.

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Jirō Takamatsu / 高松 次郎 (Japanese photographer, b.1926-d.1998): Shadows (1963-1977).

From the Wikipedia citation:

Jiro Takamatsu (高松 次郎Takamatsu Jirō?, 20 February 1936 – 25 June 1998[1]) was born in Tokyo, where he studied oil painting at the Tokyo University of the Arts until 1958. Sculpture, photography, painting, drawing and performance were his means of expression.

With Genpei Akasegawa and Natsuyuki Nakanishi he founded in 1963, the Hi Red Center, where happenings were organized. He was a member of the Mono-ha movement that tried the world through gestures, action, process and experiment to fathom. Takamatsu was impressed by the works of Eva Hesse.

From 1968 to 1972 he taught at the Tama Art University in Tokyo.

For the work Photographer Photographer (1972 to 1973), he hired a professional photographer who photographed snapshots from the Takamatsu family album. With this photo series, he explored the relationship between memory and interpretation.

From 1964 until his death in 1998, Takamatsu worked on his shadow painting which is inspired by the Japanese tradition of the silhouettes of the 19th century.

The Japan Times:


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