Page Eight 4 tHE MICHIGA I DAILY + Friday, my 31, 1970 Fri oy, July 31, 1ql0 THE MICHIGAN DAILY Air 1 For Direct Classified Ad Service, Phone 761 12 Noon Deaine Monday through Friday, 10:00 to 3:00 books booksb ooks The past is what we are within it.' Leo Bronstein, FIVE VARI- ATIONS ON THE T H E M E OF JAPANESE PAINTING, Wheelwright, $7.50 (EDITOR'S NOTE: The following is reprinted in slightly abridged form fromIDr. Edward's Introduction to Leo Bronstein's fascinating new book.) By RICHARD EDWARDS This is a difficult book. It is original, immensely stimulating, and in the last analysis, I think, true. It is a book which in its very insistence upon seeing the world anew-perhaps not always in a fashion acceptable to many -may too readily be dismissed as personal fantasy. The danger is there. On one level these variations could be characterized as a book of pensees. For - rather inde- pendent of the specific analysis of art - we may ponder such brevities as: The spiritual is what is thought about the body. The past is what we are within it. For more and more it seems true that only the subtle, still invisible, s e c r e t differences are the real differences, the efficient, working differences. When we "remember" a sen- sation we lose it as an actual- ity in us. ... good and its self-rotting, evil and its self-exhaustion. But these thoughts do not just flower on any tree. They consciously grow from a mod- ern man's understanding of Japan's past. Japan is the only culture that never stopped believing in ghosts. Letters, or written charac- ters, have had a most difficult existence in Japan. Shinto is not purity but pur- ification It is a book, too, that more often than not contradicts ac- cepted stereotypes. Buddhism is characterized as "nothing less mysterious." Zen is "easy," while Amidism is "difficult." In a gadget for popular amusement .there is "spirituality." The East's line may be as convincingly three-dimensional as the West's more solid methods for creating form in space. "China is Greece . . . sub-historically." "Fujiwara and Kamakura form one single ever-maturing block-style of life and art." ". . never did these people think as we must about their art." It need hardly be said that this is not traditional art his- tory. Yet is it not to be wel- comed? It is one of the unfor- tunate dilemmas of the respect- able academic world that as the educational establishment grows, perhaps more often than we would like to admit, we seem unable to afford that intellec- tual necessity, the risk of origi- nality of thought. Traditional -art history has not been over- revealing about the art of Japan. We can learn a great deal- indeed have much more to learn -through the application of accepted study of iconography or style or perhaps the piecing together of extant works by sin- gle artists. But none of these have revealed - may ever re- veal-what seems to be uniue about the art of 'Japan. Yet t h a t uniqueness is universally recognized. Close as it is to the art of China, it is only at a few isolated moments-moments of closest influence - that there need be any confusion. However, we Hiave generally been forced to '.'explain" Japan's artistic greatness as an intense absorp- tion in the technical aspects of the craft, or as brilliant decora- tion, or as narration, or as skill- ed imitation, or as that of being the last great repository - the farthest East-of a noble tradi- tion that owes its genesis, its originality, and its basic im- portance to India and to China, Toward this Japan is at best a precocious child. These indeed all have their truth. But somehow it is an in- adequate truth. To praise the work of the hands in an age of automation s e e m s only nega- tively important; to see art as a pleasing combination of shapes does not take us far beyond the interior decorator; and some- thing that is second or third- judgment of the art of Japan. For in recent years the "Japan boom" has been too strong not to indicate a significance great- er than passing whim. It is in this atmosphere that Professor Bronstein's ideas are brilliantly revealing. In a very genuine attempt to take us be- yond what has been done before, he asks us to "leave with due politeness the world of influ- ences and reach the world of attitudes, the what of the how world . . ." At this level Japa- nese art is seen under the guise of "substitution." It is this new and more complete notion that embraces and makes meaningful the partial truthds that we have already known. We are forced to accept the uniqueness of the the utmost importance." . metaphysical That which can be touched cannot be doubted (which is the story of religion, as Dr. Bron- 0--in affirms, is the greatness of ,hristianity). "The spiritual is what is thought about the body." Nothing about that which is of greatest human concern is surer than art. This affirmation stands in direct contradiction to feelings about the visual arts in popular circles and even con- sidered opinion in scholarly ones ". . for his [the visual artist's] art can ?only be an imprecise definer of already vague con- cepts . . ." But this latter view surely stems from the deeply in- grained notion that the definite tainly this book is not without its mystery, but unless he who writes about the visual arts is willing to accept mystery as basic to their nature, he has defeated himself before begin- ning. Mystery, of course, is not an equivalent for vagueness. Finally, I think, it is impor- tant to respect Professor Bron- stein's notionof history, that is, the importance of "sub-history." The existence of similarities in the arts of various parts of the world, independent of the tang- ible links of space and time, may be fascinating as the exist- ence of similarities f o u n d in those which are linked by them. And this is what makes it pos- sible to consider the art of Islam, or the art of America, or the art of Greece or of medi- eval France in a book on the art of Japan. Indeed possibility may very well be necessity; for whether he wills it or not, con- temporary man is not really free to see any a r t i s t i c tradition completely independent of the judgments that o t h e r artistic traditions may impose on it. We travel far geographically in this book, but also within the realms of man. For here inter alia we are involved with philosophy, psychology, mathe- matics, technology, drama, and poetry. But there is no leaving an essential unity of form, for the form of the book is the form of the body as defined by its senses; and the senses are consonant with the seasons, and the seasons and the tangibility of the body are here the art of Japan. Japan never lent itself to abstract thinking. No matter how far we wander we always come back, and the art of Japan is there. But one can also say that this is a book by a modern man about the modern world ("The past is what we are with- in it"), w h i c h Dr. Bronstein sees as ready for a new myth: "The total substitution of the material witness of today's in- nermost-man-and-his-body" for the unseizable whole of this cycle's happening. Its subject is also ". . . not Japan and Japan's art. But man's intellectual love of God, amor intellectualis Dei, the only profitless absolute in the world or worlds." As a work of art, such com- plexities suggest that Variations is most closely analogous to the apparently uncontrolled control of a richly varied abstract-ex- pressionist canvas. M o s t of what is here will not be grasped -accepted or rejected-without reflection. Understanding comes through immersion in the "per- son" of the book itself, and can- not come merely through the exercise of that "verbal" reason which is here found wanting. The form of the book is insepa- rable from the message of the book, and toward the end we find the sum of our direction: "'higher-level abstraction' vision sound touch taste smell 'the silent objective empirical world' Drawn ever closer to the heart of th e new m yth "Buddhist psyche-ascent became . . . my twentieth - century psyche - de- scent . . where lowest and ele- mental joins the highest deci- sions of abstracting." And this affirmation is universal because it forces us to accept what we are-which is our salvation .. and was Japan's." 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State Street 2, 3, or 4 man large apts. air-conditioned tremendous closets loads of parking laundry facilities 1-864-3852 1-353-7389 Ctc 2 BDRM. FURN. units on campus. avail, for fall. McKinley Assoc., 663- 6448. l5Ctc CHOICE APTS. For Fall. 2, 3, and 4 man, close to campus. 769-2800. Ann Arbor Trust Co., Property Management Dept., 100 S. Main. 300te Campus-Hospital Fall Occupancy Furnished Apartments Campus Management, Inc. 662-7787 335 E. Huron 47Ctc TV RENTALS-Students only. $10.40/ mo. Includes prompt delivery service, and pick-up. Call Nejac, 662-5671. 27Ctc CAMPUS NEW, FURNISHED APARTMENTS FOR FALL DAH LMAN N APARTMENTS. 545 CHURCH ST. USED CARS 1964 SUNBEAN Alpine. very good con- dition. Call 761-5491, ask for John or Greg. 42N60 '69 DELUXE CHEVELLE Malibu 350, automatic, power-steering-brakes, air- cond., push button windows, polyglass tires, excel, cond. 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AD57 HELP WANTED NEEDED-Worker, 18-22, construction and maintainence, $2.25/hr. 769-6637 constantly. 24H61 AMERICAN Academic Environments, Cambridge, Mass., is a young company marketing quality consumer design products to retail outlets. We are now recruiting for full time positions for the fall season. Experience is desired, and a car and willingness to travel is necessary. For further information contact the Student Employment office, 25H63 C Phone 761-7848 or 482-8867 36C71 AVAIL. FOR SUMMERt & FALL ALBERT TERRACE 1700 Geddes Beautifully decorated, large 2 bedroom. bi-level apartments. Stop in daily noon to 5:30 (Mon.-Fri.). 10 a.m. to 2 p.m. Sat. or phone 761-1717 or 665- 8825., lCtc 2 BDRM. FURN. units, on campus, avail. for fall. McKinley Assoc., 663- 6448, SOCtc AUGUST OCCUPANCY A delightfully spacious, quiet, clean 2 bedroom furnished and unfurnished apartment for 3 or 4. Campus area, ample closets. storage and parking. Call on Resident Manager, Apart- ment 102, 721 S. Forest. Ctc APARTMENT LOCATOR-$12.50, 1, 2, and 3 bdrm. fall apts. on and off campus. 1217 S. Univ. 761-7764. 40Ctc URGENT-Foster family needed for 15- yr.-old girl, ward of Jukenile Court. Call 663-7860. Family in school con- sultation project. 26H63 UNDERGRAD to help prof (in wheel- chair) in exchange for room and board. 761-9034 after 5. 22H60 FINANCIAL Analysis-accounting part time, begin Aug.-school year. Doc- toral or grad student for social-eco- nomic organization, financial systems and statements. Call Students Inter- national, 769-5790. 21H61 NEED DRUMMER for rock band. 761-1 9291 mornings. 20H58 BABYSITTER needed nights. Mon.-Fri. Call 971-5748 before 4 p.m. l9Htc APPLICATIONS are now being accepted for executive director of the Washte- naw Office of Economic Opportunity. 662-3172. 18H59 LOOKING FOR A JOB? Talented or experienced or interested in a particular field? Try placing a Michigan Daily "BUSINESS SERV- ICES" or "PERSONAL" ad-and help a job find YOU. HIDtc PHOTO SUPPLIES t a S c i i Instr uise 665 LARW aft B 3- TALI ing fear ser pan SUNT Bil CLAs beg BAS gro AUT( CR4 662 WILI WI E) SANS SOUCI APTS. Luxury Apartments Near Stadium Air conditioned Adequate Parking Dishwasher Near Campus Bus Stop 4-Men Apt. $240 5-Men Apt. $280 Some 2-men apt. left also Call 662-2952 761-7600 2ND MAN for room and kitchen, $50' mo. Call Todd, 761-1974. 33Y59 380c _ ROOMMATE 'til end of Aug. $35. 761- WANTED TO RENT 4809 after 5. 34Y59 ROOMMATE WANTED-Graduate stu- LADY DESIRES own room in modern, dent to share large furnished 2- furn., apt. adjacent to St. Joseph's, bdrm tapt. $190/mo. 3 miles froi for early Aug. occupancy. Box 60, campus. 761-8975. 35Y58 Mich. Daily or TO 9-3600, ext. 44, Detroit. 27L58 GRAD or PROFESSIONAL female to share 2-bdrm. apt. with 1 other. Bar- LIBRA SEEKS comfortable room in bara, 662-7123. 29Y58 peaceful (tree) house for fall: to -- - - share poems, kitchen, and the Blue 2 FEMALES needed to share bedrooni Green grass of Home. Call Richard, in large 3 bedroom house in fall. 665-0508 or 764-2547. 28L58 Call 663-2838. 31Y57 w wuw .ur-v =.. THE ABBEY THE L CARRIAGE HOUSE THE FORUM VISC ODG OUN still the local favorites! Several apartments available for summe fall semestera in each of these m buildings. Charter Realty Fine Campus Apartments 1335 S. University 665-E BARGAIN CORNER BARTER SALE, household and per items, new and old.,name your1 12 to 7 p.m., Sunday, Aug. 2. Pittsfield Blvd. 31Ctc MALE GRAD student will fill out 3 or FOURTH GIRL needed for apt. in fall. 4 man apt. Steve Serchuck, 764-1298, Call 761-5557 after 9 p.m. 27Y57 E contact secretary. 29L59 MALE GRAD needs room, roommates, for fall. Call 761-3674 after 6. 25Y57 T BASEMENT or adequate area for pho- select tography darkroom in exchange for and li-ht maintenance duties. Call 761- oden 3406 after 4:30. p.m. 26L57 j ,odern 34-RIDERS WANTED TO FT. LAUDER-E RESP. GRAD student needs apt. for DALE Aug. 21-24, can drive and share fall. Can afford up to $100 and 20 expenses. Call 665-2170 after 5. 059 y min. drive to Northeast. Call collect. ------ ---- 216-831-1472. 25L57 RIDERS WANTED to share expenses and driving to L.A.. leaving Aug. 1st. 8825 BUSINESS SERVICES Call Bob, 668-6482. 4057 lOCtc - THESES, PAPERS (incl. technical) typ- ( ed. Experienced, professional; IBM 2liii9- AT CENTURY The Best in Good Used Cameras WE BUY. SELL, TRADE Everything Photographi DARKROOM SUPPLIES LUMINOUS PAPER Repairs on all makes Century Camera tAt our new location) 4254 N. Woodward, Royal Oak Between 13and 14 Mile Rd LI 9-6355 Take I-94 to Southfield Expr North to 13 Mile Road-then East to Woodward and North (Michigan Bank. Security and Diner Charges accepted) UPTI FL( E. tE.iecti Aum doo BILL? UN HAR' HA Hig Ref orz U The I BU MDth rQuickservice.e.3-6 price. 2Jtc 2804 8W58 hand imitation is hardly to be valued above the imitated. This in part has led us to prize the art of China at the expense of the art of Japan. And this value finds special credence, I think, because the art of China can be explained. For in truth it is the art of China that is "imitative," not because it is essentially a copy of other artistic traditions, but because it is a re-creation of what we have already known. Space in Chinese art is again the familiar space that we have previously met in the "normal" world. Its form is like the form we know from physical experi- ence, however beautifully in- tensified in the direction of what Professor Bronstein calls "grace." It is because Chinese art deals with what is familiar, what is essentially given in the natural world, that it is "easy" to explain-and because under- stood, the more highly prized. The less intellectual contem- porary West-the world of com- merce, the craftsman, the deco- rator, even the tourist-reveals a more just, if still inarticulate, work of art. And naturally the technique, the very way in which it reveals uniqueness, is clearly of prime importance. So, too, the idea of "decoration," for such readily observable mat- ters as flatness or skilled surface arrangement have much to do with the artistic glory of a lac- quer, a textile, a s u r f a c e of paint. Even the matter of imi- tation has its significance here, for the excellence of the art of a work of art does not rest in its intellectual source. But the theory of substitution as a characterization of Japan- nese art would hardly be enough if it did not affirm as well the ability of that art to speak in and of itself of that which is of deepest human concern. It is because of its physical presence that it is valid. It is because it can be touched, and infinity (of which all undefinable aspects of existence partake) c a n n o t be touched, that art has meaning. For Japan's greatest art there can be no more talk of "mere" decoration. Ano ". . .- that is why in Japan the costume is of and the precise is that which is verbally definite, verbally pre- cise. That words, as the tools of reason, can with confidence be relied upon to define what is real, while arrangements of forms in space cannot. This brings us to the "style" of Dr. Bronstein's book, which at least may appear to have its aspects of imprecision. Its diffi- culties are in part the result of wide learning, which often con- denses meaning - perhaps too abruptly - to essential state- ments (the pensee). But more than that is the inescapable fact that words are poorly fashioned instruments for defining the much more precise concrete and tangible reality of Japanese art itself. If we ask why we cannot have a straightforward expected explanation of Japanese art, why we must have a "Myster- ious C o m p a n i o n," a ghost, "mud," a grey little mouse, or a. Noh play, the answer can only be that, at-le-a at so- far,- all straightforward expected. ex- planations of Japanese art have left us far short of a satisfac- tory notion of what it is. Cer- Sam's Store NEED LEVIS? 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