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  Japanese painting should not be regarded as just one style of painting, which uses glue as an adhesive medium, but as including all aspects of traditional oriental painting. Japanese painting incorporates the use of unique materials, such as an adhesive (nikawa), Japanese chalk (gofun), powdered mineral pigments (iwa-enogu), natural pigments, Japanese ink (sumi), and gold and silver leaf. Various tools and techniques influenced by tradition are also employed. Learning how to make effective use of such materials, tools, and techniques requires considerable patience, ambition, and spirit on the part of a student.
There are two obstacles to overcome as a student of Japanese painting. One is insufficient attention given to Japanese painting in elementary, junior high, and senior high schools. The other is that traditional elements of Japanese painting may appear incompatible with key concepts in modern western art. However, these should not be seen as problems, but rather as factors in the creation of new art with a fresh and contemporary voice. Careful consideration of the nature of Japanese painting can help students to produce creative and vibrant work.
It is expected that students will build the foundations of a new style, by bringing their talent, energy, and enthusiasm to the task of tackling the uncertainties that exist in today's Japanese painting. For this reason, it is imperative that they remain flexible and open-minded, demonstrate individuality in their studies, and cultivate aspirations for the search for beauty.


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To freely and energetically create contemporary pictorial art, the student must exercise considerable effort and persistence in order to effectively employ the materials, tools, and techniques of Japanese painting. With these aims, the student extensively practices basic techniques and thus gains the potential for creating pictorial art that both possesses a contemporary voice and looks ahead to the future. To provide a responsible system of instruction, one faculty member is in charge of each workshop of the Japanese Painting program. Moreover, an annual contest judged and critiqued by the program's entire faculty is open to all students in Approaches to Japanese Painting courses according to their scholastic year.

Years 1 and 2
The student acquires expressive techniques for Japanese painting, enhances drawing skills, and develops a basic approach to practicing free creation. Based on such motifs as human figures, plants, landscapes, and animals, the student undergoes training to accurately understand the subject concerned and extensively studies basic aims and representational skills, including form, composition, expression of volume, and modeling. At the same time, the student masters the tools and materials of Japanese painting and its basic painting techniques and cultivates further creativity by examining motifs from diverse angles and by training to accurately grasp their essence.

Years 3 and 4
Based on self-initiative and personal development, each student begins creative activities as an artist and gains expressive techniques, a comprehension of the nature of expression, and a creative spirit. For this purpose, the student employs his/her own sensibility and conceptual approach to conduct creative activities on freely chosen themes, while further enhancing technical skills and creativity. Moreover, special workshops are taught by leading painters, including Ueno Yasuro, Matsuo Toshio, Kayama Matazo. The student also works on the graduation project.


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Japanese Painting Program
Approaches to Motifs of Japanese Painting, Approaches to Japanese Painting, Special Topics in Japanese Painting, Basic Materials Science for Japanese Painting, Special Workshops, Graduation Project

General Education Program
Foreign Languages, Survey of Japanese Art History, Survey of Western Art History, Survey of Asian Art History, Contemporary Art, Aesthetics, Theory of Twentieth Century Art, Color Theory, Theory of Visual Images, Seminar on the Theory and Practice of Calligraphy, Physical Education, other courses

   
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