Chiba Miyamoto’s collection of paintings is on display at the Gallery of Kouchebagh in Anzali.
Entitled "Chiba’s World", the paintings are filled with Gilan’s natural elements offering a Japanese panorama. Before and after 1979, the artist held a number of exhibitions in Iran and Japan. She says natural elements and a view from desert in Kashan changed her perspective in life, the window through which she now views the world. She says her paintings are as happy as possible. She knows Iranian culture in and out, and argues that Parviz Kalantari encouraged her to streamline her paintings. Likewise, poet Mohammad Reza Shafiei Kadkani gave her hope to carry on. Following is an exclusive interview with this prominent Japanese artist:
Why is nature so important to Japanese painters?
We are part of nature and planet earth. When you are on a train in the middle of a bustling city like Tokyo, you forget you come from nature. But when you go out to see nature you sense its beauty there and then. I like to spend time in nature because that’s where I find solace, out there among trees and animals.
Perhaps that’s because people in the east pay much more attention to energy than those in the west?
Nature is intermediary. When I paint some flower, that’s my take on it. It’s not just a flower, it has meanings too. The flower depicts the circle of life; it blossoms, grows, and then withers and fades away - just like us. Some artists pay greater attention to color and form. They upgrade it. I don’t like to give any abstract meaning to my subjects. Haiku is like this. It’s a traditional form of Japanese poetry. Haiku poems consist of 3 lines. The lines rarely rhyme and they can mean different things to different people.
How important is technique in painting?
Watercolor painting gives a sense of freshness. It is abrupt and without a lot of fuss; it establishes me as painter there and then. But in oil color painting I have to give all my thoughts and being to any given subject. This makes my work mature enough. Watercolor painting is like Japanese cuisine, less fried and cooked. Oil color painting is like Iranian cuisine, well-cooked and warm. I think we need both. I also use a third technique which is called "Sumi-e".
What is "Sumi-e"?
It is the Japanese monochrome ink painting technique, or ink wash painting. In this technique, you use black ink in various concentrations. You have to be quick and you also use a special paper called "Washi". It is handmade, perfect for using tonality and shading that is achieved by varying the ink density. Ink wash painting artists have strong senses. The type of paper and ink determines the quality of the work. You have to refine your brush movement and ink flow. Of all the works I have painted using this particular technique, only a handful are picturesque.
Your portrait paintings are like your nature paintings. Why also portrait genre?
They are not that different. This is because both man and nature have characters. My take on nature painting is same as my take on portrait painting. But my intent in portrait painting is not to depict the exact human subject. Instead, I try to describe the qualities, the traits of human subject. I prefer to use old men and women as human subjects. You can see traces of life on their faces.
Why did you decide to live in Iran?
After getting married we decided to live here as of 1973. We stayed for 12 years, during which I held two solo and several other group exhibitions. The truth is, Iran’s culture had a profound impact on me. My paintings used to be dark and pessimistic. Perhaps this had something to do with the Vietnam War. But gradually they became cheerful. Kashan was the place I first visited. Its wonderful nature inspired me to paint the beauty of Kashan. That’s how the darkness in my works was gradually replaced with the beauty of light.
You displayed your collection in Tehran’s Haft-Samar Gallery in 2011. Have you had any other exhibition since?
I haven’t had any exhibition since. I only helped my students organize a group exhibit in collaboration with Dadgar Magazine. It was nice to see them after all these years. We had no intention to sell the paintings though. I haven’t had any solo exhibition because I don’t have any new works.
Tell us about your collaboration with Parviz Kalantari.
He inspired me to paint and simplify. Once I designed some tilework and showed him. He admired them and encouraged me to do more. After going back to Japan I designed several other tilework for him as present. He was pure like water and very kind to me.
What about your collaboration with Poet Mohammad Reza Shafiei Kadkani? Why did he decide to write the statement of your exhibition?
Some 20 years ago, The Japan Foundation invited him. He visited Tokyo for two consecutive years. I came to know him through a friend. He had smile on his face when watching my works. He picked one of my paintings for his new book’s cover. I was delighted and inspired by his admiration. He said he wasn’t an artist but still liked to write a statement of exhibition for me. In the statement, he expressed his interest in the land and art of Japan, saying, "I have always been fascinated by Japanese painting, although I have no specific knowledge about it. The feeling of love towards nature which is the main characteristics of my poetry has linked me with Japanese paintings." I never thought I had made so much progress. He gave me confidence and inspired me to carry on.
You never had an exhibition in Tehran. Why is that?
I like to have exhibitions in Tehran, but since the gallery I work with is where my paintings belong to, I prefer to show them in their place of origin. The owner of Kouchebagh Gallery, Arefnia, would very much like to see me paint the natural wonders of Gilan. I have also had many painting workshops there. My point is, we should always try to decentralize art exhibitions. People deserve to see professional galleries and exhibitions in small towns too. There locals get the chance to see my works. This is what makes me happy, and this is what is truly important to me.
Translation by Bobby Naderi