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Masatake Kozaki gleefully wields an impressive arsenal of materials and techniques old and new, all with the confidence of a master. His influences are equally protean, ranging from the curious Nanban depictions of European culture by 16th-century artists and the Edo-period (1603-1867) scroll paintings of the Hyakki yagyo (Night Parade of 100 Demons) to Hieronymus Bosch's Garden of Earthly Delights. He paints on traditional hemp paper with mineral pigments, but mixes them with acrylics. He favors the roiling gold- and silver-foil cloud motifs that dominate screen paintings like the glorious 17th-century Rakuchu rakugai zu panoramas of Kyoto -- but his subject matter is anything but orthodox.

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Originated from the ancient Chinese utopia "Peach Blossom Spring", gold leaf and composition reminiscent of Hieronymus Bosch, Nanban screen and Rakuchu Rakugai are allowed. However, if you look closely at the details, what is depicted is an unusual or bizarre animal in the Middle Ages, or an animal or plant that seems to be composed of future vehicles or genetic combinations. Its appearance is mixed with modern technology. This world crosses borders and time and space.

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Mono no aware (物の哀れ, もののあはれ), literally "the pathos of things", and also translated as "an empathy toward things", or "a sensitivity to ephemera", is a Japanese term for the awareness of impermanence (無常, mujō), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life

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This kabuki performance on the festival float is a pair core event of this "Aizutajima Gion festival. For these three years I have seen many actress for Kabuki 

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Kazuo Ohno  was a Japanese dancer who became a guru and inspirational figure in the dance form known as Butoh.

Kazuo Ohno and Tufang Tatsumi are the pioneers of Wuta. After the war, the painful and empty dancers attempted to break the traditional Western dance rules and truly liberate their bodies and spirits. The convulsions, distortions, and painful squirming in the dance are all shouts towards freedom, and the dancers return to the original state of life through the ultimate exploration and interpretation of the body.

"I always think about how to start dancing. Dance obviously cannot be separated from life. How should we start dancing? If I start dancing without thinking about this question, it means that I ignore the nature of people. Dance starts in daily life. The movement of the body also begins with the seriousness of life and the confusion about life.
When we think about human beings and life, two questions will come to mind: Humanism-this concept is based on deep love or idealism; Pragmatism-based on people's immediate desires and needs. "

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many chaotic scenes, bright colors, cars full of dolls, or huge dolls, and crazy and huge characters.

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The protagonist traverses the dining table of Greedy Crocodile. Obese humans gobble up at the table, reaching out to grab the protagonist. In this scene, the camera is shaking, the light and shadow are relatively dark, and there is a huge gap between the size of the monster and the protagonist, which is also a feature that can only be found in dreams.

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The weird-looking central character, high-saturation bright colors and complex decorative elements.

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"Remember, geisha are not courtesans. And we are not wives. We sell our skills, not our bodies. We create another secret world, a place only of beauty. The very word "geisha" means artist and to be a geisha is to be judged as a moving work of art."

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Fuyuko Matsui is a female contemporary Japanese artist, specialized in Nihonga paintings. She is known for her "new Kusozu" series.
The paintings are mostly done in the traditional Nihonga style, with powdered mineral pigments on silk, and Matsui succeeds in showing that this eclectic genre of painting—which was established in the late nineteenth century and amalgamates various classical Japanese and Chinese techniques while accepting Western models of realistic imitation—can be a vehicle for the expression of contemporary feeling in an age of deep anxiety and distress.

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National Treasure Nezame Monogatari Picture Scroll
Volume 1 (part)
Heian period
12th century
Yamato Bunkakan Collection
Exhibition period: 5/1 (Wednesday) -5/13 (Monday)

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Yoshitaka Amano , Amano Yoshitaka, born March 26, 1952) is a Japanese visual artist, character designer, illustrator, a scenic designer for theatre and film, and a costume designer.

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Belladonna is a 1973 Japanese animated art film produced by the animation studio Mushi Production and distributed by Nippon Herald Films. It follows the story of Jeanne, a peasant woman who turns to witchcraft after she is raped by the local nobility on the night of her wedding day. It is notable for its erotic, violent, and psychedelic imagery and considered a cult film.

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Breathtaking, erotic, grotesque, and transgressive, the film mixes watercolors influenced by Western art—Klimt is in here, but so are Degas and Kandinsky—with imagery ripped straight from a nightmare. There are expressionistic, undeniable, disturbing depictions of rape; there are orgies; in one sequence, various genitalia transmute, as if in a dream, into whole spectra of flora and fauna.

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Klimt is noted for his paintings, murals, sketches, and other Objects d'art. Klimt's primary subject was the female body,[1] and his works are marked by a frank eroticism.[Klimt was the most influenced by Japanese art and its methods.