Ikko tanaka biography of mahatma

Ikko Tanaka and Kazuko

Boston University design student

Issey Miyake 三宅一生

The Concepts and Work of Issey Miyake

I believe there is Hope in Design.
Design evokes Surprise and Joy in people.

Issey Miyake

Issey Miyake’s approach to manufacturing was always rooted in research and experimentation: to “think outside the box” and not be bound by conventional frameworks. Miyake has fostered new ideas by challenging his staff to think beyond trends; and to look at the needs of society at that moment. Miyake created designs and techniques that will endure to future generations.

Issey Miyake first gained awareness of design from his encounter with two bridges in his home of Hiroshima that were designed by Isamu Noguchi: one named Ikiru (“to live”) and the other, Shinu (“to die”) (1952; later renamed Tsukuru (“to build”) and Yuku (“to depart”). He realized that the power of design lay both in empowering people to look at as well as to be able to use the bridges.

In 1960, Japan hosted the World Design Conference, for the first time. It was an international design symposium, whose aim was to promote interactions with the global design world. Miyake, who was studying at the Tama Art University’s Department of Graphic Design, sent a letter to the Secretariat asking why clothing design was not included in the program. His focus upon clothing as design rather than fashion attracted attention. He subsequently started to design his own clothes and created clothing for Toyo Rayon’s (now, Toray Industries, Inc.) 1963 Calendar by request of art director Jo Murakoshi. This was his first collection. In 1963, after his graduation from University, he announced “Nuno to ishi no uta” (Poems of cloth and stone).

In 1965, Miyake traveled to Paris and worked as an assistant at two fashion houses. He witnessed the May 1968 riots, an event that inspired a determination to create clothing for “the many rather than for the few”. This idea has continued to influence Miyake's monozukuri to the present time. The following year, he m

History Today: Ikko Tanaka

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The peace sign is probably the most commonly used symbol of protest in the world. Instantly recognizable as the universal sign for peace, in 2008 it turned 50 years old. With accounts from around the world, this book tells the story of the enduring power of the line drawing that began life as the official sign for the Campaign for Nuclear Disarmament (CND). Tracing the roots of Gerald Holtom's design, it details the many ways the peace sign has been put to use, including politics, fashion, show more pop, film and marketing.show less

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Barry Miles was the chairman of the Youth Campaign for Nuclear Disarmament in the early 1960s.

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Genres: Nonfiction, History, General Nonfiction, Art & Design
DDC/MDS: 303.66 — Social sciences Social sciences, sociology & anthropology Social processes Conflict and conflict resolution ; Violence War and peace
LCC: JZ5574.M55 — Political Science International relations International relations
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Notes

Havens, Thomas R. H.. "Notes". Radicals and Realists in the Japanese Nonverbal Arts: The Avant-Garde Rejection of Modernism, Honolulu: University of Hawaii Press, 2006, pp. 225-266. https://doi.org/10.1515/9780824842048-017

Havens, T. (2006). Notes. In Radicals and Realists in the Japanese Nonverbal Arts: The Avant-Garde Rejection of Modernism (pp. 225-266). Honolulu: University of Hawaii Press. https://doi.org/10.1515/9780824842048-017

Havens, T. 2006. Notes. Radicals and Realists in the Japanese Nonverbal Arts: The Avant-Garde Rejection of Modernism. Honolulu: University of Hawaii Press, pp. 225-266. https://doi.org/10.1515/9780824842048-017

Havens, Thomas R. H.. "Notes" In Radicals and Realists in the Japanese Nonverbal Arts: The Avant-Garde Rejection of Modernism, 225-266. Honolulu: University of Hawaii Press, 2006. https://doi.org/10.1515/9780824842048-017

Havens T. Notes. In: Radicals and Realists in the Japanese Nonverbal Arts: The Avant-Garde Rejection of Modernism. Honolulu: University of Hawaii Press; 2006. p.225-266. https://doi.org/10.1515/9780824842048-017

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History of Nichiren Buddhism

Mission to Kyoto

Nichizo (1269-1342) was the half-brother of Nichiro, and he became Nichiro’s disciple in 1275. On his deathbed, Nichiren Shonin commissioned Nichizo with the task of converting the emperor in Kyoto to the Wonderful Dharma of the Lotus Flower Teaching. From November 1, 1293 until February 10, 1294 he chanted the Jigage 100 times every night at Yuigahama Beach. This was the inspiration for the practice of Aragyo which occurs annually at Nakayama Hokekyoji. After completing these prayers and a pilgrimage to the important places in Nichiren’s life, Nichizo finally arrived in Kyoto on April 1, 1294. Due to pressure from the Tendai sect, Nichizo was exiled in 1307, 1310, and in 1321. None of these exiles were very severe. The first exile lasted two years, but Nichizo spent them in the suburbs of Kyoto. Nichizo was quickly pardoned from the other two exiles. After the third exile, the Emperor Godaigo permitted the propagation of Odaimoku and Nichizo was allowed to found the Myokenji Temple. In the following years, the Emperor Godaigo and his son Prince Morinaga intrigued to overthrow the shogunate and restore the imperial family to power. In 1333, Myokenji Temple joined in the pray for Emperor Godaigo’s success. Fortunately for Nichizo, the emperor was successful and the Kamakuran Shogunate fell in 1333. In 1334, the emperor recognized Myokenji Temple as an Imperial Prayer Temple. In this way, Nichiren Buddhism was finally given official recognition. Nichizo’s lineage would later be known as the Shijo Lineage due to the location of Myokenji Temple in Kyoto. The Myokenji Temple was burned down by Tendai sohei (soldier-monks) from Mt. Hiei in 1387. It was rebuilt in 1398 and renamed Myohonji. It took the name Myokenji again in 1519.

Daigaku Myojitsu (1297-1364) carried on Nichizo’s work. In fact, Daigaku may have been instrumental in winning the favor of the Imperial Court since he was a member of t