My spirit soars up to the sky,

As I on the lush green carpet lie.

Ecstasy envelopes my always

…melancholy heart,

As, sudden wind blown ripples,

In the pond start.

As the winter suns, warm rays,

Caress my being I do sway

Frolicking and frisking, from here to there,

Like a lamb, the desire, I wish to bear.

May you bloom forever, my Garden of Eden,

Make my thoughts soar upto, The Seventh Heaven.

Once polluted and suffering from depopulation, Naoshima has become Japan’s hottest contemporary art enclave – and there are signs that life there may be finally rebounding.

Shinichi Kobayashi has idyllic memories of growing up on Naoshima, one of the nearly 3,000 islands scattered across Japan’s Seto Inland Sea.

“We would go clam digging,” said the 75-year-old, who became the island’s mayor in 2018. “During the summer, I would spend entire days swimming in the sea, catching turban shells and fish, getting deeply tanned.”

“I don’t recall seeing any foreign visitors,” he added.

Kobayashi’s home island is no longer off the tourist radar – thanks to the power of modern art. Since the 1989 launch of what has become Benesse Art Site Naoshima  – a multi-island art initiative initiated by billionaire Sōichirō Fukutake – more than 500,000 visitors now flock annually to Naoshima, whose fishing villages, rice fields and craggy coastlines have become the canvas for mesmerising art installations and ambitious museums. In 2010, the Setouchi Triennale launched. The contemporary art festival – which is now one of Japan’s foremost international art events – attracts roughly one million visitors to the region each Triennale season. The sixth edition kicked off on 18 April this year and will run until 9 November; the longest Setouchi Triennale ever.

Forty years ago, few would have imagined such a transformation. In the early 20th Century, Naoshima had cemented its reputation as a copper smelting hub, but by the 1980s, it was heavily polluted; the raw, rocky land around the Mitsubishi Materials industrial plant denuded of vegetation. The population dwindled dramatically as the young left to seek opportunities in larger cities. 

Fukutake’s father, publishing magnate Tetsuhiko Fukutake, and Naoshima’s then-mayor, Chikatsugu Miyake, aspired to revitalise the bleak area by founding a children’s campground. Tetsuhiko died before the project was completed, leaving it to his son. Shocked by Naoshima’s pollution, the younger Fukutake purchased a large swathe of the island’s unblighted south side. His new plan: to transform the region by erecting attractive museums against its serene coastal landscapes. To enact his vision, he tapped Osaka-born architect Tadao Andō, who had become known for designing buildings that blended seamlessly into their surroundings.

“I was surprised by the idea and thought it would be difficult to achieve,” Andō said in a 2018 interview where he and Fukutake discussed the project’s origins. “It was so inconvenient! Who would come here?”

“This project began as an act of resistance,” explained Fukutake in the interview. “It was my conscious intention to build a kind of heaven on Earth – the very first paradise that harmonises art, nature and the local community.”  

In 1989, Andō designed the Naoshima International Camp, fulfilling the elder Fukutake’s vision. In 1992 came the Benesse House Museum, a hotel and contemporary art museum housing works by luminaries including Bruce Nauman, Frank Stella and Hiroshi Sugimoto.

The island’s evolution into a globally renowned open-air museum and international contemporary arts hub was all but assured in 1994, when Yayoi Kusama’s yellow and black-spotted Pumpkin was added to the landscape’s growing collection of public artworks. This iconic work has since become emblematic of Naoshima itself.

“[The] initial goal wasn’t to promote tourism,” said Soichiro Fukutake’s son, Hideaki, who now helms the Fukutake Foundation. “But rather to revitalise the region through art and help locals feel a renewed sense of pride in their hometown.”

But the mission hasn’t just been about building anew. Since 1998 and the start of the Art House Project in the nearby fishing village of Honmura, “using what exists to create what is to be” has been a guiding principle, leading to many defunct buildings on Naoshima and the neighbouring islands of Teshima and Inujima to be reborn as art. These include two projects by artist Shinrō Ōtake: Haisha, an old dentist’s building transformed with collage, reclaimed materials and a partial giant copy of the Statue of Liberty; and Naoshima Bath “I♥︎湯”, a public bathhouse now plastered in a patchwork of patterned tiles on the exterior to the full-scale model of an elephant striding across the dividing wall between the male and female bathing sections.

Some locals were initially sceptical about the general appeal of such artworks. In the 1980s Toshio Hamaguchi worked for Naoshima’s town office and guided executives from Fukutake’s company around the island when the International Camp was first being planned. “I did not expect that we would attract many people by such a project, and particularly by art,” recalls the retiree. “However, we have so many visitors thanks to art now.”

Since his initial commissions on Naoshima, Andō has designed nine other projects on the island, including the Chichu Art Museum, of which a large portion is built directly into the earth; and the Naoshima New Museum of Art, opening 31 May, which will showcase contemporary art from Japan and Asia. The inaugural exhibition – titled From the Origin to the Future – will feature works by the likes of Japan’s Takashi Murakami and Makoto Aida, Cai Guo-Qiang from China and the Korean artist Do Ho Suh.

Like the Chichu Art Museum, the Naoshima New Museum of Art blends seamlessly with the environment by burying two of its three storeys beneath the ground. “It’s one of the most ambitious and exciting projects we’ve undertaken,” said Hideaki Fukutake.

The success of Benesse Art Site Naoshima in attracting visitors to a once-neglected location has been an inspiration for similar projects in other rural parts of Japan. Art Base Momoshima on the island of Momoshima is helmed by renowned conceptual artist Yukinori Yanagi, while on Ōmi-shima, another Inland Sea island, architect Toyō Itō has established the Toyō Itō Museum of Architecture.

As mayor, Kobayashi notes the economic benefits: “Thanks to the increasing number of visitors, guesthouses and restaurants have flourished, helping make everyday life more vibrant for the locals.”

He added: “That said, we’ve also seen some changes, like more people locking their doors, which wasn’t common in the past… For me, what matters most is that the residents can live cheerfully, energetically and happily.”

Threatening this is the island’s persistent issue of depopulation: Naoshima currently has 3,000 residents, around half the number it had in the 1980s. “Personally, I strongly wish to increase it,” said Kobayashi. “Even if just by one person.”

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However, there are glimmers of hope; a 2024 Asahi Shimbun article cited that though the island’s population was in decline in 2022, the number of newcomers has risen slightly but steadily each year since. Over the past five years, 500 people – mainly married urban couples in their 30s and 40s – moved to the island, attracted by its unique artsy beauty. Many Benesse Art Site Naoshima staff have relocated to the island while others have come to fill jobs in the booming hospitality industry – so much so that Naoshima is now facing a housing shortage. Mitsubishi Materials has also significantly cleaned up its copper smelting operations, improving the overall quality of life.

Speaking at a conference on Naoshima in 2023, Eriko Ōsaka, a respected curator and general director of The National Art Center, Tokyo, credited Benesse Art Site Naoshima organisers with changing the island’s image “from being a negative one to a positive one through the power of art”.

In Ōsaka’s opinion, visitors to Naoshima “can experience serendipity that they can find nowhere else and discover something unknown within themselves”. For her, the success of Benesse Art Site Naoshima means that some of those islanders who have moved away “will come back one day”.

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Founded in 1600 as a trading enterprise, the English East India company gradually transformed into a colonial power.

By the late 18th Century, as it tightened its grip on India, company officials began commissioning Indian artists – many formerly employed by the Mughals – to create striking visual records of the land they were now ruling.

A Treasury of Life: Indian Company Paintings, c. 1790 to 1835, an ongoing show in the Indian capital put together by Delhi Art Gallery (DAG), features over 200 works that once lay on the margins of mainstream art history. It is India’s largest exhibition of company paintings, highlighting their rich diversity and the skill of Indian artists.

Painted by largely unnamed artists, these paintings covered a wide range of subjects, but mainly fall into three categories: natural history, like botanical studies; architecture, including monuments and scenic views of towns and landscapes; and Indian manners and customs.

“The focus on these three subject areas reflects European engagements with their Indian environment in an attempt to come to terms with all that was unfamiliar to Western eyes,” says Giles Tillotson of DAG, who curated the show.

“Europeans living in India were delighted to encounter flora and fauna that were new to them, and ancient buildings in exotic styles. They met – or at least observed – multitudes of people whose dress and habits were strange but – as they began to discern – were linked to stream of religious belief and social practice.”

Beyond natural history, India’s architectural heritage captivated European visitors.

Before photography, paintings were the best way to document travels, and iconic Mughal monuments became prime subjects. Patrons soon turned to skilled local artists.

Beyond the Taj Mahal, popular subjects included Agra Fort, Jama Masjid, Buland Darwaza, Sheikh Salim Chishti’s tomb at Fatehpur Sikri (above), and Delhi’s Qutub Minar and Humayun’s Tomb.

The once-obscure and long-anonymous Indian artist Sita Ram, who painted the tomb, was one of them.

From June 1814 to early October 1815, Sita Ram travelled extensively with Francis Rawdon, also known as the Marquess of Hastings, who had been appointed as the governor general in India in 1813 and held the position for a decade. (He is not to be confused with Warren Hastings, who served as India’s first governor general much earlier.)

The largest group in this collection is a set of botanical watercolours, likely from Murshidabad or Maidapur (in present-day West Bengal).

While Murshidabad was the Nawab of Bengal’s capital, the East India Company operated there. In the late 18th century, nearby Maidapur briefly served as a British base before Calcutta’s (now Kolkata) rise eclipsed it.

Originally part of the Louisa Parlby Album – named after the British woman who compiled it while her husband, Colonel James Parlby, served in Bengal – the works likely date to the late 18th Century, before Louisa’s return to Britain in 1801.

“The plants represented in the paintings are likely quite illustrative of what could be found growing in both the well-appointed gardens as well as the more marginal spaces of common greens, waysides and fields in the Murshidabad area during the late eighteenth century,” writes Nicolas Roth of Harvard University.

“These are familiar plants, domestic and domesticated, which helped constitute local life worlds and systems of meaning, even as European patrons may have seen them mainly as exotica to be collected.”

Another painting from the collection is of a temple procession showing a Shiva statue on an ornate platform carried by men, flanked by Brahmins and trumpeters.

At the front, dancers with sticks perform under a temporary gateway, while holy water is poured on them from above.

Labeled Ouricaty Tirounal, it depicts a ritual from Thirunallar temple in Karaikal in southern India, capturing a rare moment from a 200-year-old tradition.

By the late 18th Century, company paintings had become true collaborations between European patrons and Indian artists.

Art historian Mildred Archer called them a “fascinating record of Indian social life,” blending the fine detail of Mughal miniatures with European realism and perspective.

Regional styles added richness – Tanjore artists, for example, depicted people of various castes, shown with tools of their trade. These albums captured a range of professions – nautch girls, judges, sepoys, toddy tappers, and snake charmers.

“They catered to British curiosity while satisfying European audience’s fascination with the ‘exoticism’ of Indian life,” says Kanupriya Sharma of DAG.

Most studies of company painting focus on British patronage, but in south India, the French were commissioning Indian artists as early as 1727.

A striking example is a set of 48 paintings from Pondicherry – uniform in size and style – showing the kind of work French collectors sought by 1800.

One painting (above) shows 10 men in hats and loincloths rowing through surf. A French caption calls them nageurs (swimmers) and the boat a chilingue.

Among the standout images are two vivid scenes by an artist known as B, depicting boatmen navigating the rough Coromandel coast in stitched-plank rowboats.

With no safe harbours near Madras or Pondicherry, these skilled oarsmen were vital to European trade, ferrying goods and people through dangerous surf between anchored ships and the shore.

Company paintings often featured natural history studies, portraying birds, animals, and plants – especially from private menageries.

As seen in the DAG show, these subjects are typically shown life-size against plain white backgrounds, with minimal surroundings – just the occasional patch of grass. The focus remains firmly on the species itself.

Ashish Anand, CEO of DAG, says the the latest show proposes company paintings as the “starting point of Indian modernism”.

Anand says this “was the moment when Indian artists who had trained in courtly ateliers first moved outside the court (and the temple) to work for new patrons”.

“The agendas of those patrons were not tied up with courtly or religious concerns; they were founded on scientific enquiry and observation,” he says.

“Never mind that the patrons were foreigners. What should strike us now is how Indian artists responded to their demands, creating entirely new templates of Indian art.”

Painting

Taken From BBC News

https://www.bbc.com/news/articles/ckg4zx0x778o