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From the Playground of the Gods: The Life and Art of Bikky Sunazawa
"Bikky Sunazawa’s art was unknown in North America and relatively little-known outside Hokkaido, Japan, when the Smithsonian opened its special Ainu exhibition [in 1999]. Conceived to explore the relationship of history, culture, and art of the Ainu people with other North Pacific native groups, the exhibition included a large section of contemporary Ainu sculpture, painting, graphic arts, and textile arts. The largest body of work was sculptures created by Bikky Sunazawa. . . . This is the first English-language book devoted to Bikky’s life and the most complete presentation of his principal artworks. . . . [It] is the most comprehensive treatment of the artist who became the pivot point in the development of modern Ainu fine art." ―from the Preface by William W. Fitzhugh
- GenresNonfiction
128 pages, Paperback
First published January 1, 2004
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January 23, 2024
A rare look at the life and work of the most famous Ainu woodcarving artist of modern times. Books on Ainu culture and history (both in English and accessible to non-scholarly readers) in general are hard to come by, so it was a pleasure to come across this one. Bikky was in many ways the quintessential artist--eccentric, irascible, incredibly disciplined personally while also difficult to get along with, etc. But also a creative genius with a unique vision that was much needed in his time.
The Ainu are the indigenous people of northern Japan. Like the natives of many countries throughout the modern world, they have suffered over a century of hostility and oppression from the "civilized" government that now control their original homelands. As an Ainu artist, Bikky was keenly aware of the social and political implications of simply existing as an Ainu and consciously participating in his native culture. The tension between being Ainu and simply wanting to be recognized as a great artist has its parallels within many minority groups (are you a "female" artist, or just an artist? are you a "black" artist, or just an artist?) and Bikky was no different. Ultimately he found strength and inspiration in not only in his own heritage, but that of marginalized peoples elsewhere--his journeys eventually took him to the studio of Bill Reid, one of the most famous Haida artists in North America. The merging of themes and ideas from both Ainu and Haida culture that resulted is a testimony to the kinship indigenous peoples naturally feel in these times of cultural erosion.
I have long held a fascination with Ainu culture because of their place within the larger question of Japan's destiny. For a country that is frequently praised by the west for its enlightened social manners and "homogenous" citizenry, it is truly shocking that the Ainu only recently gained legal recognition from the Japanese government in 1997. Laws attempting to actually preserve their culture and language, actually reverse the damage done by over a century of forced assimilation, were passed even more recently than that. Bikky grew up in a world where Ainu blood was considered shameful and embarrassing; where all Ainu children were expected to give up their language and names for a Japanese identity if they wanted to have any future beyond their impoverished kotans (villages). The struggle to face this injustice and make art are really one and the same for an indigenous artist--to make art is to give yourself an existence and a voice. He also fought for his people through direct political action--making speeches, attending protests, distributing literature. He was a sometimes reluctant figurehead for the Ainu, but always one of them. Like Native Americans, Palestinians, and other oppressed indigenous peoples, the Ainu did not just passively accept their oppression--Bikky is evidence of that.
As for his art, it reflects a raw energy, the urge to unite art with the world around it. Many of his pieces were roughly textured, moveable, and meant to be touched or interacted with by viewers. Sculptures were made in a frenzy of creative activity without any thought as to their future "legacy"--some of his most famous outdoor pieces were eventually blown over in storms or simply rotted away. This was by design. Bikky viewed such "destruction" as nature completing his work.
Regrettably, most of his existing pieces are either in Japan, Canada, or scattered across private collections. I hope to see one in person someday, but until then I highly recommend this book--I've never read anything quite like it.
The Ainu are the indigenous people of northern Japan. Like the natives of many countries throughout the modern world, they have suffered over a century of hostility and oppression from the "civilized" government that now control their original homelands. As an Ainu artist, Bikky was keenly aware of the social and political implications of simply existing as an Ainu and consciously participating in his native culture. The tension between being Ainu and simply wanting to be recognized as a great artist has its parallels within many minority groups (are you a "female" artist, or just an artist? are you a "black" artist, or just an artist?) and Bikky was no different. Ultimately he found strength and inspiration in not only in his own heritage, but that of marginalized peoples elsewhere--his journeys eventually took him to the studio of Bill Reid, one of the most famous Haida artists in North America. The merging of themes and ideas from both Ainu and Haida culture that resulted is a testimony to the kinship indigenous peoples naturally feel in these times of cultural erosion.
I have long held a fascination with Ainu culture because of their place within the larger question of Japan's destiny. For a country that is frequently praised by the west for its enlightened social manners and "homogenous" citizenry, it is truly shocking that the Ainu only recently gained legal recognition from the Japanese government in 1997. Laws attempting to actually preserve their culture and language, actually reverse the damage done by over a century of forced assimilation, were passed even more recently than that. Bikky grew up in a world where Ainu blood was considered shameful and embarrassing; where all Ainu children were expected to give up their language and names for a Japanese identity if they wanted to have any future beyond their impoverished kotans (villages). The struggle to face this injustice and make art are really one and the same for an indigenous artist--to make art is to give yourself an existence and a voice. He also fought for his people through direct political action--making speeches, attending protests, distributing literature. He was a sometimes reluctant figurehead for the Ainu, but always one of them. Like Native Americans, Palestinians, and other oppressed indigenous peoples, the Ainu did not just passively accept their oppression--Bikky is evidence of that.
As for his art, it reflects a raw energy, the urge to unite art with the world around it. Many of his pieces were roughly textured, moveable, and meant to be touched or interacted with by viewers. Sculptures were made in a frenzy of creative activity without any thought as to their future "legacy"--some of his most famous outdoor pieces were eventually blown over in storms or simply rotted away. This was by design. Bikky viewed such "destruction" as nature completing his work.
Regrettably, most of his existing pieces are either in Japan, Canada, or scattered across private collections. I hope to see one in person someday, but until then I highly recommend this book--I've never read anything quite like it.
Displaying 1 of 1 review