A group of pots in a shop window show the strong traditional form of Tamba jars. Traditionally made as storage jars, the thick rim allowed a cord to be tied securely around the neck of the jar, to hold a cloth in place to close the mouth of the jar. These bold, simple forms were the result of a direct vocabulary of form handed down through generations of potters over the centuries. The forms were often left totally unglazed and the decoration of the surface would come from the action of the fire and the depositing of ash on the surface, forming a natural glaze, as is the case on the second jar from the left in this photo. The two jars on the right probably had an ash glaze poured on them before they were placed in the kiln and the contrast of the runny dark green ash glaze against the dark iron red of the unglazed clay surfaces creates a dynamic pattern. The two pieces on the right have lugs ("loops" of clay) on their shoulders; originally such lugs were made to allow a lid to be
This group of finished pieces were on ware boards in the Ichino workshop. To some extent, they may represent experiments with new forms, glazes, or decorative techniques, that may diverge some from traditional Tamba vessels.
At the moment of the atomic bomb explosion in Nagasaki, Koji Shirabe, a first-year medical student at Nagasaki Medical College, was at the college anatomy laboratory. He was wearing a pair of trousers given to him by his cousin. He was reduced to a skeleton by the fires following the blast and was able to be identified only because of this unburned portion of the trousers, which still carried the name of his cousin, Yamamoto. (Donated by Junko Shirabe)
View 3. A-bomb Dome in the Peace Memorial Park, Hiroshima.
Not all is light and color in Japan. Still there linger dark shadows of the war. This is the Hiroshima Chamber of Commerce Building- target of the first atomic bomb ever used in war. This picture taken in 1950 shows leaves coming out on a tree thought to have been killed by the bomb in 1945. --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script" was to accompany a slide show of the images for his family and others.
Beginning the International Building in central Tokyo. the steelwork allows some flexibility to accomodate for the earthquake shocks. The weight of the steel structure causes it to sink into the swamp on which Tokyo is built, similar to those of Chicago and Shangai. The sign tells that the building has already sunk 18 of the 50 feet required for the four subtererrean stories. A maximum of 9 stories are permitted above ground. --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script" was to accompany a slide show of the images for his family and others.
The female student I passed was my sister -- Explanation by the artist: "It was like a road but there was no road. Not a single person could get through. I was worried about getting there before dark, so I walked right by two female students. One had bandages on her head and arms. One arm was in a sling of calico cloth. The other was wearing a uniform drenched with blood, her head wrapped, face covered with blood, hair singed red. She looked like a demon. For some reason, I spoke to her and discovered to my astonishment that she was my sisiter. I pinched my cheek thinking I must be dreaming." -- August 6, 1945, 3:30 - 4:00 p.m. -- 800m from the hypocenter, near Dobashi. The artist was 18 at the time of the bombing, 48 when she drew this picture.
Parents and crying child wandering aimlessly -- Explanation by Artist: " My husband's skin peeled off because of the burn. I held my babywith a broken arm. Blood covered our heads and faces. Skin from our faces and our arms dangled. Barefoot, clothes torn to shreds. "Don't cry. Don't cry. When your cry, I get sad." "Waahhh! Waahhh! (give me the breast)" " I haven't eaten since morning. My milk has dried up. Poor thing." "Waa, Waa." Artist was 24 at the time of the bombing, 81 when she drew this picture.
This photo of the hypocenter, the point of detonation of the atomic bomb, was taken in the autumn of 1945. The bomb had exploded in the air, approximately 600 meters above the Industrial Promotion Hall. -- The devastation caused by the blast and the fires that followed was total. It is said that the city was reduced to ashes covered by a crust of materials melted by the heat, that the city appeared to be covered with lava. -- A survey completed in 1946 assessed the physical damage in these terms: Of 76,327 buildings in the city of Hiroshima at the time of the blast, 47,989 (62.9%) were totally collapsed and burned. 3,818 (5%) were totally collapsed. 18,360 (24%) were half collapsed and burned, damaged beyond repair. The staggering total of the damage figures is that of the 76,327 buildings in the city, 70,147 (91.9% of all buildings in the entire city) were burned or collapsed by the blast beyond any possibility of repair. -- This image is a section of a photo that is now a wa
This is another of the very rare photographs of the immediate aftermath of the bombing. The photo, taken by Yoshito Matsushige, shows victims huddled at the west end of the Miyuki Bridge, 2,270 meters from the hypocenter, about 11:00 a.m., August 6, 1945. In the book, The Viewfinder Clouded with Tears, Mr. Matsushige writes, "I fought with myself for 30 minutes before I could take the first picture. After taking the first, I grew strangely calm and wanted to get closer. I took about ten steps forward and tried to snap another, but the scenes I saw were so gruesome my viewfinder clouded with tears."
Square bottle by Hamada Shoji. Made with slabs of clay using the press mold technique. Glazed with the material known as "Mashiko stone," a local material that, by itself, with nothing else added to it, forms a stoneware glaze. The glaze is a saturated iron oxide glaze with the orangish-red-brown color known as "Kaki," which means "persimmon." (Gift of Gaylord Hall and Roy Leeper, 2005.88)
A-bombed woman searching for family. -- Expalnation by the Artist: " An A-bombed woman searching for her family west entrance, Hiroshima Station." The scene depicted was 1,900 meters fro the hypocenter, west entrance of Hiroshima Station, Matsubara-cho. Artist was 19 at the time of the bombing, 76 when he drew this picture.
Arthur Rinden's description: "We [in the US, 1951] eat four times as much protein as the average Japanese. Puffed rice made on the spot by an itinerant processor. He puffs the rice supplied to him."
The imperial throne room has long been used for the crowning of new emperors. The decorated panelling at the back depicts officials wearing the same court costumes as those of the T'ang dynasty of China. This period in the 7th and 8th centuries was the time of greatest cultural borrowing from China. --This was the description to accompany this image, as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script" was to accompany a slide show of images for his family and others.
The disasters of nature are terrible and those of accidents are distressing, but none surpass the human tragedies of war. Here is a group of children- with Japanese mothers and American GI fathers- whom they have never seen. --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script", was to accompany a slide show of the images for family and others.
Only on holidays are the beautiful kimono seen in significant numbers. 'Charlie Chaplin' proves that Japanese businessmen also believe that 'It pays to advertise.' --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script", was to accompany a slide show of the images for family and others.
The visualized menu is more effective! Japanese food rates very high in 'eye appeal'- fish, pickles, vegetables, meat, rice, and soybean preparations --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script", was to accompany a slide show of the images for family and others.
At the top of the monument, which is nine-meters high, is this bronze statue of a young girl, perhaps a reference to Sadako Sasaki. In her hands, she lifts a golden crane above her head. The crane carries dreams for a peaceful future. -- On the sides of monument are bronze figures of a young boy and another young girl.
This detail of the base of the monument shows part of the Korean inscription on the column, the tortoise supporting the column, as well as strings of paper cranes and maps of Korea left by visitors to the monument.
The A-bomb devastated nearly all administrative agencies and destoyed official documents. Thus, the exact number of deaths due to the atomic bombing of Hiroshima remains unknown. Many victims were never identified. -- According to a document submitted by the city of Hiroshima to the United Nations in 1976 entitled 'For the Elimination of Nuclear Weapons and the Reduction of All Armed Forces and All Armaments,' an extimated 140,000 (plus or minus 10,000) people died as a result of the A-bomb between August 6, 1945, and the end of December that year.
The atomic bomb dropped at 8:15 a.m., August 6, 1945, exploded at an altitude of approximately 580 meters over the city of Hiroshima. It emitted heat rays, blast, and radiation. In the vicinity of the hypocenter, heat from the bomb raised surface temperatures to 3,000 to 4,000 degrees C. and generated a blast that bkew 440 meters per second (aoubt 984 miles per hour). Simultaneously, an enormous amount of radiation was emitted. These three forms of energy instantly destroyed the entire city, indiscriminatey taking many precious lives.
Passage from the Memoir of Tamiko Tsunematsu (female) -- â€œThe flames licked closer and closer, but my mother and I were not able to save either of them. [My sister called out,] â€˜Mother, Tami-chan, hurry and get away. I will die here.â€™ Right after she said those words, my sister seemed to lose consciousness. â€˜Rei-chan, Iâ€™m sorry. Forgive me, forgive me!,â€™ I sobbed. As I walked away I looked back, calling out â€˜Forgive me, forgive me!â€™ I felt as if I would go mad. Mother and I held hands tightly. Then we looked back at our home neighborhood and put our hands together in prayer. The whole of our neighborhood was up in flames all around.â€
Near the point of the Peace Memorial Park, close to the blast hypocenter, is the Memorial Mound. The many bodies that lay strewn in the area near the hypocenter and the bodies pulled out of the river were brought to this site and cremated. Shortly after the end of the war, a vault and a memorial mound were built at the site. In 1955, a permanent vault and mound were built and unclaimed ashes from other sites throughout the city were brought here. It is estimated that the ashes of nearly 70,000 victims lie in the vault, victims whose ashes were unclaimed because the identity of the victims was unknown or because the entire family had perished and there was nobody to claim the ashes.
Innumerable monuments in Hiroshima mourn the loss of those who died in the A-bombing. Monuments have been erected not just in Peace Memorial Park, but in parks throughout the city and alongside roads by neighborhood associations, schools, public offices and companies. Inscriptions on graves conjure memories of 'that day.' Some tell of entire families wiped out.
The former Hiroshima Prefectural Industrial Halll, as it has stood since the atomic bombing of Hiroshima. In front is one of the three rivers that runs through Hiroshima. This site is just down the river from the bridge that was the intended target for the atomic bomb.