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                <text>Yanagibashi, from the series 'Twelve Views of Tokyo'</text>
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                <text>Ishii Hakutei 1882-1958</text>
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                <text>Hamanaka Shinji and Amy Reigle Newland, &lt;em&gt;The Female Image: 20th Century Prints of Japanese Beauties&lt;/em&gt; (Leiden: Hotei, 2003), 34.</text>
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                <text>Hamanaka Shinji and Amy Reigle Newland, &lt;em&gt;The Female Image: 20th Century Prints of Japanese Beauties&lt;/em&gt; (Leiden: Hotei, 2003), 33.</text>
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                <text>Portrait of Ainu sculptor, Bikky Sunazawa.</text>
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                <text>Courtesy The Brooklyn Museum of Art; Photo: Susan Einstein</text>
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                <text>The Asia-Pacific Journal: Japan Focus &#13;
The Ainu and Their Culture: A Critical Twenty-First Century Assessment&#13;
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                <text>Sunazawa’s work remained largely focused on the woodcarving he began in his youth. His wood sculptures, featuring biomorphic forms and brimming with vitality, range from delicate small works to imposing monuments. Late in life he produced dynamic works on the theme of the wind. The largest of all is Four Winds, installed in the open-air museum at Sapporo Art Park, made from four Ezo spruce trees over five meters in height, on which nature has “applied the chisels of wind and snow.” Sunazawa connects the wind to the number four, as in the poem that describes the wind as “a beast with four heads and four feet.” His Listening to the Wind, also carved from Ezo spruce, features a row of four pillars that evoke tree spirits.&#13;
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                <text>Bandana with owls inspired by Ainu patterns. Tourist art.</text>
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                <text>http://nibutani.jp/common/plg/popupAinuWindow/data/k_kaizawa/11-2.jpg</text>
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                <text>Iku-pasuy are traditional artifacts necessary for Ainu ceremonies and rituals. They are known as "prayer sticks" and dipping this stick in a bowl of wine was considered to be the way to communicate with the gods.</text>
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