From the studio in Kita-Kamakura: A prayer delivered by Kannon painter, Yumeka.

It's a 10-minute walk from Kita-Kamakura Station. You walk past a residential area nestled among lush greenery, steadily climbing the hill. After passing through a narrow path, you arrive at a building that feels like a hidden retreat surrounded by nature. When you open the door, which reads "kokotama gallery," a white dog cheerfully greets you like a gatekeeper.

"I was born and raised in Tokyo, and since 2015 I have been based in Kita-Kamakura."
The first thing I noticed after moving to Kita-Kamakura was how much closer the mountains are to everyday life than I had imagined.

These are the words of Yuka, owner of "kokotama gallery" and a Kannon painter based in Kita-Kamakura. Cherry blossoms against a golden background, and beautifully blooming lotus flowers. Her works, created in this place loved by nature, allow viewers to enjoy the flowers and scenery of each season.

"I was deeply moved to find that this is not the artificial nature of the city, but a satoyama (traditional rural landscape) that has been cherished by local people for generations, where you can feel the changing seasons day by day through the trees and flowers."
The sky is vast, you can see the moon and stars clearly at night, and the breeze from the mountains, along with the sounds of birds and insects, is incredibly soothing. I think it's the perfect place for creative work.
The sea is just a short distance away, and of course, the abundance of historical temples and shrines is also a great attraction.
Above all, the people in the community are incredibly warm and supportive, and I'm always grateful for their help. I've truly come to appreciate the importance of human connections.

Although born and raised in Tokyo, Yuka attended high school in Yokohama, making Kanagawa Prefecture a place filled with fond memories of her student days. How did the scenery of Yokohama appear to her?

"During high school, I commuted from Tokyo to Motomachi every day."
I remember being out of breath every day climbing the steep hill that passed through the foreign cemetery from the station to the school. It brings back fond memories.
The area where I spent my student days includes foreign cemeteries, Western-style houses in Yamate, and Chinatown, giving me the impression of a stylish and artistic town where you can feel the atmosphere of foreign countries close at hand.
The ships in the harbor, the parks filled with flowers, and the red brick warehouses—everywhere you look is picturesque. I also love the moon over the sea, the orange-tinged night sky over the harbor, and the slightly bustling neon lights of Minato Mirai; they're all so romantic.
Recently, with the Yokohama Triennale gaining attention, I feel like there are many people who are interested in art. When I had a solo exhibition at a gallery in Motomachi, I was strongly impressed by how casually everyone was enjoying art.

After graduating from high school, she left Japan to attend university in the United States. Her time abroad gave her an opportunity to re-examine Japan and her own future, and she shared with us the feelings she developed towards Kannon (the Goddess of Mercy) during that experience.

"Studying abroad in the United States during university allowed me to re-examine my own country from a different perspective than before."
When foreigners asked me about Japan, there were many things I didn't know. This made me want to learn more about Japan and share it with more people, so I explored various options, such as visiting shrines and temples, and taking lessons in kimono dressing and Japanese painting.
Of all of them, the one that attracted me the most was the statue of Kannon (Goddess of Mercy).
I found the Kannon's human-like appearance very endearing, and I became even more interested when I learned that Kannon takes on various forms, as well as other deities such as Nyorai, Myoo, and Tenbu.
Above all, when I faced the statue of Kannon, my heart was deeply moved by its profound beauty, its inclusiveness, and the countless layers of prayers that have transcended the ages that reside within it.
I was in the midst of job hunting, struggling with my career path, when the 3.11 earthquake struck. Prayers from all over the world reached Japan, and I was deeply moved by the realization that the spirit of those prayers transcended nationality and religion. This experience strongly influenced my decision to become a painter.

Many readers may be learning about the profession of a Kannon painter for the first time through this column. For me, Kannon has always been an absolute being, and I had never had the opportunity to approach her from an artistic perspective before. I was a little apprehensive, wondering if I would be able to understand it.

Contrary to my worries, the images of Kannon painted on canvases of various sizes, surrounded by gentle colors and beautiful flowers, quietly smiled and gently entered my heart. And I was surprised at how rich and diverse the expressions were, even through that single smile. Compassion, beauty, dignity, and love. Until now, I had generally associated Kannon with a sense of "stillness," but the Kannon she painted coexisted with the seasons and nature, "moving" amidst colorful scenes.

"I think there are many people who are not interested in Kannon (Goddess of Mercy) or who don't really know much about her."
I hope that people will feel free to view my work casually and freely, rather than thinking that because it's a depiction of Kannon (Goddess of Mercy), it must be interpreted in a specific way.
Each time I hold a solo exhibition, I try to convey a message that I want to share at that time through a theme, but as for the artwork itself, I create it hoping that it will resonate with everyone. I would be happy if you could cherish what you feel and interpret in your own way.

"Please feel free to watch it casually and freely." These words truly reflect the message that the artwork itself is saying, "It's okay to enjoy it freely."
For example, when visiting a Western art museum, one can enjoy the works as art even without knowing that many paintings have religious backgrounds. Similarly, the Kannon images painted by Yumehana can be enjoyed without any pressure even by those unfamiliar with Buddhism, and can be appreciated even more deeply by gaining knowledge.

One piece that symbolizes that approachability and freedom is "Kokotama," which is designed with a round and adorable form.

"Kokotama is written as 心珠 (kokotama) and pronounced 心珠 (kokotama)."
In Buddhism, it's the jewel; in Shinto, it's the peach used to ward off evil; and in nature, it's the shape of a bud or a dewdrop.
I wanted to create a piece that people could enjoy by cradleing it in their hands and looking at it up close, by painting on its plump and warm shape.
Kokotama was created with the hope that this piece would be a beautiful gem that honestly reflects the heart of the person who holds it in their hands.

Through works that are expressed not only on canvas but also using wooden spheres, visitors can experience Buddhism, which is deeply rooted in this country, from various perspectives.
Furthermore, the Kannon figures depicted by Yumeka are not only approachable, but also embody the unique compassion and strength inherent in Kannon. When asked about the important feelings she holds dear when working on her artwork, she spoke of her sincere feelings towards Kannon.

"I am grateful for the opportunity to work as a Kannon painter in this way."
I think that Kannon is someone you can't easily draw just by having the desire to draw her. Knowledge is important, and by visiting temples and shrines in person, experiencing them firsthand, and confronting Kannon, you gradually take steps towards creating your artwork.
I take my time to research each temple and Kannon statue, exploring their history, the feelings of the local community, and the kind of places they are located in. I visit these places and delve into the things that pique my interest. When it comes to Buddhist statues, seeing them in person is far more valuable than seeing them in photographs or videos, and knowing the type of temple or region they reside in reveals a lot.
When I get stuck somewhere in this research, I don't force myself, and sometimes I give up, thinking that now isn't the right time to paint this Kannon. I've been able to paint many Kannon through chance and mysterious connections, and I cherish each encounter and connection, carefully painting each piece that I can create at this moment. I think it's something special to be able to paint Kannon, who is an object of prayer, so I want to do my best as long as I'm allowed to continue, with gratitude in my heart for being able to paint every day.

It is precisely because she has cherished and nurtured each encounter that her diverse activities, such as collaborations with artists and cafes, have come to fruition. We asked Yumika about her future plans.

"As a painter of Kannon (Goddess of Mercy), I would like to actively take on any opportunities to contribute to Kannon and temples."
Last year, I was commissioned by Mitsui-dera Temple to paint their principal image for the first time.
Up until then, I had never based my work on a specific Buddhist statue, so it was a challenging endeavor, but it was a very valuable experience.
Later, I had the opportunity to paint the principal image of Hase-dera Temple in Nara.
If I ever have the opportunity to paint the principal image of the Buddha again, I would definitely like to try it once more.
Once the pandemic subsides, I have big dreams of holding solo exhibitions in places where I haven't yet, and of course, being able to share my work with the world."

She then concluded by explaining what led her to become a painter of Kannon (Goddess of Mercy).

"Anyone can pray. And the desire to pray for someone's happiness remains the same, now as it was in the past. I believe that this spirit of prayer resides in the Buddhist statues that have been cherished for so many years."
My strong desire to create works that would allow many people to connect with that spirit of prayer and cherish it for the future was my first step as a Kannon painter.

As Yumeka embarked on her career as a painter of Kannon (Goddess of Mercy), her works, the prayers she depicts, touch people's hearts, and those prayers are passed on to others. At a time when prayer is needed everywhere in the world, I, too, quietly offered a prayer that her works would reach as many people as possible around the globe.

【profile】

Born in Tokyo.

Raised in a creative environment by parents who were active in the fashion industry, she majored in painting in the Faculty of Arts at university, wanting to broaden her worldview after being exposed to various sensibilities.

I studied at Boston University for my first year, and then transferred to New York University in my second year.
In 2011, I earned a Bachelor of Fine Arts degree and graduated with honors from New York University.

After graduating from university and returning to Japan, she worked as a designer and illustrator, but as her passion for painting grew stronger, she decided to pursue a career as a painter in 2013 and held her first solo exhibition.

Having left Japan and lived abroad, I had the opportunity to view Japan from a different perspective and was once again captivated by Japanese traditions and culture. Moved by the Kannon statue, which has been loved and cherished by people for a long time, and the spirit of prayer that has been passed down since ancient times, I felt the desire to paint pictures that resonate with that spirit. With my rich sensibility and expressive power, I depict Kannon as a spirit of prayer and harmony that transcends the concept of Buddhism.

Beyond painting, Yumeka also dedicates herself to creating unique three-dimensional works called kokotama (心珠), which she herself invented. The name kokotama comes from the meaning of "a beautiful single bead that honestly reflects the heart," and the works consist of paintings on wooden beads shaped like jewels.
Each piece is carefully and lovingly crafted with the hope that it will not only be enjoyable to look at, but also something you'll want to hold in your hands and admire.

Beyond just painting, she is expanding her worldview into various fields by venturing into collaborative projects with artists and cafes. She currently works from her own gallery, kokotama gallery, which opened in Kita-Kamakura in 2015.

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Twitter: @kokotamayouka
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Website: https://www.youkamiuryu.com/