Modern Japanese Prints - Statler
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Oliver Statler. Modern Japanese Prints - Statler
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He gathered a staff of instructors and started an ambitious program of woodcarving, textile weaving and dyeing, and some painting and print-making. Yamamoto was not a man of small ideas, and he did not envision his school on a small scale. He solicited help from both government and private agencies, and among his largest grants were four thousand yen each from the Education Ministry, the Agriculture Ministry, and the Mitsubishi interests. These were annual pledges, and not inconsiderable money for those days when the yen was worth about half a dollar and the dollar rather more than it is today. But Yamamoto found it harder to maintain interest than to excite it in the first place. His big subsidies dwindled to half the original figure and, after five years, stopped. And in Oya the mayor of the village, who had been an enthusiastic supporter, went bankrupt. The school charged no fees, support was increasingly scarce, and finances became an overriding worry. Always there was the nagging necessity to hunt for patrons.
That was not his only trouble. Because he had gotten his idea in Russia, the police always suspected that he was teaching communism and continually harassed him on that score. Un'ichi Hiratsuka, who for a while taught frame-making at the school, recalls that when he was preparing for his first trip to Shinshu he received a letter from Yamamoto. Yamamoto described his difficulties with the police and diffidently asked Hiratsuka, who is deeply conservative but who likes to work in a Russian-style jacket, if he would forego that costume at Shinshu. And, he added, the police seemed to mistrust long hair and would Hiratsuka mind too much getting a haircut.
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