Other accounts also tell of the romantic ventures of Kodama 一 where they are depicted as spirits that take on human form to be with their mortal lovers. In ancient legends, it is believed that they are invisible or have a “ tree form” that is identical to that of regular trees. Of the few, conflicting accounts that describe their appearance, at least one state that Kodama takes the form of 一 either 一 atmospheric lights, humans, and sometimes even beasts! Interestingly enough, the trees that serve as the dwelling of Kodama are also referred to as Kodama.Īnd as for the sound produced whenever a tree inhabited by Kodama falls down or is uprooted - well, it, too, is sometimes called Kodama.Įspecially, when the noise one hears echoing throughout the forest and mountains arrives a little behind the timing.Īnd while Kodama can be heard, it is said that they are very rarely seen. Revered by locals and sometimes even referred to as mountain gods 一 the existence of Kodama, in this sense, is said to be intertwined with the trees they inhabit. ![]() The first are the spirits said to live in certain trees in a forest. Tales going as far back as 931–938 CE tells of the existence of these spirits 一 a reason why Kodama have been so deeply rooted in the minds of Japanese people, especially the older generation.Īnd as time passes, the term Kodama has been used as an umbrella term that typically pertains to three different yet related things: The tree-residing spirits, present in Japanese lore since ancient times, and going by various names depending on the form.įrom gods turned nature deities, to the actual echoes from trees crashing down 一 here goes the resounding myth of Kodama.ĭeep within the untouched forests of Japan, great trees of varying species are believed to be linked to Kodama 一 which are spirits that are said to reside within them. In Japanese folklore, both of those are directly associated with Kodama. What do you call the noise made when a tree collapses? How about the echoes resonating from it? Some say that there cannot be sound if there is no one to perceive it, while others argue that one thing does not become fictitious just because it went unnoticed.Īnd since there is no surefire way to get everyone on the same team when it comes to debates like this, it 一 perhaps 一 would be more interesting to talk about the proverbial sound instead. This age-old philosophical question has been the topic of discourse and the culprit for confusion for as long as anyone can remember. “ If a tree falls in a forest and no one is around to hear it, does it make a sound?“ ![]() from the University of Tsukuba.Īrtist/Associate Professor at the University of Electro-Communications.By: Alex Postrado The Ancient, Dryad-like Creatures Of Japanese Mythology University of Tsukuba (master’s program in Art and Design)Ģ000 Completed doctoral program in Art, received Ph.D. Hokkaido University (Division of Physics.).ġ995 M.A. Kodama’s works, which are visually dynamic and sometimes subtly change without being noticed, are exhibited in galleries, museums, and public spaces in Japan and overseas.īorn in Japan in 1970. In recent years, based on the principle of indirect light, she has presented kinetic light artworks “Lattice Window Series,” in which image of colored light changes slowly as if it melts into a lattice. She has presented interactive works in ”Bouncing Star Ball Project,” in which people interact with images projected in space by moving their bodies while using a ball. ![]() In parallel with her ferrofluid art project, Kodama has been creating works that use various media. The contradictory nature of ferrofluid (hard/soft, beautiful/ugly, growth/atrophy, attraction/repulsion, and rise against gravity/fall due to gravity) can communicate similar contradictory concepts and ideas in living organisms. The expressions in her ferrofluid sculptures exist in the generation of organic forms and movement using ferrofluid, to present growing forms, contraction, rhythm, composition of curved surface and light, and emerging subtle/dynamic textures. Since 2000, Kodama has been working on a ferrofluid art project that she named “Protrude, Flow”. Sachiko Kodama links emergence phenomena with plastic art to create mixed media works that explore the relationship between forms/motion and vision/light.
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