Ceaselessly the river flows, and yet the water is never the same, while in the still pools the shifting foam gathers and is gone, never staying for a moment. Even so is man and his habitation.
from the Japanese classic essay the Hojoki (the Ten Foot Square Hut)
by Kamo Chomei (1155?-1216)
translated by A.L. Sadler in 1928
I’d like to start the thesis paper by thanking the country of freedom and opportunity—the U.S., and its education system that accepted me regardless of my nationality, gender, age, or experience. I also want to express my sincere appreciation to the Department of Art at the University of Minnesota, which has a wonderful faculty of professors and great facilities to help me create my artwork.
The theme of my thesis show is repeated female generations, and I used flowing water as a metaphor of passage of time. When I look back at the passage of my life, I feel it has flowed like water. Water flows slowly, water flows swiftly. It forms eddies and puddles. Water changes its stream because of an invisible mechanical energy. My life has also been like that.
I came to the U.S. in April 1998 to study English as an ESL student. My original plan was just to study English for one year and return to my job as an elementary school teacher. I never dreamed that I would have the chance to study art in the U.S.
I believe that I am in this wonderful situation now because of my good fortune. It has taken a long time and required a lot of patience, but now I’m very happy to find myself on the correct stream of my life, and have confidence that this is the way I should take.
Part-1 My Journey to the US
Emergence of the Flow
I was born in a very small rural town that is located north of Tokyo, Japan. There was a clean river and rice fields in the town, but there was no culture there; no museum, no library, no movie theater. As a child, I loved creating things with my hands. I was good at drawing and painting. When I was in an elementary and junior high school, I won prizes for various annual contests such as school wide landscape watercolor contests and the regional poster competitions. I also won supplementary prizes, like a fancy pencil sharpener, watercolor sets, and other assorted art supplies. Despite these proud moments, I have an unforgettable unpleasant memory from my elementary school days. In art class, students made a letter rack from wood. I liked flower patterns and chose a sunflower design for the front of the rack. I tried to carve each flower petal, but it was difficult for me. While I was trying to continue the carving at home, my father suggested a very reasonable and effective way to trim the edge of the petals. The advice made the process much quicker and neater. When I showed my carving at school, the art teacher gazed at me and asked, “Did you carve this by yourself?” Of course I did it by myself, but she didn’t believe me. At the end of the term, I expected to receive the highest grade for the class, but I didn’t get it. As the letter rack turned out to be very good enough to get the highest grade, I knew that she didn’t believe me, and it made me very unhappy. (Looking back I think this episode displayed that my work was good enough to make her believe it was done by an adult. Now I try to think of it as a moment of honor rather than a bad incident.)
In junior high, I became a member of track and field club. I practiced a great deal. I set the prefecture record for junior high level in the sport of long jump. When I entered high school in my rural town, I found that it didn’t offer any art class for the students who wanted to go on to college or university. I was a little disappointed, because I wanted to continue studying art at the high school level. But I had things to focus on, like long jump and hurdles. I trained a lot again, and did quite well. From tenth through twelfth grade, I attended the All Japan National Athletic Meet as a representative of my prefecture and also attended the Inter-High School Athletic Meet as a representative of my region that is comprised of seven prefectures. I was totally separated from art. Though I was very interested in studying art at the college level, it seemed impossible. Every college and university requires very high-level drawing ability to enter the art program. Without taking any art classes in high school, there was no hope of being accepted, so I chose Physical Education as my major at the university level. It was a reasonable choice, and also a good chance to enter a “big name” national university: the University of Tsukuba. I studied very hard and when I passed the difficult entrance examination, I was extremely happy. Little did I realize that this was also the beginning of my struggle.
Meandering
After entering the university, I found that I was not well adapted to that particular curriculum as a major, and realized that the subject I wanted to study was not Physical Education. I regretted my choice. But I thought if I trained harder and achieved more, I would accept it. Several months later, my left ankle started to hurt and became swollen due to overuse. I couldn’t even walk, and realized I was limited as an athlete. However I thought it was not too late to start over and change my major from Physical Education to Art. But the rigid Japanese education system didn’t allow me to do so. Changing my major meant quitting the university. I was not brave enough to quit the university, mostly because I didn’t want to go through the tough entrance examination process again. I lost interest in the path I’d chosen. My life at the university was not happy. I enjoyed only anatomy class, for there was time in class to sketch human bones. Ultimately, I felt that my decision to major in Physical Education was the worst mistake of my life, and there the flow of my life turned sharply away from the direction that I should have taken, and that I wanted to take. The whole four years at the university was like a backwater where water didn’t flow, and became stagnant.
Power of Art: Marc Chagall
This incident happened when I was in the university. I had a very hard time as a Physical Education major student, because it was not what I really wanted to study. Although I studied hard, I didn’t have satisfaction and felt as if I had wasted time. I was too busy with practice and study and didn’t have time to be involved with art. I was mentally depleted. I was losing energy. I struggled, but still couldn’t find a way out of this situation.
One day, I went to the National Museum of Modern Art, Tokyo (MOMAT) for a change. Among the many paintings displayed, a big painting by Marc Chagall grabbed my attention. I felt its impact deeply. My mind was awakened and moved. My mind had been stiff and rigid like stone for long time, but at that moment, it was revitalized. Tears fell because I discovered that I was still able to feel something. At that time, I realized the power of Art that can move the human soul.
On the Bottom of a Frozen Lake
After graduating from the university, I become a teacher, hoping to get some opportunity to incorporate art. I expected that my life would start flowing again. But the work kept me extremely busy from morning to night. I had to do many tasks besides my teaching job. For example, I had to help students prepare school lunch everyday, and wax the classroom floor at the every end of the term. Teachers had special duty almost once a month called day duty. On that day, the teacher’s duty was to check if all the doors and windows in the school were locked firmly and to close the main entrance to school securely. The school where I worked was large, and walking through all the classrooms took an entire hour. In Japan, a schoolteacher has to do everything, and this kind of work took our time and energy. Moreover, since I was a Physical Education teacher, I had the additional tasks of taking care of the track and field club and the marching band club after school. I needed to attend sports meetings and competitions with students often even on weekends, but couldn’t get the compensation time. I was totally exhausted and upset from not having any free time for myself. I always felt as if I were struggling at the bottom of a frozen lake making a desperate effort to find a hole in the ice that covered the entire lake. I still feel that choking feeling whenever I remember my life as a teacher.
Power of Art: George Segal
This incident happened when I was an elementary school teacher. Because of the heavy workload, I was totally exhausted, and still didn’t know how to fulfill myself. It was a solitary conflict. One summer day, I had a chance to go to a George Segal exhibition. Though the museum was located pretty far from my hometown, I traveled for four hours by train and bus to get there. The exhibition space was filled with his life-size sculptures that were cast from real humans. When I came to one of the installations, I couldn’t help walking through it. Though I don’t remember the title of the work, it consisted of several cast humans painted in black. They were walking somewhere in a hurry but each headed for slightly different directions without paying any attention to the others. When I wondered among them, my emotion burst forth and I couldn’t stop the tears falling down. I was seized by extreme loneliness; surrounded by the humans who didn’t say anything or didn’t show any interest in me. I felt this was similar to my situation at that time; struggling and worrying alone without getting any help. The stiff plaster figures ignored my existence as a living human, and didn’t allow me to have a feeling of intimacy with them. I couldn’t become a part of them, but I was totally involved in the work and felt the emotional impact. This experience, seeing myself objectively and finding myself in an isolated condition, led me to a big decision a few years later.
Towards the Direction I Wanted to Take
I knew I had to do something to change the direction of the flow of my life. But in the rural small town, I was totally lacking from information, and didn’t know what to do. Quitting the job without having any plan was too risky. After considering some big plan for four to five years, finally I decided to take one-year holiday to come to the U.S., because studying English abroad had been my dream since childhood. I thought escaping from the situation I was in for one year would give me energy to continue to work as a teacher. It took a long time to decide to do so, because it was not easy to move against the flow to change the direction of my life. In addition, a lot of courage was required. Going abroad is not a common thing for Japanese people who live on an island, isolated from other countries by the sea. It was a pretty long struggle, but finally, in 1998 I came to the U.S., and became an ESL student at the Minnesota English Center in the University of Minnesota. What brought me to Minnesota was that I had an American friend in Japan, who was born in Shoreview, Minnesota, and had lived in Japan for several years. When I started my study there, I was very excited and happy. I wrote in my first essay in the ESL class that: “Now I’m getting out from the frozen lake and taking a deep breath. I’m standing at a new starting point of my life.” At that time I never expected that I could study art in the U.S.
I studied hard, and my TOEFL score was rising higher. I was allowed to take any academic class I wanted, so I started to take art classes. Unexpectedly, I got chance to study art here. My energy for art exploded since it had been suppressed for a long time. It was like the water breaking a dam. I thought this was the chance of a lifetime to study art, and decided to extend my stay to become a university student and to major in art. I felt I was moving in the direction I wanted to take.
But my study as a university student was not easy. I was self-conscious to continue because of my English language skills. In addition, too much pressure of speaking and listening in English stressed me out. As a result, I suffered from depression. It was a terrible experience. I was very sad, because I had this wonderful opportunity that I had sought for long time, but I didn’t have the energy at all to grab it. It was a very tough time, and difficult to recover from the condition alone in a foreign country. My depression became worse, and I thought I couldn’t endure it any longer. I once even decided to go back to my home country for good, but I remained. The thing that kept me from falling over the edge and helped me bear the tough situation was the reality that if I didn’t take this chance to study art here, I would never have a chance in my whole life. Nothing but regret would wait for me. I realized that going back home without getting this chance meant losing any hope for the rest of my life. This would destroy my mind, and the flow of my life would be blocked permanently. I realized I had to endure. I met a counselor regularly, and also got help from my Chinese friend, Hua, who used to suffer from depression as an international student. I also got strong support from my friend Faith, who was one of the TAs in the sculpture area. I felt a little hope for my recovery. It took nearly one year to get over the depression.
It was during the time my depression was at its worst that I made my first metal dress. I didn’t feel any energy at all in my body, I didn’t have any will at all in my mind, and I couldn’t even get out of bed in the morning. I didn’t have any appetite at all, and lost a lot of weight. I couldn’t sleep well at night because of the stress. I was like a balloon with a hole that can’t hold air inside even as I tried to blow into it. When I had an individual meeting with the professor of the art class I was taking, all I could do was explaining how tough of a time I was having rather than what kind of ideas I had for the next project. He advised me to make something to encourage myself, or some kind of charm. Then I decided to make metal dress to become stronger. The idea was making armor to have a strong body. Without having any physical and mental energy, it was tough to make artwork, but I tried to move forward step by step. The dressmaking worked as a healing process, and when I completed the metal dress, I felt a sense of achievement. I really wanted to praise myself. I said, “I did it, I did it! I finally did it!” many times in my mind. I was very happy. At that time, I tended to be at my apartment alone, and my Chinese friend, Hua, always tried to take me out. One day, she took me to her favorite Chinese restaurant. My fortune said, “You have creative power to achieve your aim, but wait for the right time.” I thought it was exactly about me, and it gave me hope that I would get my energy back sooner or later, and could continue to make art. I used the small piece of fortune paper as the label for my dress. The metal dress became very meaningful and important work for me.
I was lucky to endure this period of time. On the day of the reception of my BFA show, surrounded by my friends, I was extremely happy and thought “This is the best day of my life.” I felt as if I was in the dream to have my show as an artist. I’ll never forget that day.
When I had almost finished all of my course work, I had to go back to Japan to return to my job, because the long holidays were limited to three years. It was end of March 2001, in the middle of the spring semester. I didn’t want to go back, but if I didn’t, I would lose my job. I returned to the elementary school with much more energy than before. But the routine was just as busy as before. I realized that this was not my place in the world. I realized that I’d worked hard enough for others, and it was time to pursue my dream. For that, I was sure that I really needed to go back to Minnesota to study art to become a professional artist. I believed in myself. I knew that I could accomplish something if I work hard for ten years, or even five years. I quit the teacher’s job in one year and applied to the grad school at the University of Minnesota. In this process, the TA named Faith, who helped me a lot when my mental condition was bad, related to me very deeply. On my leave from the U.S 2001, she strongly suggested me to apply to the grad school, and even offered to shoot slides of my work for me for the further application. Without her strong encouragement, help, and the slides she took, I could never thought of applying for the grad school. I really appreciated her support.
Once I came back to the University as a grad student, Faith became a role model to me as a TA. Now I’m trying to emulate her encouragement and kindness with my students. I’m doing my best in my TA job now.
Returning to the Main Stream
I’m very happy about my decision to come back to the US to continue studying art. I’m energetic and mental calm now. I strongly feel I finally came back to the main stream of my life that I’ve been seeking.
Part-2 My Background
Family Members
My interest in art was developed early and influenced by several of my family members. My father loved art, and had a collection of Japanese antiques, such as beautifully crafted Japanese swords, and sword guards called Tsuba. I was especially attracted to the high-quality craftsmanship of metal. His Netsuke collection was also great. Netsuke is an extremely sophisticated small sculpture that was used as a stopper of the small pill or seal case. I loved his ivory Netsuke very much because the motifs were not only carved skillfully and beautifully but were also full of wit. He also had a Kutani sake cup collection. They were small but each cup was painted precisely and gorgeously. The golden paint gave a rich look to them. My favorite was the one that had many stylized colorful flower patterns on a golden background. It reminded me of a gorgeous Kimono. I was always surrounded by Japanese antiques, and I believe my father gave me a sense of the aesthetic and the eyes of a connoisseur.
My grandmas, both on my paternal and maternal sides, loved sewing and handicrafts. They were always making something with fabric and yarn. My paternal grandma who lived with our family taught me how to crochet. I started to crochet with very basic stitches when I was six or seven years old. At the same time, she let me use her Singer sewing machine that had a chic golden pattern on the black metal body. I was very excited when I treaded for the first stitches. Since my parents were running an electric appliance store and were very busy all the time, grandma took care of both my older brother and me. I feel I was always with her, and she was like my private needlework teacher. My maternal grandma made small dolls and bags by using her old Kimono fabric, and gave them to me. Sometimes she gave me very pretty Kimono fabric with designed flowers to play with. I believe both of my grandmas contributed to make my fingers skillful.
My mother made clothes and nicely embroidered bags for me when I was a child. She also traced stylized flower patterns that I chose from design books every night, and gave the traced paper to me. I saved all the papers. I was very happy to collect the traced papers that had flower patterns. My aunt had a certificate to teach knitting and crocheting, and she made a maroon crochet sweater with white flower motives for me when I was in elementary school. I loved that sweater and wore it for many years.
In this artistic and handcraft-loving atmosphere, I always played with fabric, thread, and yarn. I crocheted scarves, hats, and mittens when I was in elementary school. I made many small mascots, stuffed animals, and dolls. I made flowers with fabric and ribbon, and I played with beads. I also sewed my own clothes. I had more than 100 craft and sewing books when I was a child. Most of them were from my mother.
Origami (the art of folding paper) was also a favorite hobby. I enjoyed the magic that transforms a small square piece of paper into a three-dimensional object. The first step of Origami is to fold the paper in half to make triangles. By repeating the same process, even small children can make beautiful radial folding lines. Kirigami (the art of cutting paper) was also a hobby that I enjoyed. Cutting the folded paper could make beautiful lacy geometric patterns. I always tried to cut out very thin lines, and enjoyed making delicate paper doilies. Origami and Kirigami gave me a sense of the beauty of geometric figures. I really liked geometry at school and this might have some relationship with playing a lot with Origami paper.
All my family members loved plants and raised flowers. Father loved Chinese orchids and camellias. He had a small greenhouse that he built himself. My paternal grandma planted hundreds of tulip bulbs in the backyard every year, and their beauty delighted neighbors. Maternal grandma also loved plants, and grew many different flowers. I clearly remember that she cut very pretty irises from her backyard and gave them to me. There was a small pond in our yard, and gold fish and a turtle lived there. In the pond, water lilies opened pale pink flowers every summer. The floating water lilies on the shiny waves were very beautiful and I loved this scene.
Thus, I was always surrounded by creative works and beautiful flowers. All these experiences and memories together form the foundation of my creation.
Learning to Use the Materials Fully
I cherished any small pieces of Kimono fabric, because they were so pretty. My paternal grandma also cherished fabric, and everything else, too. She rarely threw things away. She kept everything that was about to be dumped, and tried to reuse them. She had never wasted material. I think it’s because she experienced very tough times taking care of her family during and after World War II.
My father had a similar attitude based on his philosophical ideas and perception of material and life. I clearly remember what he suggested when I was about ten years old. We had had an overnight family trip to the lake nearby, and stayed at a lodge by the lake. For breakfast, the lodge prepared a typical Japanese style breakfast. We had rice, miso soup, fried egg, and fermented soybeans called Natto. Fried egg is very popular, especially among children. I had it first with soy sauce, and then I had Natto. Soy sauce is necessary to Natto, so I reached for the soy sauce bottle. I was about to pour soy sauce over Natto, when father told me “You have a puddle of soy sauce on the fried egg plate. Please use the soy sauce for the Natto. Every thing is born with certain purpose, but if it is not used fully, its life is wasted. It’s sad, right?” I agreed, and reused the soy sauce on the plate for Natto. After this, I always thought of the purpose of material, and ways not to waste the life force of every tiny object. For example, when I washed my hands, I turned off the water while I was using soap, because otherwise the water flowing from the faucet would be wasted, and I would feel very sorry to the water that was not used. When I saw the light was on in a room that nobody was in, I also felt sorry for wasted electricity and turned off the light immediately. I realized that our life is the same as material. I thought I needed to know the best way to use myself. This very basic thought in my mind finally led me to come to the US as a grad student.
Benefits from Physical Education Major
Though I regret majoring in Physical Education at the university in Japan, where I reluctantly spent part of my life, I don’t want to think it was useless. Indeed that experience often helps me when I create art. I learned anatomy, physiology, and biomechanics. I learned how our body is constructed, and how the whole body works all together. I’m very interested in the human body and body movement, and sometimes I use these as themes of my artwork. This is from my experiences as an athlete.
I participated in almost all kinds of major sports when I was a university student in Japan: volleyball, basketball, tennis, softball, swimming, diving, gymnastic, dance performance, and Japanese archery, in addition to track and field. Later I also enjoyed golf, skiing, and canoeing. I was a bad swimmer, so passing the mandatory swimming class—which included an individual medley relay and a 4km long distance swim—was toughest. I went to the university pool at 6 a.m. everyday, and finally I passed the class. This experience gave me the idea that I can overcome most obstacles if I have a strong will. In the Japanese language, there is a word for a person who has strong mind and spirit. Such a person is called “Suji-gane Iri”: that means a person “with a steel armature”. Literally I got a steel armature while I was a university student in Japan.
Training sculpts our bodies beautifully. The notion of athletic beauty was etched in my mind at this time. I used to have a trained body and my nude-like wearable metal dress was made with the desire to obtain that body again. Training makes not only a strong and beautiful body, but also makes a sturdy and sound mind. The experience as an athlete taught me clearly that if I don’t work hard, I won’t get satisfactory results. This is still my belief today.
My experience as an athlete also gave me the skill to maintain a good physical condition and to control mind and body. I believe my powers of concentration are also from my experiences as an athlete.
I worked as a physical education teacher for many years, and every year I led unified field formation for a field day. I worked for two years for a prefectural office of the All Japan National Athletic Meet that assembled athletes from all over the country. I worked as a chief secretary for one of the big-scale formations. It was my job to entertain the audience at the opening ceremony. I handled more than one thousand pre-school performers. It was an once-in-a-lifetime opportunity, because the national meet is held every year in a different prefecture, and the same prefecture can’t hold the meet again for two to three decades. I was lucky to have the chance to work for the office.
Being Japanese
Being away from my home country for years, I found that I’ve acquired clear and strong consciousness that I am Japanese. It is not because of my appearance: outside, but the feeling from inside. I’ve always been trying to find my identity as a Japanese person. If I hadn’t lived in a foreign country for so long, I would never have thought this way. I tried to find what it meant to me to be a Japanese person. For example, what kind of climatic, cultural, historical, and social environment I grew up in and what I’ve absorbed from them. I feel every element has affected and influenced me more or less, and here I am now. I also thought about what Japanese art is and how I have been influenced visually and artistically since my childhood. In comparison with western art, the characteristics of Japanese traditional artwork I realized are elaborate, detailed, delicate, stylized, sophisticated, beautiful, and some times very dynamic. In addition they have modern appeal even though the works are very old. It might be obvious and easy for American people to find several of the characteristics of Japanese art in my work, but I wouldn’t notice. After living in the US for while, I found that traditions of Japanese artwork affected me unconsciously yet very strongly. They form a firm foundation for my artistic work.
Sense of Mortality
I grew up in an Eastern culture, more specifically in Japanese culture. Though this fact is clear and undeniable, I’d never thought that there was such an obvious difference between Western culture and Eastern culture before I came to the US. These two cultures are totally alien to one another. Philosophical foundations are different, as the histories of both cultures are different. Also there is a very different religious background.
We can’t talk about Western culture without the strong influence from Christianity, and, similarly, in Eastern culture, especially to Japanese, the influence of Buddhism can’t be denied. It is said that Buddhism descended from China, or more correctly from India via China in the middle of the 6th century. For nearly one thousand and five hundred years it affected Japanese culture, customs, morals, arts, architecture, and everything else. Buddhism operated upon the soul of Japanese and formed its spiritual foundation —especially the sense of mortality that penetrates people’s minds. I think every matter has been perceived through this filter of the “sense of mortality”.
An example is the seasons. In Western culture, I feel people celebrate and enjoy each season, but it is a surface-level feeling. I feel that sentimental feeling is less compared to what Japanese people feel. Japanese people celebrate and enjoy each season too, but there is a deeper and more sentimental appreciation. The difference is from climate, I suppose. Seasons are clearly and evenly divided in four in Japan, and people keenly realize the changing of the seasons. We feel the difference through our skin. People enjoy each season differently, and are always aware of the beginning and the end of the each season. The change of the season gives plants, animals, and insects a different life stage and the four seasons from spring to winter complete their life cycle. It is a reduction of our life, and Japanese people see their own lives mirrored through these shorter lives of other living things.
People don’t even need one whole year to have the same feeling, because our sensitivities wouldn’t fail to catch the shadow of mortality in any small occurrence. Even in spring, a season of new life, we feel the life cycle. The typical example is Sakura, cherry blossoms. Every spring we look forward to these blooming, and check weather forecast that mentions where the cherry-blossom front is. It comes from south Japan and goes up to the north. Cherry blossoms are the most popular flower in Japan and it indicates spring. Cherry blossoms are loved so much by the Japanese not only because of their beauty and subtle sweet smell. Cherry blossoms burst into bloom, and entertain our eyes and mind fully, then fall down onto the ground very quickly. The full bloom is fabulous, but moreover the petals falling down are also a beautiful and fantastic scene. It is like a storm of petals. Through this, Japanese feel that beautiful flowers also have the end of life; our life is short as well. This scene is repeated every year and this works as a reminder to us that everything has a limited time of life.
Another reason that Japanese perceive the world through the filter of mortality is the custom of cremation. This was also brought to Japan with Buddhism. In Japan, remains have to be cremated instead of buried. So when somebody passes away, the family takes the body to a crematorium to burn it. Mostly it turns into ash, but the parts that have a lot of calcium are left as remains. Every family member, and occasionally very close friends of the deceased, pick up the white bone pieces with long chop sticks, and put them in a white porcelain jar that has a lid. The jar is then placed in the small stone room that is made under the tombstone. This custom gives people an opportunity to look at the last things we can leave in this world and it makes us much closer to awareness that death can’t be avoided by anybody. This custom also makes us think about how we have to live, and what we have to do while we are alive. I have already experienced this ritual three times for both of my paternal and maternal grandmas, and for my father.
Thus Japanese people always think that life and death are two sides of the same coin and are living together closely with the dark side of our life. A Japanese psychologist Hayao Kawai is famous for a study on the German psychoanalyst Carl G. Jung. He says the following in his book Yungu Shinrigaku Nyuumon (Introduction to Jung Psychology, 1967):
“The West tries to exclude the dark side, the shadow, of our life from their conscious by the strict notion of good and evil, such as in Christianity, and the clear thought of rationalism. While they hesitate to assimilate the dark side into the bright side, Eastern people take stock of the accumulated knowledge of the complexity in our mind that “where the bright reaches to the utmost, it becomes dark—yin—, and where the dark reaches the utmost, it becomes the bright—yang—, and Eastern people enjoy the light of life with a lot of the dark.” [1]
Japanese people live together very closely with both the dark and bright side of our lives.
There is a well-known Haiku, the Japanese-style short poem, that says:
“Life is this world,
We walk on hell’s roof
Gazing at cherry blossoms.”
Truly, Japanese perceive this secular world as a whole, the double sided, with dark and bright.
[1]Yungu Shinrigaku Nyuumon (Introduction to Jung Psychology) by Hayao Kawai, 1967 (pg. 112) translated from Japanese by author.)
to be continued