Emmanuel GaribayPresident

Rev. Dr. Rod PattendenSecretary

Aaron LeeContributing Editor

Gwen Nina GaribayEditing and Layout

CONSULTANTSRon 0' GradyHarry Wallace

frOO~ IS PUBLISHED FOUR TIMES AYEAR AND CIRCULATED FREE TOMEMBERS OF THE ASIAN CHRISTIAN ARTSASSOCIATION. ACAA AND/OR THE ARTISTSHOULD HOLD THE COPYRIGHTS TOALL THE IMAGES IN THIS PUBLICATION.TO INQUIRE ABOUT PERMISSIONS TO USE,EMAIL US AT enquiries@asianchristianart.org

All inquiries should be adressed toIMAGE Magazine

PO Box 225 Epping 1710 Australia

Email: enquiries@asianchristianart.orgVisit the website at

www.asianchristianart.org

Subscribe online at:asianchri stianart. org/magazine

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NOTES FROM THE EDITORAnother double issue of IMAGE brings us a wide survey of artists workingwithin a diversity of cultures and situations around Asia. We are inspired by thelong hard work of the Japanese Christian Artist Association who have been la-boring away now for 35 years exploring the nature offaith and image in Japan.Equally inspiring is the new ventures of co-operation in India and also in Indo-nesia where artists are sharing their hopes for the value of the imagination andfaith. What is common to all these situations is the vital importance of artists ingiving local communities images to live by, where people, recognize their faithin the signs and symbols of their culture.

In a global world we are fed a very limited diet of repeated commercial imag-ery, and the work of these artists helps us look and think again at a deeper levelabout the images we choose to live by. This is also part of the story ofNamikoChan Takahashi, an artist of multi-racial background, who lives and works inthe dynamic city of Singapore. She is an artist who explores the nature of thehuman image in both in its beauty and its vanity. She has been able to bringtogether her work as a professional artist and witness to her Christian faith, in asecular and complex situation of differing races, religions and ideas.

The visual survey and words of hope that mark the stories in this edition ofIMAGE is mirrored in the key history of the Asian Christian Art Associationitself, ably reviewed by Alison O'Grady. Alison was for many years editor ofIMAGE, in the days before digital technology, and with her husband Ron, hasbeen a key point of reference for the development of the organization. We aregrateful for their faithfulness and vision in trusting artists to deepen faith and toengage the cultures of Asia through art. Alison describes the ACAA as a gift tothe church in helping people see the Bible and faith with Asian eyes. ACAA isin turn very grateful for the gift of Alison and Ron O'Grady, who with ProfessorMasao Takenaka of Japan, nurtured and developed the organization through along period now of over 30 years of productive inspiration.

We are glad also that the story continues, as Emmanuel Garibay the current Pres-ident of ACAA has just returned from a successful artist in residence programat the Overseas Ministries Study Centre at New Haven, in the USA. The resultsof this cultural exchange were expressed through a series of art exhibitions andthe beautiful book, Where God Is: The PaintiDgs of Emmanuel Garibay, survey-ing key works in his development as an artist able to bridge the imaginationsof the first and third worlds. Which brings us to the present as we are activelynegotiating the future of ACAA and in particular considering a partnership withthe Loyola School of Theology in Manila to continue to publish IMAGE andhighlight the ongoing work {:artists in Asia. We trust that this issue opens youreyes to a wider view of God's recreative grace at work in all creation.

Rod Pattenden andEmmanuel Garibay

A Gift to the ChurchAlison 0' Grady

15 Indian Christian ArtistsForumPaul Kattukaran

Christian Art in IndonesiaErland Sibuea

18 Japanese ChristianArtistsSoichi Watanabe

Namiko Chan Takahashi:Not a Day Without a Line

~O T COVER: Wisnu Sasongko, "The Silent Man"- ie on Canvas, 38x52 em, 2010

BACK COVER: Wisnu Sasongko, "Not Me! But You"Acrylic on Canvas, 38x52cm, 2010

A Giftto the Church

Alison O'Grady has been involved with ACAA since its inception, whereshe provided administrative assistance. She was editor of Image for anumber of years and has been involved in the editing and productionof many ACAA publications.

Jyoti Sahi: "Living in Christ with People"When the Christian Conference of Asia held its Assembly in May 1987 in Bangalore, India, this large-sized mural covered the front wall of the meeting hall.Designed by Jyoti Sahi, India, it was painted by a number of artists under his direction. Jyoti is a leader in the synthesis of Hindu and Christian symbolism.This striking mural was the focal point for delegates when they met for business sessions and worship.

It was a great idea - gather together artists from all overAsia so they can meet, exchange ideas and techniques,develop their art and inspire the churches to appreciatethe visual presentation of the Christian message. Muchplanning and hard work took place, and thirty-two yearsago during the month of August 1978, a group of art-ists and theologians met at Dyana Pura Centre (Houseof Peace) on the beautiful island of Bali.

by the theologians. It was such an inspiring time, thaton the last day the participants were reluctant to part.They decided to form an organisation so they couldcontinue their exchange and dialogue. Representativesfrom the four regions of Asia were appointed to be-come the committee which would plan and run thisne organisation. So began the Asian Christian ArtAssociation (ACAA).

The participants painted and carved and formed friend-ships across national and cultural barriers. Theologiansobserved and listened to the artists and in turn the art-ists listened and discussed together the ideas presented

Living in a new millennium and looking back from thevantage point of 20 II the question arises: What hasthe Asian Christian Art Association achieved in the 32years since its inception?

Nalini Jayasuria: "Jonah and the Whale"Sri-lankan-born Nalini Jayasuriya is one of the artists whoparticipated in the ACAA exchange programme. She specialisedin making works of art using oil pastels on cloth.

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Sharing Wo'tks and WordsWhen the chosen representatives came togetherfor the first meeting of the ACAA, all agreed thatthe priority was to have a magazine. They namedit 'Image Christ and Art in Asia". With a volunteer

I editor and the willingness of artists and invitedtheologians to contribute, Image made its first ap-pearance in October 1979.

It was a humble beginning but experience broughtmore professionalism into the production of futureissues. Many artists and art styles have been fea-tured and generally the colour reproductions havebeen true to the original artwork, which is very im-portant for both artists and viewers .

•-------- ------------------- -- --------- -------------------- --, Other PublicationsOver the years there have been a number of smallbooks published to record a particular event within

the life of the ACAA. In addition, support has been givenon occasion to assist artists in the publication of a bookwith artistic and theological content.

It i u eful to recall that back in the late 1970s and early1980s communication was carried out at a different pacefrom that of today. There were no computers, no e-mail orworldwide web to provide instant information. Letters hadto be hand-written or typed, stamped and posted and, if allwent well, they would re~ch the recipient within a week.The response did not always bring a decision and oftenthe dialogue by means of letters would need to continue.It could be a slow ongoing conversation, and sometimesan expensive international telephone call might be requiredwhen time started to run out and plans needed to be fina-lised.

Thi is the way things were in the world when the AsianChristian Art Association began. But despite problems ofcommunication, the enthusiasm engendered at the Baliconsultation together with financial support from vari-ous church organisations and mission boards enabled theACAA to carry out a number of dynamic programmes overthe years.

Two major books of Asian art and thought have been Pl:O-duced by ACAA. The first of these two publications, TheBible Through Asian Eyes, combining artworks and theo-logical reflections, was launched at the Assembly of theWorld Council of Churches in 1991. The second majorbook, Christ For All People, published in 2001 reachedout beyond the Asian region and drew together art andthought from Christians all over the world.

These two books are of ongoing interest internationallyamong churches and church institutions. ACAA receivesrequests from church organisations all over the world forpermission to re-print artworks from its various publica-tions and it has been happy to facilitate this process byobtaining permission from the artist concerned. In manyinstances, copyright is held by ACAA.

It is gratifying that the beauty and uniquenessof an Asian interpretation of a Bible story ismade available to more and more people. Tosee a biblical message portrayed in a mannerdifferent from one's own perception is oftenbreath-taking. Suddenly, our eyes are opento the rich complexity of this one world inwhich we all live.

Exchange ProgrammesThe exchange programme has been of en-during value to all those who have beeninvolved. Artists from various Asian coun-tries have been assisted to spend a period ofstudy in another country where, as artist-in-residence at a college or a study centre, theyhave practised their art, given presentationsand lectures and discussed techniques andideas with people in their host country.This is an important two-way process. Peo-ple are given the opportunity of seeing thegospel message through the eyes of an Asianartist, while the artist concerned gains a bet-ter understanding of life in the host country.

ConsultationsFollowing the inaugural consultation in 1978,further consultations were held - Manila in1985, Sri Lanka 1991 then back to Bali in1998 to celebrate 20 years of the associa-tion's life in the place where it all began.

Yu Jiade: "Woman at the Well"Over the years ACAA has built a strong link with artists in China and held their executivemeeting in Nanjing in 2000. Yu Jiade was one of the many outstanding artists presentto meet with the ACAA committee members ..

The history of the first 20 years of ACAA is recordedin a booklet published in 1998. Its more recent historyis taking shape in the context of today's world, withinstant exchange of information among individual art-ists and bilateral alliances between artists and churchorganisations.

ExhibitionsTo open a book and look at a work of art which chal-lenges our perceptions is an enjoyable act, but tostand and gaze at an original work of art where allits subtleties and beauty are clearly visible can be abreath-taking experience.The Asian Christian Art Association knows well theimpact which an original painting can have on peopleand has held a number of exhibitions. The first inter-national exhibition was held in conjunction with theWorld Council of Churches Assembly on World Mis-sion ands Evangelism which took place in Melbourne,Australia in May 1980.

Looking back over the past 32 years of the Asian Chris-tian Art Association, there are many things for whichwe can be grateful: First, the support and encourage-ment which the ACAA has been able to give to Asianartists; second, the willing help received from all whohave been involved in the administration of ACAAand third, the readiness of artists throughout Asia toshare their artworks, which reveal the Christian mes-sage as seen by them in all the richness of their culturaldiversity.

Other exhibitions followed. Sometimes the venue forthe exhibition has been a public building where theartworks can be seen by a wider number of people.

The new executive committee elected at theconsultation held in Bali 1998 to celebrate 20years. BACK ROW (L-R) Kim Jae 1m, Korea;He Oi, China; Alphonso Doss, India;seated:LEFT: Judo Poerwowidagdo, Indonesia;RIGHT - Hanna Varghese, Malaysia and DrMasao Takenaka, Japan, whose initiative gaverise to the founding of ACAA in 1978.

To curate an exhibition takes a considerable amount ofplanning and oversight, but the enthusiasm of those whoformed the ACAA back in 1978 has continued unabated.The many exhibitions and other various programmes ofACAA have been successfully achieved by those involvedbecause of their determination and commitment.

The greatest achievement of the Asian Christian Art Associa-tion, in my opinion, is the fact that it helps people to opentheir eyes and see the biblical message in new and challeng-ing ways. The works of Asian artists come as a refreshingbreeze into the life of the church - a gift from the people ofAsia to the church universal.

'1 '996 a workshop with the theme: "Using Art to Communicate Environmental Concerns" held in the Philippines brought together artists from ACAAa'1d communicators from the Christian Conference of Asia. Shown with the composite mural are four of the contributing artists: (L-R) Evelyna LiangtKa . Hong Kong, Sawai Chinnawong, Thailand, Emmanuel Garibay, Phillipines and Mehm Than 00, Burma/Myanmar.

Christian Art

in Indonesia

Erland Sibuea co-founded Bali Christian Art Association (BCAA) in 2003and also Indonesia Christian Artist Association (SERUNI) in 2010. His workshave been published in some books and exhibited in many solo exhibitions.Now he lives with his family in Bali.

Towards the end of 2010 a group of Christian artist metin Indonesia and pledged a new collective to provide aplace for all.the creativity in Christian art. We call this theIndonesian Christian Art~ abbreviated SERUNI. The wordSERUNI can also be the beautiful flower of a chrysanthe-mum. Our hope is that"through SERUNI, Christian Art inIndonesia, we will be able to express God's love with ahigh aesthetic value, contextual and faithful to the truth ofthe Word of God as preached in the Bible.

Christian artists in Indonesia have long tried to pres-ent to the nationwide public since the first exhibitionof Chris-tian art in 1991. Dozens of artists presentingChristian art exhibited at the National Gallery buildingin Jakarta and received a good appreciation from thepublic. This stopped 15 years ago but now there is again,present in the same place at the National Gallery, morethan 30 artists presenting nearly 100 works of art.

Earlier, in 2003, some Christian painters formed the BaliChristian Art Association (BCAA) in Denpasar, Bali.They are Ketut Lasia, Ni Ketut Ayu Sri Wardani, GdeSukana Kariana, Nyoman Darsane and Erland Sibuea.They have held an exhibition almost every year in Bali,as well as in Yogyakarta, Jakarta and even in Singapore.They have also been active members of the Asian Chris-tian Art Association (ACAA). Their works have becomewidely published, including in IMAGE and other inter-national publications. The presence of BCAA encour-ages other artists in other parts of Indonesia to take partin the development of Christian art. This desire is nowfully real ised in the birth of SERUNI.

SERUNI intends to create an art exhibition every yearand develop a relationship with a Christian universityin Indonesia. Maranatha Christian University (MCU) isexcited to enter into an agreement with SERUNI to holdexhibitions of Christian art. MCU is one of the leadinguniversities in Bandung. The inaugural exhibition washeld on December 9 to 20 April 2011 in Gallery MCU.A total of 16 artists with more than 50 works of art werepresented in this exhibition. Artists came from Jakarta,Bandung, Yogyakarta, Sulawesi and Bali. The exhibi-tion is associated with the celebration of Easter and wegive it the theme "Because of Me".

We were excited and very happy with the exhibitionof Christian art and especially the responses of appre-ciation from students, staff at the MCU as well as thegeneral public. We were also able to publish a bookcontaining the works of visual art and writings for thisexhibition. We hope SERUNI activities will continue totake place regularly and that more artists and art loversget involved. We are now thinking of ways to increasefinancial independence and to develop relationshipsthat are mutually beneficial with Churches, theologians,Universities and arts communities in Indonesia.

ABOVE: Gde Sukana Kariana,"Walk on the Lake" Oil on

Canvas, 60x 80 em,2008

BELOW: Erland Sibuea, "5 Loaves ang 2 Fishes" Acrylic

on Canvas", 80x1 00 em,2007

ABOVE: Erland Sibuea, "Jesus and the Children", Acrylic on Canvas, 1 00x120 cm, 2011BLEOW: Ketut Laisa, " Calm the Storm" Arcylic on Canvas, 56x46 cm, 2003

Namiko Chan Takahashi:Not a Day Withouta Line

When trying to meet up with Namiko Chan Takahashi, agood plan is to follow her around and eventually comerher somewhere. The dynamic half-Japanese, half-Straits-Chinese Singaporean artist happily admits to always being"on the go". It is a balmy evening in early June, and weare talking over a drink in a cafe at the sprawling colonial-style complex that is the Singapore Art Museum. One of herworks is presently in a group exhibition on the second floor,in conjunction with the launch of a new book profiling 37 ofSingapore's prominent women artists.

"I wanted to be an artist as long as I can remember," saysNamiko, quite seriously. "My dad has a home video of meat five, drawing in the sand with a stick. I was in a play-ground in a Boston suburb."

Namiko followed the path of many pragmatic Singapor-eans-realizing her academic potential, and eventuallyearning a law degree at 23 and thereafter, a post-graduatequalification in education. But making art was a priority too.Throughout her school years she kept on painting, whetherin fulfillment of the art curriculum or on her own. She dab-bled in fashion design, jewelry making and installation art.Born with a lifelong love for dance, Namiko also learnedballet, then modem dance, then Middle Eastern dance, Fla-menco and Hawaiian hula.

In her 20s Namiko began winning accolades in national andregional art exhibitions, such as the ASEAN Philip Mor-ris Art Awards. But she only came into her own after shegraduated from law school and enrolled at the Art StudentsLeague of New York in 1998. During her four years at theatelier (alma mater of luminaries such as Jackson Pollockand Georgia O'Keefe), she was mentored by prominentportrait artists such as Mary Beth McKenzie and Daniel

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IIIIIIIII._-----------------------------------------_.Greene. She also studied under various accomplishedprint makers and lyrical abstractionists. It was there thatshe adopted the institution's motto for her own: "Nulladies sine linea", or "Not a day without a line".

"In New York I often painted 14, 16 hours a day. It wasexhausting but fulfilling. I feel like I grew into my call-ing there," Namiko explains. "That's why I regard NYCas a kind of second home."

In 2001, and while still based'in New York, Namikoheld her first solo exhibition 'My Life as an Artist inContext with the Will of God' at the newly-opened ArtSeasons Gallery in Singapore, featuring 30 abstracts

ABOVE: "Tribute to Sargent", Oil on Linen, 2007 ; BOTTOM: "Sy-W", Oil on Linen, 2008, Collection of the National Art Gallery of Singapore;OPPOSITE PAGE: "Not Seven Times But Seventy Times Seven", Oil on Linen, 2006, Private Collection;

and landscapes. She followed this with her second solo'Friends/ Phases' at the National Institute of Educationgallery in 2003. More exhibitions on various themes fol-lowed, usually every year or two.

"Apart from the fact that I love what I do, I'm a work-aholic,' she confesses with a laugh. "Or maybe I'm aworkaholic because I love what I do!"

Namiko's studio is in the 20th storey apartment in Te-10kBlangah that she, and her lawyer-poet husband AaronLee, call home. She has been described as a contempo-rary realist specialising in portraiture, especially nudes.She uses traditional techniques of painting, workingmainly with oil on linen. Looking at her careful and lu-minous work, you just know that the Old Masters such asVelasquez and Vermeer are her inspiration. However, thethemes she grapples with are both universal and relevantto the contemporary era-- such as the human conditionand the challenges faced in the modem age by women.

"I'm not particularly interested in painting as illustra-tion," she says. "A portrait must be so much more thanthat. So it's important I keep painting in an accessiblestyle while capturing the essence ofthe person."

Only in her mid-30s, Namiko'sart is esteemedby friends, crit-ics and collec-tors alike. KohSeow Chuan,Chairman of theSingapore ArtMuseum, haspraised her asa "serious artistof high calibre".Stephanie Fong,owner of FOSTGallery, is surethat "Namiko

will one da.y not only be known as a painter of people, butthe people's painter."

Namiko came into the public eye relatively recently, whenher painting 'Charisse' became the first nude portrait to winthe United Overseas Bank Painting of the Year in 2006. Thisis Singapore's most prestigious art prize, and the panel of

international judges unanimously selected this work as thegrand prize winner out of 1,400 submissions. The judgesnoted that her winning piece was "a truly powerful work ...with a masterly handling of colour, composition and tone".They also noted that Namiko was able to take "the represen-tational work to a certain conceptual and spiritual height".Speaking ofthe spiritual, Namiko's paintings inevitably havesomething to say about the issues facing the children of thecity. I mention the modem sensibility in her paintings, fromher subjects' clothes to their poses and expressions."What is unseen in people interests me just as much as whatthey look like," she answers. "I try to capture that in everypainting. "

Her 2007 exhibition 'Parables' showcased 12 portraits thatwere modem re- interpretations of Biblical stories."A parable is a kind of expanded proverb," she continues."This type of narrative both reveals and conceals spirituallessons. Every great work of art is like that. It provokes usto ask important questions about who we are and what we'rereally here for."Continuing along this line of exploration, Namiko's 2009solo entitled 'Divergences' comprised a series of double por-traits of women, each looking at her own twin. Inspired bythe Bible verse I Corinthians 13:12, it examines the idea ofparallel transient lives, and of imperfect knowledge.

In an age where conceptual deconstructionist art isglorified, Namiko continues to contribute to an Asianrevival of naturalistic nude figuration that had alreadycome to countries such as China and Vietnam. Not con-tent to rest on her laurels, she recently completed herMaster in Art in Contemporary Practice, during whichshe explored performance art and sign language. Shealso felt led to establish a worship Hula dance ministry.She is convinced that one form of creativity leads natu-rally into another, enhancing both at all levels of skillsand interests.

"Hula is an incredible, beautiful way of worshippingthe Creator," she enthuses. "I know that God has calledme to create and choreograph aesthetic environmentsthat help His people understand and experience Him.My painting, dancing, all my work and relationships areused for that purpose."The evening has fallen. It is a week night and the soundsof rush hour traffic seep into the cafe. Predictably, Na-miko has somewhere to go.

"I'm meeting some artists. We talk all the time aboutwhat's happening with art and culture in this city. Andwe pray, and work. God is working, so we'd better doour part too!" And just like that, she's out the door.

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: ABOVE LEFT: Namiko; ABOVE RIGHT: Western Wall 001" (2010), private collectionIIIIII~ ~" ~ ~w • " ~ • __ • • ~ •• __ 4 ~ • _

Indian Christian----------------------------------------------------Artists Forum

Paul Kattukaran is a Catholic priest of the Archdiocese of TrichurThrissur), Kerala, India; he holds a Doctorate in Aesthetics (based on

the Natya Sastra, the ancient Indian text on theatre) from Bangalore;he has been secretary to the Artists Ashram of Jyoti Sahi and now heis promoter of Christian Arts and Architecture in the Archdiocese andalso Co-ordinator of Christian Artists Forum initiated by the Commissionfor Social Communications, Catholic Bishops Conference of India.

:,M. Suriya Moorthy, "Divinity in Humanity", Oil on canvas; OPPOSITE PAGE: (TOP) Roy M. Thottathil Sj, "Love until it Hurts, Acrylicon Canvas; (BOTTOM) P. Augustine Annadurai, "Eucharist and Mother II", Acrylic on Canvas"

A group of leading Christian artists in India under theinitiative of the CBCI Commission for Social Commu-nications has established a national network called theIndian Christian Artists Forum. Artist priest Dr. PaulKattukaran of Trichur Archdiocese, has been appoint-ed as the national coordinator for the Forum. Fifteenrenowned artists from various parts of the country at-tended the first meeting of the Christian artists in India

on the 4th August 2010 in Bangalore. Those attendingincluded renowned artists and theologian Jyoti Sahi,Chennai based artist and former principal of MadrasCollege of Fine Arts Mr. Alphonso Doss, former direc-tor of Bharat Bhavan, Bhopal, and well known sculptorRobin David, Bangalore-based artist C.P. John, artistEdwin Parmar, Ahmedabad, Sr.Viney, Bongaigaon, As-sam, Fr. Roy M. Thottam SJ, Kochi and others.

The Forum is intended to bring together Christianaliists from different parts of the country to fostergreater collaboration and professional support andexchange. It intends to promote study and apprecia-tion of Christian art among various sections of thepeople- clergy, religious and laity in the church, andthe wider society in India, and to encourage a deeperunderstanding, appreciation and application ofIndianChristian art in theology, liturgy and architecture inthe Church in India.

In his keynote address Jyoti Sahi recalled the contribu-tion of leading Indian Christian artists like Angelo daFonseca, Frank Wesley, Alfred Thomas, Jose Pereira,Sr. Genevieve, Sr. Claire, and the impact of Christianthemes on many other artists in India. He spoke of theclose relation between the Ashram life and showedhow Fonseca was deeply imbued with the spirit ofpatriotism, the message of Christ and the life of thepeople of our land. Showing some of the major worksof Fonseca, Sahi pointed out how Fonseca's works re-flect the agricultural activities and village life rootedin the local soil, resonating a deeply spiritual outlookon life. Sahi cautioned against the danger of Christianart getting more and more westernized in its popu-lar expression due to the internet. People downloadpictures for practical use from the internet and fail topromote Indian Christian art.

Executive Secretary of CBCI Commission for SocialCommunications, Fr. George Plathottam sdb briefedthe participants about some of the reasons that pro-moted him to initiate the establishment of a nationalforum of Indian Christian artists. "Communication"he said, "is becoming more and more visual and weare moving away from a literate to image based cul-ture. Promotion of Christian art in India is essentialif we are to effectively communicate the message ofthe gospel to the people of the country. Art, he said, isnot merely for the elite. In a largely illiterate society,the pictures on the walls are like scriptures for thelaity". We need an artistic expression that is indig-enous, rooted in the native symbols and ethos of ourcountry, as we cannot live for long on borrowed im-ages and imagery.

In February 2011 a four-day Art Camp organised bythe Indian Christian Artists Forum was held in Kol-kata. It brought together 24 artists from five statesin India. Leading artists like Alphonso Arul Doss,fonner principal of Government College of FineArts, Chennai, Prof. G. Raman, former head of the

department of Painting, Government College of Fine Arts, Chennai,Francis Kodankandath, Calicut, Sam Adaikalasamy, Chennai, AnitaViegas, Goa, Suriamoorthi M., Sirkazhy, Tamil Nadu, Suman GogoiBhuyan, Guwahati, and Ritu Singh, Kolkata and others participatedin the Camp. The camp was led by Fr. George Plathottam sdb, found-er-director of the Forum and Executive Secretary, Catholic BishopsConference of India (CBCI) Commission for Social Communica-tions, and its national coordinator Fr Paul Kattukaran.

The camp celebrated the theme Mother Teresa- Communicator ofCompassion, paying homage to Mother Teresa in the year of herfirst birth centenary, and produced some 42 paintings depicting thevarious facets of Blessed Mother Teresa's life and message. On thefirst day of the camp, the participants visited the Mother House andprayed at her tomb to pay tribute to her and to draw inspiration fortheir work. During the workshop, the artists held interactive sessionswith some 50 students of art and their parents. The artists reviewedand commented on the work ofthe budding artists and responded totheir questions. During the camp, the participants also watched vi-sual images of each other's works and held peer review sessions. Anexhibition of the paintings and a website was inaugurated by Sr Nir-mala Joshi, successor of Mother Teresa, Febmary 11, Seva Kendra,Kolkata. Archbishop Lucas Sircar of Kolkata, inaugurated a websiteof the Indian Christian Artists Forum where further information ondevelopments with the Forum will be posted - <http://www.christi-anartindia.org>.

BOTTOM LEFT: G. Raman, "Christ Healing Leprosy", Acrylicon Canvas; BOnOM RIGHT: Anita Viegas, "Untitled",Acrylic on Canvas; BELOW: Dr. Alphonso Arul Doss,"Praying Hands", Oil on Canvas

Japanese Christian-_.'--------------------------------------------------------------------------

Artists

Born in 1949 in Ishinomaki-city, Miyagi. Graduated from Tohoku Gakuin University,former executive member of Asian Christian Art Association, member of Japan ArtistsAssociation, and Ohmiya Church member.

"The Christian Art Exhibition "in Japan this year brings us to our35th anniversary. "The ChristianArt Exhibition" came into being as acombination of two former art exhibitions held separately by RomanCatholic and Protestant artists. It was through the efforts of MatsujiroSasaki, a Catholic and TadaoTanaka, a Protestant, who discussed howto absorb the separate exhibitions led by each artist into ajoint exhibi-tion, that the founding of the Christian Art Association became pos-sible in 1972. The following year they held the first exhibition that hascontinued until the present. Before this joint exhibition, the Catholicshad started to hold "the Catholic Christian Art Exhibition" as earlyas 1931, before WWII 7 times and till 1969,27 times. The Protes-tants had also started a "ChristianArt Exhibition" from 1935, beforeWWII 9 times, and then from 1965 the "Contemporary Christian ArtExhibition in Japan"was held for 6 years. The present "ChristianArtExhibition" is based on these earlier efforts. After the first exhibitionin 1973, there were four times when the exhibit could not be held each

year. However,in spite of manypast difficulties,we have now beenable to hold the35th Exhibition in2011. This year is25 artists and 51art works. Eventhough we are stillin the agony of thehuge earthquakein East Japan, weheld it to pray forcomplete rehabili-tation as soon aspossible.

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I am thankful that the Christian art exhibition has continued ,I,I

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in this Japan in Asia and reached the 35th anniversary and

that I can join with these other members. Flowers, trees,

birds in the air, and humankind were all created by God.

I am thinking that I would like give praise for this grace

and express my gratitude for the Creator. By encountering

colleagues of the same faith, I have been encouraged with

these exhibitions of high quality. At the same time I felt the

passion of our predecessors for Christian art. So I wish to

express the works of our Creator through art.

Born in 1949, graduated from the Musashino Art Univer-

sity, member of Japan Artists Association, Ichiyokai, Ohi-

zumi Bethel Church

Kyoko Ebina, "Person's Circle", 2010, Oil on canvas,194x162cm

Born in 1945 in Sapporo. Graduated from the Tokyo Univer-

sity of the Arts, postgraduate course of oil, member of Koku-gakai, Japan Artists Association, member of Chitose-funabashi

Church.Twenty or more years have passed quickly since I began show-

ing my art works at the Christian Art Exhibition. I cannot forget

even now the impression when I saw this exhibition for the first

time at the Nichido gallery in my younger day. I was touched

and struck with awe by the achievement to express precisely

the world of the mind and faith in the works of art. As we pray

for the stricken areas visited by the unprecedented natural ca-

lamity this year, we have also continued to take steps forward to

hold the 35th exhibition. The mission of our association this year

has been to realize the opening of the 35th exhibition through

creating our works for showing. I hope that it will pour even a

little ray of light into the world of difficulty.

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.\nen the two disciples met Christ on the way to Emmaus, they did not recognize that the person

was Christ who had just been crucified. Then later, when they noticed the man was Christ, they II

said to each other, "Did we not feel our hearts burn within us when he talked to us on the road and :

explained the Scriptures to us?" Sincel have been painting the sky or heavenly universe for years, ...:I

as the place where God reigns, I wanted to depict the special evening time at dusk as the scene :0' the first appearance of Christ to his two disciples. :

IIIIIIIIIIII

-=-':5· oneCollege of Wooster, graduated from Michigan State University. Privately studied under

: ': ,,~ o.'m artists in Japan, Shigeru Ishikawa and Tadao Tanaka. Member of 'Japan Artists

-=-s::-.::::E-::- . "'e former president of the Asian Christian Art Association; Reinanzaka Church

Chikako Tomoyama, "Road Leading to Heaven", 2001, Mar-

ble, Smalti, Coloured glass, Ceramic, 91x60cm

Chiako Tomoyama graduated from Musashino Art School in

1962. Member of Mosaic Art Association in Japan, Japan Art-

ists Association, member of Tokyo Yamate Church.

In my childhood I attended Sunday school in church and I

was given a beautiful card every Sunday as a treasure. In

high school I was baptized at the Tokyo Yamate Church. I was

taught by Mr. Tadao Tanaka in the Musashino Art School and

studied mosaic and fresco art by the Catholic artist, Mr. Luke

Hasegawa. While in the school I exhibited the mosaic art work

entitled "Adam and Eve" at the modern Christian art exhibition

under the guidance of Mr. Tanaka. I remembered clearly that

this art work was passed on to a person overseas through the

exhibition. Later, I engaged in mosaic wall painting and I am

thankful for being able to participate again in this exhibition

after long seasons. I wish to continue to produce art works in

the future as a witness to my faith.

Nozomi Morita, "The Uspensky Cathedral in Russia",2002, Tempera, 130.3X97.0cm

Born in 1932, graduated from Joshibi University. department

of Oil painting, former teacher at Tokyo YMCA and Toyo Eiwa

school. Independent artist and member of Kumamoto Joto

Church.

I lived surrounded by many churches that were "small and

suffered much" in Amakusa and other places which depicted

"The Christian Life." And then in my student days, I traveled

around Europe and America and was impressed by the beau-

ty of " Big and Beautiful Cathedrals" with Gothic architecture

built rising up toward the heavenly sky. When I encountered

this cathedral in Russia in 2000, I was touched that night by

the light of the candles shining on the Icons hanging from the

church columns which reflected "the brilliance of the joy of

Easter", and joined with people from many countries in cel-

ebrating together in joy and hope.