2010 marks 1300 years since the establishment of Japan's first fully-fledged capital city. We are delighted to celebrate the 1300th anniversary of Nara Heijo Kyo Capital for the first time in the UK, embracing the historical and cultural importance of Nara Heijo Kyo Capital through the history of Japan. This event consists of lectures about the aesthetics of colours in Buddhism in Japan by Sachio Yoshioka, Textile Historian and Natural Dyer from Kyoto, and also Shomyo (Buddhist Chanting) by Taiin Murakami, Assistant Head Priest from Yakushi-ji, Nara (UNESCO World Heritage Site).

This event will take place at several venues in the UK -

15 November, 18.30 - The Japan Foundation, London

17 November, 13.30 & 15.30 - The British Museum, London

18 November, 10.00 - The Norwich University College of the Arts

18 November, 13.30 - Sainsbury Center for Visual Arts, Norwich

18 November, 18.30 - Sainsbury Institute for the Study of Japanese Arts and Cultures, Norwich

Mihoko Ogawa-Higgins, Project Director from IndigoRose Project interviews Taiin Murakami and Sachio Yoshioka for their forthcoming lectures and performances.

Interview with Taiin Murakami
MOH: Please give us a brief history of Yakushi-ji
Murakami: Yakushi-ji is the headquarters of the Hosso School of Japanese Buddhism and it was built near Fujiwara Kyo in 680 AD, commissioned by Emperor Temmu to pray for the recovery of his Empress from a serious illness. Later the temple was moved to the current location, following the transfer of the capital to Heijo Kyo Capital in 710 AD. The East Pagoda was the only surviving original building from this period. Therefore, the history of Yakushi-ji is synonymous with the history of Nara Heijo Kyo Capital.

MOH: What is Shomyo (Buddhist Chanting)?
Murakmai: Shomyo is one of the five areas of academic studies in Ancient India and it is associated with the studies of phonology and grammar. Shomyo arrived in Japan at the same time Buddhism was introduced to Japan from China in the mid 6th century and then flourished widely during the Nara period. Shomyo at Yakushi-ji has distinctive features which have created an energetic and powerful sound during their memorial services.

MOH: Please tell us your thoughts towards this event in the UK.

Murakami: Throughout the history of Yakushi-ji, it has acted as a Buddhist temple as well as an academic institution. I strongly believe that our predecessors have actively learnt invaluable knowledge and culture from Ancient India and China via the Silk Road and contributed to the prosperity of Japanese culture. Therefore I hope that people in the UK will be able to appreciate the beauty and uniqueness of Japanese culture which includes a variety of influences from overseas at our event.

Interview with Sachio Yoshioka
MOH: Murakami mentioned the connection between Yakushi-ji and the Silk Road during his interview. Could you please elaborate on his comments from your view as a textile historian and natural dyer?
Yoshioka: Between the 3rd and 5th century, many craftsmen from China and Korea were invited to help develop techniques of dyeing and weaving in Japan. Around the late 6th century and the beginning of 7th century, the cultural influence of Persia and India travelled to Nara, which was recognised as 'the Eastern terminal station of the Silk Road'. Fortunately, we can still see textile materials from this period at temples like Yakushi-ji in Nara. For example, many exquisite samples of textiles, costumes and dyeing materials have been kept safely at Shosoin (the Imperial Treasure House) in Todai-ji in Nara for over 1200 years.

MOH: How do you practice your natural dyeing at your studio in Kyoto? I know that you still employ natural dyeing techniques from ancient times in Japan.
Yoshioka: I often refer to archive materials at temples, shrines, museums and so on. As well as costumes and textile samples. Fortunately archive materials which contain references to methods of natural dyeing have also been preserved in an extremely good condition at Shosoin which is the oldest surviving building of this type in Japan. Therefore I feel very privileged to have opportunities to refer to these archival materials in order to refine my knowledge of techniques of natural dyeing.

MOH: What is your view towards natural dyeing in the 21st century?