Dissectional Art: Issue One, Page Two






		By R.E. Embuscado GENCIS HAN CROSSED THE MOUNTAINS In the East, Japan's sovereign territorial boundary had been threatened and violated. Many conquerors viewed this mountainous region with bewilderment; they saw the midst of its cloudy skies filled with spiritual serenity. And from the summit of a distant horizon, they felt the adjoining coast of congenial pleasure like the humming of wind and rain; at the same time, it formed a continuity of life through eternity. Guided by the symbolic signs of nomadic spirit, containing different values and meanings of traditional belief, Genghis Han's war had found a place in the sun, setting foot on the mountainous island of Subuki. Genchis Han's war had been expressed in darkness without a formal declaration. The conflicts between the Mongol and Japan was wholly associated with the origins of attitudes toward a class order; and, a deep contrasts, in their cultural perceptions of existence that took heed misunderstanding sprouted from the unconnected meanings of symbolical images, each divorce from the question of truth to life, they remained divided in these issues: both mythological and spiritual-particularly in the conception of humanity. This problem of critical perception had brought them a picture of contradicting existence. It was the perfect element toward the highest point of contradiction. And in this escalating danger, Genchis Han, the Mongol leader, stretched out the context of war, he transformed life into death; because, he had not found a considerable body of respect for Japan's feudal social-cultural system. When Gencis Han marched on the Northeastern of Japan in the middle of the twelfth century, he reduced his army in size; he assumed that this situation could not be built on a foundation of total destruction. He saw the historic cultural tradition of Japan in the course of mystery, and he sensed a strange feeling across the mountainous sky. These were the things he realized immediately after being able to seek out the balance between life and death. At the height of his power, the line of strategy, in the face of battle, was to seek an alliance with the Black Samurai, a secret army. This idea represented his vicious attempt to create a division between the Black Samurai and the Red Samurai. This strategy was a far cry from the entire course of his experienced in battle when he turned himself away from a sense of morality, away from life and reality in general; and, when he was exalted to a complete madman.			By R. E. Embuscado In the early period of modern distortion of classical age, a sign that marked the end of the Renaissance period, again, it excluded the transfusion of global culture. The comic manner of human nature was commonly dismissed; because, the modernists saw it as the worst forms of art; and, they saw that the pattern of ethnic-diversity in human nature, as a whole, is poorly unqualified to cultivate a single color of humanity. They called lt barbarism. What then of a comic culture, the popular language which can be identify as the oral history of mankind? Their experiences were not illuminated in the modern universal setting, and despite that its culture had fade away into darkness, it might be seen as an article of life. A compartmental reality, which contains the whole structure of the ethnic life: a hidden tract of reality that did not end and would not stop at the gates of modern-hell of darkness.