This article features behind the stage stories and artworks of the mermaid, merman and Fiji mermaid created by Takeshi Yamada in America. This manuscript was produced by Dr. Eriko N. Bond, an art critic and book author in New York City, as told by Yamada.   After completing the “Battle of Coney Island (Prediction of Holly War of 2001, Holly War of Millennium)”, Takeshi Yamada created a new artwork in 2002. It is entitled “Victory of Holly War (Victory of Coney Island)”. This artwork is full of symbolism and allegory of life and universe just like paintings of Raphael, Leonardo da Vinci and Vermeer. The warrior (General sense, it is Freedom. Specifically, it is America) can only win over the Devil (Generally, it is the fundamental darkness of human soul. Specifically, it is the Fascists who murdered 3000 innocent civilians on the homeland of America on Nine Eleven) by embracing the virtue of heaven (winged mermaid) rather than embracing earthly desires of earth (wingless mermaid) while his head looking forward (not obstructed by her), with one of his hands always holding a deadly weapon ready to be used if it is necessary any moment. He is the master of three existences – past life, present life and future life – represented by three golden eggs and crown of the ruler above his head. War and Peace is like Ying and Yang – one can not exist without others. This is the ultimate Law of like from the beginning of the universe (a galaxy rendered behind). Under the heaven, there is a time for war, and there is a time for peace. The glorious life, like a drama on the stage (drapes at the top), is opened to only those who stand alone courageously risking his own life to lead others to elevate the dignity of life and sanctity of humanity. Peace is not simply a condition where there are no conflicts - the enlightenment which Buddha taught in Sutras is not simply the condition where there are no earthly desires, sufferings or conflicts. Being born as a son of a respectable traditional Japanese samurai warrior’s house (samurai warriors’ military government ruled Japan during 133 and 1868), Yamada is very passionate about the war of justice to save and protect humanity from devils/evils.   Victory of Coney Island by Takeshi Yamada, oil/acrylic on canvas, 48x36 inch, 2002 Their faces are inspired by the Bambi the Mermaid, a famous local performer.   On June 23, 2003, Yamada participated the local small annual parade called Mermaid Parade for the first time in Coney Island. It was a very small art parade compared to the annual Halloween Parade or even Gay parade held in Manhattan, but it was one of those sideshow-style parades held by his house in Coney Island. (It was poorly organized, and parade participants even had to pay $10 to the cheap parade producer to be the part of the parade, so, that was the only time Yamada attended it.)   Yamada Created an original horseshoe crab warrior costume and became a living breathing artwork. It was a rainy day unlike previous years. Nevertheless, Yamada danced and marched gloriously on the downtown streets of Coney Island with spectacularly dressed up (and barely dressed ) mermaids. Yamada won the King Neptune award and medallion.   “Yamada the Horseshoe Crab Warrior” in original horseshoe crab warrior costume and “Bambi the Mermaid” who is a famous local burlesque dancer and performer at the Mermaid Parade.   “Yamada the Merman” and two gorgeous blue mermaids at the Mermaid parade in 2003.   Today’s Brooklyn by Takeshi Yamada, 24x18 inch, acrylic on canvas, 2003   In 2004, being inspired by the ancient unique American art of scrimshaw, Yamada started creating a series of artworks of mermaid simulating the artifacts of the ancient mariners.     Mermaid (left) pen and ink on color paper (right) Scrimshaw of mermaid, pen and ink on sperm whale tooth replica, 2004. Takeshi Yamada created over a dozen of Scrimshaw artworks featuring mermaids.       Necklace of Mermaid Princess #4 and #3 by Takeshi Yamada, acrylic on horseshoe crab carapace, 2002   By using the today’s cutting edge technologies such as digital camera, desk top bed scanner, computer, 7-color photograph printer, and internet, and sophisticated graphic design software, Yamada also created a series of artworks representing mermaid and marine animals. He created over 70 varieties of fine art canned food labels. They were exhibited (and sold) at Williamsburg Art & Historical Center, Brooklyn Waterfront Artists Coalition, Van der Plas Gallery, Salt Marsh Nature Center and at local circus sideshow companies.   Coney Island Brand Mermaid’s Purse, digital illustration via photo printing on photo paper, 2004. Takeshi Yamada created this mysterious –looking artwork by using his collection. The mermaid’s purse is an egg case of skates and small sharks commonly found at Coney Island Beach.     Coney Island Brand Mermaid’s Toenail, digital illustration via photo printing on photo paper, 2004. Takeshi Yamada created this elegant artwork by using his collections. The mermaid’s toe nail, (windowpane oyster or jingle shell) is a common clam found at Coney Island Beach.     “Artifact of Dreamland Fire in 1911: Coney Island Mermaid World (plaque)” by Takeshi Yamada.  12.5x19.5 inch, acrylic on wooden panel, 2005     Giant Mermaid’s Purse #2 by Takeshi Yamada, 11.25x4.5 inch, 2006     In 2004, after all these years of creating varieties of artworks of the mermaid, Takeshi Yamada finally decided to create a three-dimensional life-like life-size super realistic large mermaid. For Yamada, the mummified mermaid specimen is the ultimate embodiment of the American circus sideshow culture and spirit. Yamada says that the mermaid is the ultimate expression of humanity’s curious mind to seek out wonders of the universe.    Yamada spent over two months (from the life-size polymer clay figures study to the final production) and completed this circus sideshow gaff. The word “gaff” means extremely realistic man-made objects simulating artifacts/specimens of wonder and oddities used for the pay-per-view shoes in the circus sideshow business in America.   Although his mermaid is life-like, life-size, absolutely realistic and believable taxidermy artwork (circus sideshow gaffs), he did not use any body parts of any actual animals to create it. (Traditionally, dried fish skin was used to make the lower body portion and dried monkey body was used for its upper body of the Fiji mermaid.) Yamada’s unique and original body of the mermaid as shown below is all covered with scales except their face. Yamada considers his mermaid’s anatomy looks much more “realistic” and “more believable”. Technically speaking, only her face, portions of fins, and portion of her hand were shaped with man-made materials, and the rest of her bodies are constructed with 100% natural substances which he personally collected from where he lived.   Unlike his previously created colorful mermaid paintings, he intentionally made the surface of his mummified mermaid look very old. To keep the natural-looking appearances of the surface, the surface of his mermaid was left alone without applying the glossy oil varnish.   In personal level, for Yamada, his mummified mermaid (a variation of circus sideshow Fiji mermaid) is the Sea Goddess of Shinto (one of his family religions and Japan’s national religion), Ryujo (Dragon Woman who attained the enlightenment by the help of Buddha stated in the Lotus Sutra) in Buddhism (one of his family religions), and the embodiment of wonder of the Mother Ocean.   Yamada created the mermaid to summon the spirit and power of the sea to protect America from the fanatic and destructive enemy. This greatest country on this planet shall not be perished by the savage barbarians.   Fiji Mermaid #1 (detail at the bottom) by Takeshi Yamada. 49x12x8 inch, 2004. The each scale of the body were painstakingly installed one by one by the hand.     Fiji Mermaid #2 (detail below) by Takeshi Yamada. 72x14x6 inch, 2006.       American style circus sideshow developed into art form in the beginning of the 20th century. Specifically, the process was accelerated and reached the climax in Coney Island. It was the Renaissance of the Coney Island. The circus sideshow of exhibiting items of curiosities for a viewing fee of a dime was once called Dime Museum. It was a form of pay-per-view entertainment show. This tradition of collecting viewing fee system at the Dime Museum at state fairs was later adapted by the government funded/operated non-profit museums across the nation. At such cultural institution, from the time of the Dime Museum, it has been a time honored tradition to exhibit attractions with written descriptions.   Incidentally, Takeshi Yamada utilized this informative, educational and entertaining exhibition format since 1990. The first of such art exhibition of his was held with his 48 sublime paintings on canvases entitled “Dive Comedy: New Orleans Mardi Gras” at the Louisiana State Museum in French Quarter area of New Orleans, Louisiana. It was his first solo museum exhibition. Yamada was only 29 years old and the Mayor of the city awarded him the “Key to the City” and “Honorary Citizenship” at the opening reception. His show ran during the carnival season, and it was a tremendously successful 3-month long show.  Even his parents living in Japan came and attended the opening reception.   Here is the short description of Yamada’s mermaid taxidermy artwork.   MERMAID   Other Common Names: Mingo (“human-fish” in Japanese) Latin Name: Mermaidicus japonicus ningyo Origin: Shikoku, Japan Date: acquired in 1868 (The first year of the Meiji era) Size:  70x14x6 inch Description of the specimen: This well preserved specimen of half mummified mermaid was acquired through the local government in 1868 AD during Meiji Ishin in Japan, as one of the international cultural exchange programs to save and propagate traditional Japanese culture in the United States.  The Meiji Ishin (Meiji Restoration) is a chain of events that led to a change in Japan’s political and social structure.  It occurred from 1866 to 1869, a period of 4 years that transverses both the late Edo (often called Late Tokugawa Shogunate) and beginning of the Meiji Era.  Due to the drastic government policy called Haibutsu Kishaku (“throw out Buddha and overthrow Shakyamuni”), many Buddhist artifacts were destroyed. Haibutsu Kishaku was an anti-Buddhist movement enforced by the Meiji government that led to the destruction of Buddhist temples and images to “catch-up with the advanced/civilized Western civilization”.  The Haibutsu Kishaku was completely abolished in 1945 when World War II ended with Japan’s unconditional surrender.   Specifically, this adult mermaid was originally part of a collection of mermaids enshrined at the prestigious Buddhist temple, Yasaka-ji (“Eight Slopes of Buddhist Temple”) at the Yasaka mountain of Shikoku island of Japan.  Shikoku Island is the fourth largest island in Japan.  The temple is huge and has a great main pavilion, Goma-Dou (“Sesame Hall”). A variety of large and small mummified mermaids are enshrined and worshipped as deities at the main pavilion.  A stone statue of a mackerel is enshrined in a small hall to be worshipped as a deity there as well.  This Buddhist temple is one of the Shikoku 88 Kasho Reiji (The Eighty-eight Sacred Temples of Shikoku). There are 108 such sacred Buddhist Temples in Shikoku.  Ningyo Shinkou (Faith/religion of worshipping mermaids) can also be found in numerous Asian countries such as China, Korea, Japan, and Thailand even today.  In Japan, not only Buddhist temples but also some of the Shinto shrines enshrine the mermaids as one of their deities (including white snakes and foxes) to be worshipped.  Shinto is the Japanese-originated national religion.    Yamada’s Fiji mermaid was not only shown at commercial art galleries, government funded cultural/educational institutions and circus sideshows. It was also featured in a magazine. It was a quarterly poetry magazine The Sow's Ear Poetry Review, (Page 9, Summer 2006 issue). The Sow's Ear Poetry Review is a journal of fine poetry and fine art in all forms, with an international readership and a special interest in work that crosses the boundaries between the arts. (Contact the editor at sowsearpoetry@yahoo.com) Despite the today’s advancement of the science and technology, this marine monster still has a power to inspire people as a muse.   Takeshi Yamada’s mermaid featured in the magazine, The Sow's Ear Poetry Review. (Featured here with the permission of the magazine and the poet, Brenda Mann Hammack. All rights reserved.)        Two variations of announcement flyer featuring Yamada’s Fiji mermaid for his solo art exhibition at Salt Marsh Nature Center At Marine Park area of Brooklyn, New York in September 2006.     Yamada did not only create elegant and mysterious large mummified mermaids. He, base on his comprehensive research on the subject matter of humanoid sea creatures, also created taxidermy artworks of even more odd-looking humanoid marine creatures. Yamada named one of the monstrous animals as shown below “Surf Mermen of Red Sea Island”. Here are its picture and description.   Surf Merman, color drawing on paper, 11x8.5 inch, 2006 by Takeshi Yamada   Surf Merman by Takeshi Yamada, 9 inch, 2005.   Surf Merman   Other Common Names: Merman, Beach Merman, Han-gyo-jin (“half-fish human” in Japanese), Gyo-jin (“fish-human” in Japanese) Latin Name: Mermaidicus pretiosus Origin: Red Sea Island Date: circa 1720 AD Size: 9-1/4 x 2-3/4 x 1 inch (23 x 7 x 2.5 cm) Description of the specimen: This odd-looking sea creature has fish-like upper body and human-like lower body. Needless to say, its body structure is reverse to that of “mermaid”. The analysis of its hip bones revealed it is closely related to primitive primates. The analysis of its cranial structure also revealed it is closely related to the chameleon. This is one of the smaller species of merman commonly found around the sea of Red Sea Island. The larger species, Mermaidicus gigunteus, grows up to four feet in length. Its related species also live in the sea by the Sado Island, Japan.   Surf merman deposit adhesive, semitransparent eggs on beaches which have a specific mixture of coarse sand and pea gravel. Surf merman spawning is thought to be associated with freshwater seepage, where the water keeps the spawning gravel moist. Eggs are deposited near the water's edge in water a few inches deep, around the time of the high water slack.   Observations of surf merman spawning activity describe a highly adapted and ritualized behavior. Several males will align themselves with a ripe female, keeping their position by the use of spawning tubercles which cover their scales and fin rays. The female and males vibrate in unison, causing the release of eggs and sperm. Neither the female nor the males release all of their gametes during any single spawning event, and multiple spawning within and between tide cycles are common. Fertilized surf merman eggs have morphological features which cause the eggs to adhere to sand grains in which they are laid, giving stability to the deposited spawn. The outer membrane of the egg ruptures and turns inside out, forming a pedestal which is the point of the attachment. Wave action and tidal exchange buries the weighted eggs to a depth of several millimeters. While the eggs incubate in the sand they are "extra-aquatic", meaning they are submerged in saltwater during a portion of the tidal cycle. Extra-aquatic development is thought to be adaptive because the eggs are subjected to warmer temperatures and therefore develop quicker. The eggs are also less available to predation from birds and other fishes.   Development rates of surf merman vary greatly with seasonal ambient temperature. Surf merman eggs brooded in winter months may require between 27 and 56 days to hatch, while those brooded in summer months may required between 11 and 16 days. Regardless of the brooding time, hatching surf merman eggs release larva measuring about 3 mm which are at the mercy of the local tides and currents. After about 3 months they have grown to 20-25 cm and taken on their adult form and coloration. Juvenile surf merman rear in the near shore waters throughout Red Sea Island.   The majority of surf merman will mature to spawn in their second year, although a small proportion will spawn in their first year. Surf merman does not die after spawning and may spawn in successive seasons. Like herring, surf merman is thought to display some degree of homing, based on studies of their geographically and temporally distinct spawning behavior, parasitology and serology. The frequency of individual spawning and the degree to which individual surf merman stray between spawning grounds are unknown.   Like all other marine organism, surf merman experience high predation levels as eggs, juveniles and adults. As a result the maximum life span of a surf merman is thought to be 5 years. Adult surf merman feed primarily on planktonic organisms, and in turn are food for many marine animals such as seabirds, marine mammals, and other fishes. The movement of juveniles and adults between spawning seasons is virtually unknown.   Yamada’s dignified and sublime mermaid created in 2004 also led Yamada to create a series of completely new paintings. They represented the portrait paintings of mermaid princess and her home – Ryugu (Dragon King’s Palace at the bottom of the ocean). These artworks are based on the real artifacts and specimens which Yamada collected from the sea over years. Yamada also created a series of fancy and powerful talismans, amulets, jewelry artworks by grinding and polishing them. (Yamada took jewelry making class when he was an art student in Japan and America. He has been creating miniature artworks professionally for over 20 years.) The story of this series of mermaid princess paintings and the landscape paintings of her homeland will be featured in his future article.     END     All rights reserved by Takeshi Yamada, Museum of World Wonders, Brooklyn, New York, September 2006. Special thanks to Eriko N. Bond, Maremi Kakushina, Lauren D. Travis, and Diane M. Taros.