Deconstructing Japanese avant-garde as epigonism

Olga Isaeva

Abstract


The aesthetic avant-garde is an international literary and artistic network and project, which arose in the early 20th century. The militant and political origin of the term can be summarized to the more general meaning of the avant-garde as progressive and politically engaged art with a pioneering approach. This heterogeneous project is not a monolith but rather an ever-changing network, which is primarily characterized by its boundlessness and transgression. The development of abstract art is often inseparably connected with avant-garde movements as an approach to a new anti-mimetic reality. The language of modern art, however, is diverse and can be both mimetic and anti-mimetic as will be explained in the abstract art theory by Okazaki Kenjiro. This paper will argue that the avant-garde concept offered Japanese artists a method to overcome the legacy of the Meiji period, the self-colonization, and to enter a discourse of questioning the foundation of Japanese (modern) art as a transplantation and absorption of the western models. The tendencies for transgression of the early Japanese avant-garde can be located in the diversity of art styles and genres, in the blurring of the boundary between the co-called high and low art and in the passing from visible to invisible. Outstanding is the performative act of demonstrating the new movement in the form of a manifesto as an artistic practice and the elimination of boundaries between the art work and the audience.

Keywords


Avant-garde; Meiji politics; Modern Japanese art; Epigonism; Okazaki Kenjiro; Abstract art; Taishō era; MAVO; Murayama Tomoyoshi; Sanka

References


Asaeda, J. (1923, August 2). Mavo tenrankai wo hyō su. Yomiuri Shinbun, p. 7.

Brosterman, N., & Togashi, K. (1997). Inventing Kindergarten. New York, NY: Harry N. Abrams.

Bundeskunsthalle [edt]. (2015). Japans Liebe zum Impressionismus: Von Monet bis Renoir 8. Oktober 2015 - 21. Februar 2016.

Burliuk, D., Aleksei Kruchonykh, Mayakovskij, V., & Velimir Khlebnikov. (1995). Eine Ohrfeige dem öffentlichen Geschmack. In W. Asholt & W. Fähnders (Eds.), Manifeste und Proklamationen der europäischen Avantgarde. (1909 - 1938) (p. 28). Stuttgart: Metzler.

Burliuk, D., & Kinoshita, S. (1923). Miraiha towa? Kotaeru. Tokyo: Chūō Bijutsusha.

Chinki wo kisou shuppin. Sankaten iyoiyo ashita kara Ueno jichi kaikan de muryō kōkan (1925, September 11). Jiji shinpō, p. 9.

Ehrlicher, H. (2001). Die Kunst der Zerstörung. Gewaltphantasien und Manifestationspraktiken europäischer Avantgarden (Zugl.: Berlin, Freie Univ., Diss., 2000), Berlin.

Eliot, T. S. (1920). Hamlet and His Problems. In The sacred wood. Essays on poetry and criticism (1st ed., pp. 87–94). London: Methuen.

Lange, W. (Ed.). (1874). Friedrich Fröbel's gesammelte pädagogische Schriften (2. Aufl.). Berlin: Chr. Fr. Enslin.

Hackner, T. (2001). Dada und Futurismus in Japan: Die Rezeption der historischen Avantgarden. Zugl.: München, Univ., Diss, 1999 u.d.T. Hackner, Thomas: Die Rezeption von Futurismus und Dadaismus in Japan 1909 - 1925. München: Iudicium.

Hirato, R. (1931). Anarojizumu ni tsuite. In R. Kawaji, K. Hagiwara, Y. Yamasaki, & T. Kanbara (Eds.), Hirato, Renkichi Shishū / Kawaji, Ryūkō (hoka) kyōhen (pp. 182–193). Tokyo: Hirato Renkichi Shishū Kankō Kai.

Hirato, R. (1986). Nihon miraiha sengen undō. In Centre Georges Pompidou (Ed.), Japon des avantgardes. 1919-1970 : exposition réalisée conjointement par le Centre Georges Pompidou et la Fondation du Japon avec le concours de l'Asahi shinbun (p. 146). Paris: Editions du Centre Pompidou.

Kawahata, N. (1995). Yanase Masamu no ikita jidai. In Yanase Masamu Sakuhin Seiri Iinkai (Ed.), Yanase Masamu: Shissō suru gurafizumu (pp. 8–11). Musashino: Musashino Art University Museum and Library.

Kawaji, R. (2011). Hyōgen geijutsu yori seikatsu geijutsu e. In T. Omuka (Ed.), Bijutsu hihyōka chosaku senshū: Vol. 6. Kawaji Ryūkō (pp. 122–132). Tokyo: Yumani shobō.

Keith, T. (2005). Poetische Experimente der deutschen und russischen Avantgarde (1912 - 1922): Ein Vergleich. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft: Vol. 90. Berlin: Weidler.

Kii no sekai wo chinsetsu shita Sankaten. Ueno jichi kaikan de kaisai (1925, September 13). Chūgai shōgyō shinpō, p. 2.

Kisō tengai no shuppin totemo menkurawaseru sakuhin: Sankaten chinretsu no ichibu (1925, August 28). Asahi shinbun, p. 6.

Kisō tengai: Sankaten no shuppin kimaru. Keishichō kara niramaretsu suppadaka de daiku no mane (1925, August 30). Hōchi shinbun, p. 4.

Kitazawa, N. (1989). Me no shinden: Bijutsu juyōshi nōto. Tokyo: Bijutsu Shuppansha.

Lenin, W. I. (1971). Der "linke Radikalismus", die Kinderkrankheit im Kommunismus (2. Aufl.). Marxistische Taschenbücher : Reihe sozialistische Klassiker. Frankfurt (am Main): Verlag Marxistische Blätter.

Lindemann, U. (2001). Kriegsschauplatz Öffentlichkeit. In H. L. Arnold (Ed.), Text + Kritik : Sonderband. Aufbruch ins 20. Jahrhundert. Über Avantgarden (pp. 17–36). München: Ed. Text + Kritik.

Mann, P. (1991). The theory-death of the avant-garde. Bloomington: Indiana University Press.

Marinetti, F. T. (1995). Gründung und Manifest des Futurismus. In W. Asholt & W. Fähnders (Eds.), Manifeste und Proklamationen der europäischen Avantgarde. (1909 - 1938) (pp. 3–7). Stuttgart: Metzler.

Marude bakemono yashiki. Sankaten no monosugosa. Garō kudan ni naranda koto. Kyō gogo sanji ni nyūsen wo happyō (1925, August 30). Jiji shinpō, p. 2.

Mitter, P. (2014). Modern Global Art and Its Discontents. In P. Bäckström, B. Hjartarson, & B. Rebel (Eds.), Avant-garde critical studies: Vol. 30. Decentring the Avant-Garde (pp. 35–54). Amsterdam: Rodopi.

Möbius, H. (2000). Montage und Collage: Literatur bildende Künste Film Fotografie Musik Theater bis 1933. München: Fink.

Mori, Ō. (1909). Mukudori tsūshin. Subaru, 99–104.

Murayama, T. (1923, August 5). Mavo tenrankai ni saishite: Asaeda-kun ni kotaeru. Asahi shinbun, p. 6.

Murayama, T. (1925). Aru tokkakan no nikki. Chūō bijutsu. (113), 66–73.

Murayama, T. (2013). Akushon no shokun ni kugen wo tei suru. In T. Omuka (Ed.), Bijutsu hihyōka chosaku senshū: Vol. 16. Murayama Tomoyoshi. Bijutsu hihyō to handō (pp. 43–44). Tokyo: Yumani shobō.

Odagiri, S. (Ed.). (1991a). Mavo dai ikkai tenrankai [Special issue]. Mavo fukkokuban furoku. Tokyo: Nihon kindai bungakkan.

Odagiri, S. (Ed.). (1991b). Mavo fukkokuban. Tokyo: Museum of Modern Japanese Literature.

Okazaki, K. (2017). Abstract Art as Impact. Chūshō no chikara. Retrieved from http://abstract-art-as-impact.org/jp-text.html

Omuka, T. (1995). Taishō ki shinkō bijutsu undō no kenkyū / The Japanese modern art movement and the avant-garde 1920–1927. Tokyo: Sukaidoa.

On, K. (1952-1957). Atarashii ningen zō ni mukatte: Hamada Chimei, Kawara, Yamanaka Haruo, Ikeda Tatsuo, Kiuchi Misaki, Yoshinaka Taizō, Haryū Ichirō. In Bijutsu hihyō (Ed.) (p. 47). Tokyo: Bijutsu Shuppansha.

Ōwara wa no sankaten (1925, September 11). Asahi shinbun, p. 7.

Satō, D. (2011). Modern Japanese art and the Meiji state: The politics of beauty. Los Angeles Calif.: Getty Research Inst.

Schwitters, K. (2004). Nationale Kunst. In F. Lach (Ed.), Vol. 5, Das literarische Werk/5. Manifeste und kritische Prosa (pp. 199–200). Köln: DuMont Schauberg.

Takahashi, S. (1982). Dangen wa dadaisuto. In Takahashi Shinkichi zenshū (Vol. 1, pp. 50–52). Tokyo: Seidosha.

Tsuji, J. (1982a). Dada no hanashi. In Tsuji jun zenshū (Vol. 1, p. 286). Tokyo: Gogatsu Shobō.

Tsuji, J. (1982b). Dadara dango. In Tsuji jun zenshū (Vol. 1, p. 406). Tokyo: Gogatsu Shobō.

Tsuji, J. (1982c). Fumoresuku. In Tsuji jun zenshū (Vol. 1, p. 377). Tokyo: Gogatsu Shobō.

van den Berg, H. (Ed.). (2009). Metzler-Lexikon Avantgarde. Stuttgart: Metzler.

van den Berg, H., & Fähnders, W. (2009). Die künstlerische Avantgarde im 20. Jahrhundert - Einleitung. In H. van den Berg (Ed.), Metzler-Lexikon Avantgarde (pp. 1–19). Stuttgart: Metzler.

Weisenfeld, G. S. (2002). Mavo: Japanese artists and the avant-garde, 1905-1931. Twentieth-century Japan: Vol. 11. Berkeley: University of California Press.

Werkman, H. N., & Martinet, J. (1978). The Next call: Avant-garde writings by Hendrik Werkman published from September 1923 till November 1926 in Groningen = avant-gardegeschriften van Hendrik Werkman, uitgegeven van september 1923 tot november 1926 in Groningen. [Met] "De Roepstem van Werkman" : een studie over Hendrik Werkman en The Next call. Utrecht: Reflex; Galerie Gamma.

Yurugi, Y. (1991). Jidai ni iki, jidai wo koeta "Mavo", 9–13.


Refbacks

  • There are currently no refbacks.


Copyright (c) 2018 Mutual Images Journal

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

Creative Commons License
Mutual Images Journal by Mutual Images Research Association is licensed under a Creative Commons Attribution 4.0 International License.