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DOI Artikel:Čapková, Helena: The Japanese Cubist Body - mapping modern experience in the pre-WWII Japanese artistic network
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.51716#0137
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5. Kinoshita Shüpö, Illustration to a paragraph on Cubism, in David üurliuk and Shü Kinoshita, What is Futunsm?...an answer, Tokyo:
Chüöbijutsusha, 1923, 139.
parison and similarity with Kees van Dongen’s (1877
— 1968) work described by Ishii as: “He, with this
vivid colour distribution, expresses a dark side under
pleasure..”. In his commentary to Ishii’s pioneering
encounter with Cubism in Paris, Otani Shögö wrote
that Cubism was introduced to Japan in the era of the
change from Meiji to Taishö eras, at a time of many
conflicts between individuals and the society. Cubism
in Japan was born in that process and hence may be
very different from the original movement, but this
kind of différence. Ötani argues, is what marks the
spécifie cultural réception.21
Fragmented avant-garde in 1920s Japan
The massive destruction of the Tokyo urban
landscape caused by the Great Kantö Earthquake
21 OTANI, Sh.: Réception of Cubism in Japan. In: Furansw.
Cubism 100years on (special issue), vol. 7. Tokyo 2011, pp.
18-19.
in 1923 is considered a turning point in Japanese
modernism and, in fact as its true beginning. The
disaster provoked a concrète realization of a new
vision that led to innovative building activity for
a new lifestyle promoted by MAVO avant-garde
artist collective and Murayama Tomoyoshi (1901
— 1977). Ueda Makoto wrote that ‘the period of the
1920s and 30s, its creativity, lifestyle and ideas are
incompréhensible to us.’22 [Fig. 4, 5] Tokyo’s rapid
urbanization occasioned an underclass of labourers,
who became the subject of art, along with the city
itself and the Communist politics of the mid-1920s
to early 1930s. Such works came under the banner of
Proletarian art, which was spurred by Japan’s 1927
financial crisis and the world dépréssion of 1929. An
important early painting was Okamoto Toki’s “Attack
on the Factory by the Strikers (Restored Painting)”
22 UEDA, M.: Mobo, moga tachi no ie zukuri (Modem boys and
giris build their houses) Toshijûtaku kuronikuru II. (Chronicle
of City Dwelling) Tokyo 2007, p. 394.
129
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133
5. Kinoshita Shüpö, Illustration to a paragraph on Cubism, in David üurliuk and Shü Kinoshita, What is Futunsm?...an answer, Tokyo:
Chüöbijutsusha, 1923, 139.
parison and similarity with Kees van Dongen’s (1877
— 1968) work described by Ishii as: “He, with this
vivid colour distribution, expresses a dark side under
pleasure..”. In his commentary to Ishii’s pioneering
encounter with Cubism in Paris, Otani Shögö wrote
that Cubism was introduced to Japan in the era of the
change from Meiji to Taishö eras, at a time of many
conflicts between individuals and the society. Cubism
in Japan was born in that process and hence may be
very different from the original movement, but this
kind of différence. Ötani argues, is what marks the
spécifie cultural réception.21
Fragmented avant-garde in 1920s Japan
The massive destruction of the Tokyo urban
landscape caused by the Great Kantö Earthquake
21 OTANI, Sh.: Réception of Cubism in Japan. In: Furansw.
Cubism 100years on (special issue), vol. 7. Tokyo 2011, pp.
18-19.
in 1923 is considered a turning point in Japanese
modernism and, in fact as its true beginning. The
disaster provoked a concrète realization of a new
vision that led to innovative building activity for
a new lifestyle promoted by MAVO avant-garde
artist collective and Murayama Tomoyoshi (1901
— 1977). Ueda Makoto wrote that ‘the period of the
1920s and 30s, its creativity, lifestyle and ideas are
incompréhensible to us.’22 [Fig. 4, 5] Tokyo’s rapid
urbanization occasioned an underclass of labourers,
who became the subject of art, along with the city
itself and the Communist politics of the mid-1920s
to early 1930s. Such works came under the banner of
Proletarian art, which was spurred by Japan’s 1927
financial crisis and the world dépréssion of 1929. An
important early painting was Okamoto Toki’s “Attack
on the Factory by the Strikers (Restored Painting)”
22 UEDA, M.: Mobo, moga tachi no ie zukuri (Modem boys and
giris build their houses) Toshijûtaku kuronikuru II. (Chronicle
of City Dwelling) Tokyo 2007, p. 394.
129