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JAPANESE CUBIST BODY – MAPPING MODERN EXPERIENCE IN THE PRE-WWII JAPANESE ARTISTIC NETWORK

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Čapková H.

ARS

2014

vol. 47

issue 2

122 – 133

The transnational flow of Cubist inspiration reached Japan in 1911 and continued to spread through numerous networks of Japanese avant-garde art scene over some decades. This article will test the idea of Cubism transgressing the dualistic paradigm of the East and the West and as such creating “a cubist body” for local, and in this case Japanese, artists to experience modernity. In terms of Asia, Japan was the only Asian country to assimilate Cubism in the 1910s, the decade in which it was being conceived in Paris. Cubism met with a mixed reception when it arrived in Asia, as it was considered as either a reminder of Western cultural superiority or a pan-cultural visual language of modernity for newly independent countries. There was also the concern that Cubism, being born of a particular cultural, philosophical and scientific background in Europe, was an imported phenomenon not suited to the Asian worldview. The Cubist or Piccassoid body, according to Bert Winther-Tamaki, provided Asian artists such as Yorozu Tetsugorō with an opportunity to violate a figurative subject to deform it in a way to express their own experience of modernity. The inhabitation of the Cubist body was a re-possession of their modern experience.

The Mystical Spirit of Japan – Stefan Łubieński and Transnational Artistic Networks in 1920s Japan

100%

Čapková H.

Studia Religiologica

2020

vol. 53

issue 1

15-31

Stefan Łubieński (1893–1976), composer, fine artist, diplomat, spiritual seeker, and thinker, was a Polish nobleman, follower of Anthroposophy and author of such books as Ways to Spiritual Light and Man between Microcosm and Macrocosm. With his first wife, Zina Łubieńska, he resided in Japan in the first half of the 1920s. Although Łubieński published his autobiography and the names of the two Poles were mentioned at that time, the time they spent in Japan has not yet been analysed by scholars. This article is an attempt to unravel the Łubieńskis’ life in Japan and show how it is placed in the context of Japanese culture in the 1920s. Furthermore, it will document the ways the Łubieńskis operated within the transnational network of Theosophists that spread among artists, foreign and Japanese alike, as a way to meet and exchange ideas. One of the circles the Łubieńskis joined, together with Noémi and Antonín Raymond, was the Garakutashū(en. “Circle for the Study of Odd Things and Junk”), a casual setting for open discussion about passion for collecting objects, hobbies, and a shared interest in Japanese arts such as woodblock printing, calligraphy, and ink painting. The transnational method used in this article foregrounds the importance of thinking through a lens highlighting transnational networks and enables us to recognize the Łubieńskis as a part of the Theosophical Society (TS), Garakutashū, and other networks of modern Japan.

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JAPANESE CUBIST BODY – MAPPING MODERN EXPERIENCE IN THE PRE-WWII JAPANESE ARTISTIC NETWORK

The Mystical Spirit of Japan – Stefan Łubieński and Transnational Artistic Networks in 1920s Japan