Japanese Western painting

Author: (Japanese) Jingu Akino / Yang Ai Min (editors)
Publisher:
Publish Date: 2005-04-01
Features: Classical and modern, Eastern and Western—art is universal. What differs is the variation in expression due to national temperament. The contemporary art world presents unprecedented diversity and pluralism. Introducing foreign art to our Chinese colleagues and readers aims to explore the traditional while seizing the visual from imports, thereby broadening our horizons and absorbing the essence. In today's information age, the quality and quantity of information significantly influence an artist's development. This book is compiled in the form of a pictorial collection, featuring outstanding works by contemporary foreign artists for readers to appreciate and draw inspiration from. This is our publishing philosophy to meet your needs—we hope you will enjoy it.
In people's minds, foreign countries always seem far away, but in reality, Japan is very close to us. Geographically, flying from Beijing to Tokyo takes less than two and a half hours. Culturally, aside from Chinese-speaking countries, Japan is the only nation in the world that still uses Chinese characters. In terms of customs, equinoxes, the Mid-Autumn Festival, and other holidays are official public holidays in Japan. They use (metal), (wood), (water), (fire), (earth), (sun), and (moon) to represent the seven days of the week.
Art is universal—classical and modern, Eastern and Western. This makes us worry for the ancients and shed tears for the emotions of foreigners. What differs is the variation in expression due to national temperament. Chinese modern painting, especially Western-style painting, has roots in Japan. Many modern painters learned Western painting indirectly through studying in Japan. Figures like Zhou Xiang, Li Shuxun, Gao Jianfu, Li Tiefu, Cai Yuanpei, Xu Beihong, Lin Fengmian, Liu Haisu, Chen Zifu, and Fu Baoshi are examples.
Today, while fewer people study art in Japan, artists like Cai Guo-Qiang have gained worldwide fame. Before the Meiji Restoration, Japan primarily absorbed Chinese culture. After the Meiji Restoration, the focus of Japanese art gradually shifted from absorbing Chinese art to absorbing and integrating Western art. By the early 20th century, Japanese Western-style painting had matured, and various art movements since Impressionism had profoundly influenced Japanese art.
The artists featured in this collection are mostly interdisciplinary creators with global influence. Figures like Kusama Yayoi, Kanako Hikaru, and Jun Yasuyoshi produce works that are passionate and unrestrained, their inclusivity and tension often shocking even in small formats. Artists like Nakayama Tadashi, Noda Hiroshi, and Daisuke Hironori, using neoclassical techniques, blend traditional Japanese subtlety with symbolism, forging a path in modern Japanese oil painting. is the only deceased artist included in this collection, yet he was the youngest. When he passed away in 1996, he was still a graduate student at an art university in the UK, barely over 26 years old. In his short life, he left behind nearly a thousand works, including paintings and sculptures. Introducing his art to China is also a heartfelt tribute to an artist born for art.
Introducing foreign art to China has been a long-standing wish of mine, and achieving it requires the help of many people. First and foremost, I would like to thank Sichuan Publishing Group, Sichuan Fine Arts Publishing House, and Mr. Lunming Hebei and Mr. Hachikawa Minoru for their strong support. While we may not be experts in this field, we take our work with the seriousness and dedication it deserves.
Yang Ai Min
October 11, 2004, Beijing