"History of Nihonga: Modern and Contemporary Eras"

2019/03/11

It was several years ago now, but the then-deputy director (administrative side) of the Hiratsuka Museum of Art suggested that I hold a director's lecture series for the general public. He was someone who worked tirelessly to improve the museum, and I started it thinking that this, too, was part of a director's duty.

The course ran six times a year on a bimonthly basis. After finishing the Modern Era section, I began the Contemporary Era lectures the following year, also six times a year bimonthly. The target audience was about 25 members of the general public; naturally, most were middle-aged or older, and while many were women, some participated as couples. The older students were quiet but enthusiastic. Naturally, I couldn't just treat it as a rush job, so I spent a considerable amount of time preparing before each lecture.

By the time I reached the third cycle, I thought I would finally get used to it, but I was still as busy as ever with preparations. Since various people publish various papers and books, reading them naturally brings up things that must be incorporated into the lectures. I expanded the content little by little in that way, but I always maintained the stance of speaking in a way that was easy for the general public to understand.

Around that time, I received an offer to write a book from Mr. Shirato of Chuokoron-Shinsha, whom I had known for a while. I accepted, feeling grateful, but when it came to actually publishing a book, there were many missing parts, so I decided to add literati painting (bunjinga) and ukiyo-e, which I hadn't covered in the lectures. In the Contemporary Era section, I also added information about female painters. I included female painters in the Contemporary Era section because I felt that even in the modern age, they have been treated unfairly, and there were many moments where I was moved by a sense of righteous indignation. Although the passages are short, I am glad I was able to add them.

By the way, I have always felt that Japan's modernization was nothing more than Europeanization. I felt it was only natural that there should have been a unique modernization conceived by the Japanese people. And recently, I feel that Japanese people have finally regained their confidence and are beginning to create contemporary Nihonga that comes from their true hearts. Therefore, in Chapter 5 of the Contemporary Era section, I proposed a shift from "Nihonga" (a term born in the modern era) to "Japanese painting."

"History of Nihonga: Modern Era"

"History of Nihonga: Contemporary Era"

Natsuko Kusanagi

Chuko Shinsho

Modern Era: 240 pages, Contemporary Era: 208 pages, 920 yen each (excluding tax)

*Affiliations and titles are as of the time of publication.