Many of the rozome artists that I have met lived during post-war Japan and their work often reflects those troubled times. By reading An Artist of the Floating World, by Kazuo Ishiguro, I have come to better understand what life was like for Japanese artists before and after WWII. It seems that the pro-war stance that led to the initial success of many artists was also their downfall at the end of the war. I now understand the importance of belonging to an artist group and the strict hierarchies, divisions and rules that exist in the art world of Japan. The rivalry between pupils as well as the power that a master has over them was eye-opening and shocking.
Now I see why many rozome artists felt it necessary to break free, even if it does make life more difficult for them.
Wow, am I glad to be a free artist!
1 comment:
I'm really glad you picked up that book in particular. It was written by a Japanese man who actually grew up in England, but it seems fairly accurate based on the discussions I've had on censorship and political art sponsorship in world war II. I'm sure, as an Artist, especially an artist who has talked with Otani-sensei and Takaya Mitsuo, and probably others, the whole question over the rigid stratification and classification of artists is something that is very meaningful for you.
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