1. Japanese Immersed in Asia
In 1942, the Japanese painter SUGIYAMA Yasushi visited the Yungang Grottoes in Datong, China, and sketched the stone Buddhas he found there. He did not, however, sketch every Buddha he saw. For his models he chose images of Buddhas with gentle smiles. During this period, the theory that sculpture depicting Indian and Chinese Buddhas and Asuka Period Buddhas in Japan was influenced by Ancient Greek sculpture was widespread, as was the term “archaic smile” associated with it.
It was in this context that, of the many Buddhas at the Yungang Grottoes, Sugiyama chose those that were smiling to embody the respect and longing that he felt toward the origins of his own Japanese identity in mainland Asia. In his sketches he distanced himself from stern Buddhas with grave expressions and focused instead on those that with hearts filled with compassion toward those who saw them. In another direction, in modernizing China, the Western-style dress was combined with an image of China desired by the West to create the “China Dress,” the cheongsam. A new fashion was created by giving a Chinese twist to the way that the West wanted to see China. Japanese artists who painted women wearing the China Dress understood the profound depths of Chinese culture embodied in it. What, then, was the meaning of the faint smiles conveyed by these women’s lips? The relationships of the West to Asia and of Asia to Japan drew these Japanese artists eyes to Asia.

2. Ancient Vessels’ Modern Rebirth
The ancient works of art and various containers unearthed by modern excavations in Asia delivered an enormous shock to Japanese artists. Their forms, patterns, and imagery, so different from those of traditional Japanese crafts, showed them a new kind of beauty.
Consider, for example bronze vessels. In ancient China bronze vessels were used in food preparation and ritual. But Japanese artists enthralled by their forms and patterns took them in radically new directions. KATORI Hotsuma’s Horned-owl-shaped incense burner appears to have been inspired by ancient Chinese ritual vessels shaped like birds. While the spiral patterns on the wings and the plump breast evoke ancient birds, the charming expression, sleek textures, and the boldness of the large foot ready to take a stride give this work a uniquely contemporary appeal. This exhibition also includes many other artists’ works of a similar nature. The improvised character of the images drawn by Kawai Kanjiro on Joseon white porcelain are heart-stopping. Ishiguro Munemano was fascinated by the beauty of the naturally flowing glazes in Tang sancai. His own works are deliberately finished in ways that evoke their spontaneity and naturalness.

3. How Contemporary Artists See Asia
The third section of this exhibition showcases works that embody images of Asia created by three contemporary artists. Painter OKAMURA Keizaburo depicts legendary supernatural animals, drawing inspiration from ancient bronze vessels. The multiple eyes of the supernatural beasts stare not only at those who view these works but beyond them to the promise of Japan and Asia. Lacquer artist TANAKA Nobuyuki continues his search for originality in objets that overturn tradition and convention in lacquer art. In recent years, he has recognized that his craft working with lacquer is inseparable from Japan and the Far East. The changes visible in the works displayed in this exhibition reflect Tanaka’s growing consciousness of his Asian roots. Designer YAMAGATA Yoshikazu’s theme is the Japan-US textile negotiations in the 1970s. These works incorporate a vision of the economic rivalry between the West and Asia during this period. They subtly remind us of the traces of this rivalry still visible today.