Printmaking is a rarely practised art form in Malaysia, so the exhibition of Japanese prints at the Dewan Bahasa dan Pustaka, Kuala Lumpur, is much welcomed. Japanese Prints 1950-1990 presents a unique opportunity for the public to learn more about printmaking as well as about the art of post-war Japan.

Organised by the Japan Foundation, there are 75 works by 46 different artists on display, allowing a wide overview of stylistic techniques and subject exploration.

Twentieth century Japanese Art following World War II, is a particularly distinctive genre. Following the years of militaristic aggression and suppression of cultural freedom, there was an influx of aesthetic and conceptual ideas from overseas, particularly from United States and France. Movements that rooted themselves in contemporary Japanese art, such as Modernism, Symbolism, Cubism and Pop art, are still popular today, as can be seen from the blockbuster art shows that reach Japanese shores from the West.

Nevertheless, Western art movements were not embraced wholesale. What emerged in Japanese art of this period was a rich hybrid: an eagerness to appreciate new developments combined with local assimilation. Japanese aesthetic traditions, such as the clean lines derived from traditional wood block prints, clear narrative illustrated by famous artists such as Katsushika Hokusai, and the gentle subtleties of subject interpretation were still maintained. This exposure to and acceptance of Western influences strengthened rather than robbed Japanese art of its strength and appeal.

Sumio Kawakami's Western Manner

Sumio Kawakami’s (1895-1972) print Western Manner illustrates the amalgamation of Western influences into Eastern culture. Stretched out on a bed, a Japanese couple garbed in traditional kimonos is lulled into repose by their opium. Attention has been paid to the detail, from the dress and the hairstyles to the colorful patterns on the kimono and obi (sash). There is no obvious Western influence, apart from the wrought iron bed frame that has replaced the conventional tatami mat. This perhaps implies the moral direction of Western influence, compounded with the man’s arm across his companion’s back in a casual display of affection. Kawakami is well known for his series of woodblock prints depicting nanban (southern barbarians), as the Westerners who entered Japan in the 16th century were known. As one of the earliest generation of creative printmakers, Kawakami’s work is held in extremely high regard.

Katsuro Yoshida's Work "10"

Conversation on life in Japan is continued by Katsuro Yoshida (1943-) in Work “10”. The viewer is just another pedestrian walking along the busy streets, the identities of the passerby are not revealed to us. Nameless and faceless, the black-and-white is cold and emotionless. The “shield” of the central figure in this silkscreen print is eroded, we can no longer see him in solid black and white. His confusion is covered by his break down into an indistinct dot matrix pattern. Locally trained in Japan, Yoshida is influenced by Minimalism and part of the Mono school of thought. His receipt of the Far East Grand Prize at the International Exhibition of Prints exemplifies his prowness as a printmaker.

Ushio Shinohara's Doll Festival

One of Japan’s celebrated avant-garde artists of the 20th century is Ushio Shinohara (1932-). His work is known for its rejection of conventional notions of beauty as well as the conventions of art theory. Instead, the conscious decision to adapt from existing masterpieces by American pop artists Robert Rauschenberg (1925-) and Jasper Johns (1930-) has imbibed his work with a sarcastic individuality. Doll Festival exemplifies the imitation art series that the artist is best known for. Here, with bold intense colours borrowed from Pop Art and sharp lines inherited from Cubism, the viewer is encouraged to look at the parodies of life. The creation of identity whether through dress or role-playing is examined.

Shoichi Ida's Stones On Paper

Hiromitsu Morimoto's Untitled (Blouse)

Critics of printmaking may argue that as a result of the process –making and production possibilities, this is an art form /that is not as original and intense as, say, painting. Hiromitsu Morimoto’s Untitled (Blouse) and Shoichi Ida’s Stones On Paper, however, illustrates the remarkable properties if expert printmaking. These drawings reveal delicate tonal graduations typical of traditional Japanese aesthetics.

In Morimoto’s piece, the luxuriant folds of fabric glow like a mantle or freshly fallen snow. It is pure and embryonic, moving softly from cotton wool white to a tinted grey mist. The neutral tones are also employed by Ida on beige and cream silk paper. Here, the rough speckled pebbles seemingly float on the surface, the photographic quality of the drawings infusing a textural difference with the woven paper.

On display this exhibition are the different forms of printmaking such as relief, intaglio, stencil, copy and mixed media. In the past, prints have been viewed principally as a means of reproduction. This exhibition, however, demonstrates its worthiness as an art form of its own. Easy access to prints through the production of limited editions and, hence, their more affordable price are the factors that speak in favor or printmaking. Furthermore, with technological innovations, the production process is no longer as manual and time-consuming. Nevertheless, with current art trends heading towards installation and multimedia art such as videos and Internet participation, the future of printmaking remains uncertain.

Note: The artist, Shoichi Ida, has passed away in 2006.