- 貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)
- vol.1, pp.68-105, 2006-03-31
<Gutai< (Japanese anti-art) and <Mono-ha< are two most important movements in the Japanese post-war art-trends. <Mono-ha< is especially characteristic of research for a new art which is not based on the European modern art. The starting point of <Mono-ha< is Nobuo SEKINE's epoch-making work, <Sphere -Earth< (1968) which was tremendously influential upon the young artists. And the two representative artists appeared: U-Fan LEE and Kishio SUGA. U-Fan LEE, among others, presented us a new viewpoint not only through his works but also by his writings on art: we couldn't find any similar viewpoint in the modern Japanese writings on art. His famous sentence symbolizes it well: <Because evertything is already realized from the very beginning, and because the world is opened as it is from the very beginning, it is impossible to create through artistic realization an another world<. The artistic creation (in its European meaning) is impossible in this Japanese archipelago. Here will be possible, instead, our <encounter< with <the world as it is< (or, <the nature itself<): <creating something< in the European sense is not possible for us in the end. We can only look for some possibility of <creating something by way of creating nothing<, so to speak. U-Fan LEE, Korean=Japanese from 1956 on, has this thought in common with Japanese way of artistic thinking, for <the nature is everything< for us as well as for him. The human being, in this Japanese archipelago, is from the origin not independent of the <nature itself<, such as the plants are not independent of it; so, he cannot objectify the <nature itself<. But Korean people think always that the human being is the natute itself. It means <human being is nature itself< at the same time <the nature is everything<. This is a humanism, but that is totally different from the Occidental humanism. The human being is <lêtredans-le-monde< in the Western world, but he is, for Korean people, a <relation< between <lêtre humain< and <le monde<. We can find this difference, between Japan and Korea, in the works of fine art. One example is the difference of the notion of realizing <garden<. Japanese garden is not the nature itself but an artificially presented nature, or represented nature after the natutre itself, in the site of the house. But, Korean garden is composed of the house and of the nature itself: in other words, Korean house is made in the midst of the real nature, in the best natural location. The garden doesn't exist in the Korean Peninsula because the nature is the garden itself. The Korean concept of garden (nature) and U-Fan LEE's thought suggest us one possibility of the <new way of creation< by way of confronting directly with the nature itself.