The Essence of Things in Modern Art in 1970’s Japan and The Cultural Background: Case study of Mono-ha.

Abstract

After World War II, a phenomenon of contemporary art emerged, characterized by expressions deeply rooted in the social structures, cultures, and histories of various regions and countries. In Japan, a unique development also arose in response to its challenges. During this period, the Gutai and Mono-ha art groups questioned the distinctive qualities of various objects or things in art creation. They aimed to return to the inherent nature of these things, revealing a tendency to connect beliefs with things deeply embedded in Japanese tradition. This study examines the fundamental nature of the Mono-ha movement artworks by exploring how they drew inspiration from Japanese tradition. The research focuses on the distinctive features of Mono-ha artworks and compares them to traditional Japanese art and concepts. The findings suggest that the Mono-ha movement conveys essential messages through the objects chosen by the artists. Notably, the act of expression encapsulates the "essence" of each object. These concepts and approaches are deeply rooted in Japanese culture. In addition to interpreting the artworks through the philosophical lens of Martin Heidegger's phenomenology, it is possible to align Mono-ha's artworks with the Shinto ideology of spiritual things, the concept of spatial beauty known as "Yohaku" in Zen Buddhism, and the profound sense of decay and impermanence ingrained in Japanese culture.