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"Cubism in Asia: Unbounded Dialogues"
Report

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HcifrUtsitlnternaciona l Symposium 2005
"Cubism in Asia: Unbounded Dialogues"
ReportSeptember 10, 2005 (Sat) 10:30-17:30
September II , 2005 (Su n) 13:00- 18:00
Venue:The Japan Foundation Forum,Tokyo

Organizer:The Japan Foundation

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Cubism in Asia Project and the Symposium

The Japan Foundation held the Int ernat ional Symposium 2005 "C ubi sm
in Asia: Unbounded Dialogues" on September 10 and September 11,
2005, inviting leading researchers in the field of art history from Japanand abroad. As one of the components in the "Cubism in Asia Project ;which we started in 2003 in an attempt to address the issue of modernity
in Asia by reexamining the history of modern art , this symposium washeld in conjunction with the exhibition of the same title.
Cubism is an art movement th at emerged at the beginning of the 20th
century and marked a turning point in the hi story of modern painting. It
has profoundly influenced the methods and structu re of pictorial
representation in subsequent artistic developments throughout the world.
Asia has not been an exception. Although Cubis m was introduced into
different regions at different times and under different conditions, as aseminal movement that is perceived to have revolutionized ways ofseeing, it has exerted a significant amount of influence on the shapin g ofmodernism in Asian art .
The "Asian Modernism: Diverse Development in Indon esia, the Philippines and Thailand" exhibiti on was organized by the Japan Foundation in
1995 against the backdrop of surging int eres t in reexamining the mea nin gof modernity at the end of the 20th century . It was received as one of thefirst groundbreaking

retrospective exhibitions on modern art in Asia.

Contemporary art in Asia has thrived in subsequent years, but we haveleft art historical issues behind and failed to pursue this subject further as
we entered the new century.
With this in mind , the Japan Foundat ion initiated a new project focusing
on how Cubist trends had unfolded in different parts of Asia. By organizing exhibit ions and symposia we aimed to provide a forum to revisit th e
issues related to modernism in Asia. If the exhibit ion of 1995 can beconsidered a thought-provoking

survey of Asian modernism, our new

project was intended to promote academic research on specific topics
related to this subject. Of course , our goal has not been to simply
introduce case studies of a historical movement , but to reconsider thehistory of how Western modernism was received in Asia throughcomparat ive studies of Cubist ideas and styles in each country , highlight ing issues that are universal.
One of the key a peers of this project has been ro bring rogerher a groupof scholars from different Asian or non-Asian countr ies and provide themwith an opportun ity ro share and compare the results of their research ,which , to this point , had been accumu lated individually by country / area ,so as tO gain a comprehensive view of modern Asian art history. We haveencouraged an approach that leads to attaining a global perspective, as
opposed ro views based on a simp list ic "West versus Asia" dichoromy ortheories that distinguish Asia as unique. Now that Asian contemporary
art is attracting a great deal of attention , it is more important than ever rounderstand its art hisrorical background. The discussion on the theme of
Cubism was i mended to generate a forum for Asian researchers rocompare and examine Asian art from their own perspectives, overriding
conventiona l discourses based on the binary opposition of submis sionand adaptation . We have arrived at a stage where Asia specialists canapproach the comp lex process of assimilation and appropriat ion in amore theoretically challenging fashion. In support of this idea, the overal lproject has been designed ro include exhibitions , symposia, and publications in order tO inform people in Asia and other reg ions about ourfindings from the collaborative research. This symposium report is one ofthe outcomes of this process.
The symposium was attended by panelists from Japan and abroad andattent ive audience. The two-day event cons istin g of four sessions
unfolded with presentations and discussions of broad and profoundacademic interest. This report was compiled on the basis of transcriptionof the sessions . The many issues that were pointed out are undoubtedly
significant in terms of art hisrorical research in Asia. We hope that thisrecord will provide useful supporting material for those w ho will bedoing research in this field.
Finally, we would like to express our heartfelt thanks ro Mr. Tatehata Akira
and Professor Hayashi Michio , who have worked hard in planning anddesigning this symposium. The 16 panelists have generous ly provided us

with th e present atio n m aterial pri o r to th e sympo sium and assisted us
th ro ugho ut th e process of co mpilin g thi s repo rt . We are gra teful to th em
as well as oth ers who have provided th eir supp o rt in m akin g thi ssymp osium poss ib le.

Febru ary 2006
Th e Japa n Found atio nI] ;j( IContents

11'7-~l:/i ...

· ·····Oil

Co lor Plates ···················Oil...· ............016

lit.:N>I: ··................
018

I ntroduction ··.....................
020
Program ··....................
024£~:$1H'i················ 029-Co/:-'3/ ] 1;(l-tJ;f-lJ;,. / t-7;,,;,.--j-:,3-j- 1J;;(Aj-t ·1:,3;,, 2 fllll.-M.R:.lt!!1ttkil?.
J ·······················039·····················
079-t•1:,3;,,3 1J:l'-f,ll:/ ol.r.;,,1'- / i!>.f3/ ~liiliJ ··..............................13 1-t·1:,3;,,411-'7-r-<'7' /: IH V*~J..............
165

Keynote Speech ····· ····································20 1.................................2 11

Session I Metropolis / Transnationalism ·····
Session 2 Postcolonia l Situat ion··· ···· ·····································
247

Session 3 Body/ Gender /C olor / Decoration ····
Session 4 Narrative / Myth / Religion ··· · ·····································
295· ·····································
325· ..................................357

Reflecting on the Symposium: Comments from Moderacor,q, 1) Ar·7"tJ71-Jv ··Panelists' Profiles

17 ol7 Q)'\'.1· ···· ·········379· ·············
384;,.Aj 7"tJ 1/.r.7 I-··

Cub ism in Asia Project ······389··············
393· ..........
··························368

fig. I: "fl!tttJ.iJ!!l{ 'bt.:tt '( v.0A } 1917::~, ilbfj ·162.5 x 112.5 cm,},f.tff.µ.]JL.i!i:f-t~if:if!(iYorozu Tetsugoro, Leaning \Voma11,1917, oil on canvas, 162.5 x 112.5 cm,
The Na tional Museum of Modem Art, Tokyo

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Jl(f,(-/lll.fJ!{tYi*ilil

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Vicente Manansala, Collage, 1969, oil on canvas strips attached o n plywood,

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50.5 x 60.6 cm, The Lopez Memo rial Museum, Man ila

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F.N. Souza.Frolic, 1963, oil on canvas, 64.0x 81.5 cm,
Vinit Kumar Jain , Kumar Galle ry, New Delhi

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Lin Fcngmian,Composition,1934,oil on canvas

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fig.7: /iol!Hli<(7)11H) 19))~'- iill:I)· -/JC;•'h7.
Fang Ganmi n, Singingin A111w1111,1933, oil on canvas

fig.8: 1-'tf( -1'tf&~i,+;ii1J !-~ ) 19)511°,*llll· 32.0, 27.0cm, J:.ilH'lililt;Q:ffi
Li H ua, Li Hua S JOSheet of Color WoodcutPrints,1935, woodcut, 32.0 x 27.0 cm,
Shanghai Lu Xun Museum012

· IU\, 266.0x 2 12.0cm,
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86.0 x 61.0 cm, private collectio n

fig.I I: '1.{-t/T· 77"/-+t-7.

Park Re-hyun,Open Stalls, 1956,c olored ink on Korean paper,
266.0 x 2 12.0 cm, Th e National Museum of Contemporary Art, Korea

7.{ 1J\;::,,-,1,-~-t::,,:9"-0)H! fli. 19761¥-,ill!~· t,::,,,Y; .A,

7.{ 1Jl;;,, .,,,-H:/:9"Vicente Manansala, Philipp ine Heart Ce nter mural, 1976,oil on canvas, Philippine Heart Center013

fig.12 : F. N. A--!f ( ~Ui,,ft:) 196211~,·Mt.36.0x 23.0cm,
A.::.::,!- · 7?-)\.,· 1/.x..-1/, 7?-J\., · ;fi•7 1J- , :=...::,._-j' 1JF.N. Souza, Lady i11Black, 1962, tempera on paper, 36.0 x 23.0 cm,
Sunit Kumar Jain, Kumar Gallery, New Delhi

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Sil pa Bhirasri Memorial Museum, Bangkok

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Cheong Soo Picng,Ma/ay Woma11,1950,oil on board, 49.0 x 39.0 cm,
Singapore Art Museum

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017

Introduction
Hayashi Michio[Associate Professor,Facultyof Comparative Culture, Sophia University]

This symposium was held in conjunct ion with the exhibition "C ubism inAsia" at the National Museum of Mod ern Art , Tokyo (which traveled to
Seou l and Singapore thereafter ). A total of sixteen resea rchers , critics andmuseum curators were invited to speak at the two-day symposium thatwas divided into four sessions, each of which developed into a wide rangeof discussion s. The four sessions were entitled as follows: "Metropolis /Transnational ism ;' "Postcolonial Situation ; "Body / Gender / Color I
Decoration ;' and "Narrative / Myth / Religion'.' Four panelists spoke in eachsession, followed by a discussion centered aro und their presentations ,w ith all panelists taking part. For details on the contents , please refer tothe respective sessions in the following pages.
On the whole , this symposium had three important aims . First , thesymposium was to complement the exhibition . "Cubism in Asia" in aformat of an exhibi tion was inevitably represented through one fixed
editor ial direction. This enab led us to shed light on some particularissues, while leaving others hidd en and untou ched . For examp le, in thisexh ibition we chose to edi t our materials according to cross-sectiona lthemes such as "On the Table ;"C ubism and Moderniti, '" Bodf, and"Cubism and Nation ; which conseq uently made it difficult to see things
within the context of regional histories or along side the individual artist's
biographical facts. Hence , this symposium was held wit h hopes that it
would carefu lly scoop up such issues that slipped through the gap in the
exhibition , and ana lyze them from multiple perspectives , and by doing so,
fulfill the role of supp lementing the exhibition. At th e same time , thesymposium was organized to offer critica l readings in response to theexhibition. Moreover , as there were exhibition cur ators amo ng theparticipants, th e sympos ium became a ground for discussing issues that
surfaced during the process of research and realizing the exhibition , but
cou ld not be fully reflected in the exhibition itself.
Secondly , the symposium had a far-reaching aim of transcending th e
confines of the exhibition and extracting issues pertaining to Cubism inAsia from a w ider perspective and developing them int o a discussion. We
invited researchers from different countries and asked them to shareopinions relating to this exhibition from their particular perspectives. By
conducti ng a critica l ana lysis of eac h of their presentations , the aim was toopen up new possibilities for touching on even larger research subjects.
018

Lastly, th e symp osium embr aced a m eth odo log ical issue by seekin g
new possibili ties co couch o n large r subj ects; w hereas traditi o nal art
history cont inu e co perce ive a "natio n" as an all coo "acce pted" framewo rk,
per haps a differe nt hi sto rical visio n for art histor y or cultur al histo ry
co uld be sugges ted in a transn atio nal co nt ext. We chose co procee d thetwo-day sessio n in a "ro und cable" di scussio n, invitin g sixteen pan elists
from diff erent co untri es, so as co wo rk in a m etaph orical "cable = place"chat wo uld invo ke such new im agin ative powe rs.
As readers w ill recog ni ze by loo kin g at th e di scussion in eachsessio n, none of the di scu ssion s narrowe d int o on e conclu sive end. Rath er,
the di scu ssion s led co m u lei-factorial ag reement s as we ll as differences,w hich furth er led co th e extr action of resea rch subj ects chat should be
explored in th e futur e. H oweve r, th e o ne thin g that all parti cipant s andaudi ences agreed up o n was perhap s th e co mmon and comp elling
awa reness chat in o rder co di scuss C ubi sm - or m o reove r, m odern art in
Asia - o ne cannot ignore th e face chat lo okin g at issues from a histo ricalperspec tive of a sin gle nation will never result in a co mpl ete und erstandin g, and chat some issues w ill slip right th ro ugh our fin gers if we d id . If
th e existin g perspect ive called "comp ara tive cu ltur e" is based o n th epremi se chat cul tu res are sin gul ar entiti es chat can be co mp ared co eac ho cher, chis exhibiti on and symp osium m ade it clear chat all cultu res
em erge fro m hybrid situ atio ns, and pro posed th e necessity of redefinin g"Asia" or "C ubi sm" or "moderni ty" from such a new perspective. Thi ssym pos ium , I be lieve, left a signi ficant achi evem ent of giving mo mentum
co th e redefinin g of existin g und erstandin gs. Th e follow in g pages co nt ain
th e reco rds of th e present atio ns and di scuss io ns chat cook place in eac h
sess10n.

019

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Pro gram

Sympo sium D ay 1 Se pt emb er 10, 2005 (Sat ) 10:30 -17:30

10:30-10 :40 Op enin g Remarks by Th e Japan Foundation
10:40-11: 00 Keynote Speech "Why C ubi sm 1" Tatehata Aki ra
11:00 -13 :30 Session 1 "Metropoli s/ Transnationalism "Wh at were th e rout es by which C ubi sm arrived in Asian co untri es and how
did it spread 1 In ord er to explain th e mechanism by w hich C ubi sm wasdissemin ated across nati onal boundari es, th e discu ssion in chis session will
focu s o n che role played by int ern ation al hub cities like Tokyo, Shan ghai,
Hon g Kong, Sin gapor e, and Santinik etan. C ities are sites of edu cation andencount er. Th ey are point s of tran sit and places wh ere m any kind s of power
int ersect, and th ey pro vide nouri shm ent for new art mo vement s. Subj ects ofdi scussion w ill be prop osed from variou s point s of view, based on co ncrete
case studi es, in ord er co explor e a vision of an art histor y chat involves
movement and int eraction , transcendin g th e con vention al arc histor y basedon nation al histori es.

Moderator: Mizu sawa Tsucornu
Present ation 1 Th e Reputation of Cubi sm in 1930s Japan:
Moderni sm , Academi sm , and America
Omuk a Toshih aru
Present ation 2 C ubi sm in th e Paris of th e Ease
Shen Kuiyi
Present ation 3 Th e Discursive Space of "Asian C ubi sm"
John C lark
Discu ssion (Q&A )024 p 0;``JXUpp -X`b8XOXUJ5Op0Jbe5bJXUp
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13:00-15:00

Session 3 "Body/ Gender / Color / Decoration"

In this session, the discussion will be based on an analysis of the formal
characteristics of Cubist works in Asia. This does not mean , however , that a"formalist " approach will be adopted. Rather , the purpose of this discussion
will be to determine the configuration of forces that gave rise to theseformal characteristics. Female figures , both nude and clothed , werecommon. The use of bright colors and decorative treatment of the pictorialsurface were more common in Asia than in Europe. Transparent grid
patterns were found across national boundaries. There were many works
with an extremely high vertical or long horizontal format. In adopting
Cubism, painters struggled in their own varied ways to obtain a modern eye
and to digest this art style and make it their own. The participants in thissession will look carefully at the evidence left by these artistic struggles anddeal with the common theme of determining the role of Cubism informing the artistic identities rather than simply as a problem of style.

Moderator: Matsumoto Tohru
Presentation 1 Representation of Women in "Cubism in Asia"
Kim Young-na
Presentation 2 Representation of Women and Imaginary Power
Tanaka Masayuki
Presentation 3 Asian Possessions of the Cubist Body:"Home from Home "Bert Winther-Tamaki
Discussion (Q & A)026

15:30-17:30

Session 2 "Narra tive /My th / Religion "A representative characteristic of Cubist styles in Asia was that they wereapplied to works of art wit h subj ect matter from religion, myth, or local
folklore. Simply stated , it might be said that this was a diversion of Cub ism
to narrative icono graphy. Considering that C ubi sm in the West emerged
through an exp loration of anti-narrative painting, this app licat ion can be
described as an adaptat ion of Cubism that denies or betrays its original
intention. Thinking about why it developed in this way should be a useful
way of bringing out the special features of the reception of C ubi sm in Asia.
One issue that is likely to emerge from this discussion is the common
chara cterist ics of Cubis m where it emerged as a secondary tendency inregions other than Asia, includin g Europe. With respect to formal issues, forexampl e, there may be a discussion of how the multi-fac eted treatment ofth e pictorial surface in C ubism was diverted to narrat ive expression. Or
more broadly, we m ay want to discuss what type of narratives tend ed to be
the subject m atter , or which socia l classes formed the aud ience. The
discussion will undoubtedly lead to issues that are completely different
from those in the European context. We hop e that th e debate in Session 4,
building on th e achievements of previous session s, will lead to more
universal horizons.

Moderator: Tsuji Shigebumi
Presentation 1 Asian Cubism and "Narrative "Ushiroshoji Masahiro
Presentation 2 Cub ist Aesthetics and Narrative Strategies in
Postrevolutionary Mexican Art
Karen Cordero Reiman
Presentation 3 Narrative Cub ism
Tatehata Akira
Discussion (Q&A )17:30-18:00 Wrap-up by Hayashi Michio

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AA· 7' • 1/.I.71-J (p.389) i-$!~i7.>.:C oNotes

I . Th is symposium organized by the Japa n Foundat io n was held on Saturday, Septembe r
10, 2005 and Sunday, September 11, 2005 at the Japan Founda tion Forum, Tokyo,
assisted by Japanese / Engl ish simultaneous interpretation.
2. This report is transcrip tion of the discussions that took place during the sympos ium.
The Japa n Foundation is responsib le for editing and finalizing the mater ials for thisreport.
3. The-presentation papers in th is report are revised / final versions o f th e original papers
submi tted by the panelists.
4. The pos itions and affiliations of the panelists are as of September 2005.
5. The "Cubism in Asia: Unbounded Dialogues" exhibition, referred to by the panelists
in their papers and discussions, is an exhib ition that was co-organized by the JapanFoundation, The National Museum of Modern Art, Tokyo, The National Museum ofContemporary Art, Korea, and Singapo re Art Museum to tour in three venues asfollows:
The National Museum of Modern Art, Tokyo
August 9, 2005 (Tue ) -Ocrober 2, 2005(Sun )The Natio nal Museum of Contemporary Art, Korea (Deoksugung )November ll , 2005 (Fri) -January 30, 2006 (Mon )Singa pore Art Museum
February 18,2006 (Sat) -April 9, 2006 (Sun )For the details of the project, please see "Cubism in Asia Project" (p.393 ) .

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