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Exploring the Legacy of Sosaku Hanga Through Gen Yamaguchi’s Artistic Journey

Gen Yamaguchi, an influential figure in the Japanese art scene, has a story that transcends typical artistic beginnings. Born into a privileged family in 1896 in Shizuoka Prefecture, Japan, Yamaguchi diverged from a materialistic lifestyle during his youth. He joined a community that practiced a form of spiritual cleansing through altruism, which involved offering labor in exchange for sustenance. This approach was a testament to his commitment to personal and spiritual growth.

Fate played a significant role in Yamaguchi’s artistic development when he serendipitously met Koshiro Onchi, a legendary printmaker and pivotal figure in the sosaku hanga (creative print) movement. This movement emerged as a significant departure from the traditional ukiyo-e style of printmaking, emphasizing individual creators who were deeply involved in every aspect of their work—designing, carving, and printing. The sosaku hanga artists also embraced innovative techniques and materials, turning toward more abstract and expressive forms.

Onchi became a mentor to Yamaguchi, and both were integral members of the Ichimokukai, or First Thursday Society, which was established for printmakers to collaborate and support one another from 1939 to 1955.

Yamaguchi’s artwork often reflects his philosophical beliefs, frequently incorporating found materials. For instance, in his 1958 work Noh Actor, he utilized a cedar board from a fence that fortuitously depicted a face in profile, blending his spiritual practice with creative expression.

The Noh Actor is currently showcased in “The Print Generation,” an exhibition that runs until April 27, 2025, at the Smithsonian’s National Museum of Asian Art. This exhibit delves into the sosaku hanga artists and the transformative creative processes they engaged in against the backdrop of Japan’s significant societal and political upheavals during and after World War II.

According to Kit Brooks, the exhibition curator and current curator of Asian art at the Princeton University Art Museum, Yamaguchi’s work exemplifies the essence of making art with accessible materials. He highlights the fortunate meeting between Yamaguchi and Onchi as a pivotal moment, and emphasizes how Yamaguchi’s use of found objects showcases the beauty and creativity in the everyday. Brooks’ perspective encourages a more inclusive definition of art-making that inspires future artists to embrace their surroundings in their work.

Brooks expresses a desire for more people to engage in art-making, reinforcing that creativity does not require expensive materials or specially designed studios.

The increasing visibility of sosaku hanga works, particularly after Brooks’ arrival at the National Museum of Asian Art in 2019 and the acquisition of a vast collection of over 2,000 prints from the Kenneth and Kiyo Hitch Collection, has significantly bolstered appreciation for this artistic movement. Brooks believes that the sosaku hanga artists, who sought validation in a world that often ignored their contributions, deserve to be recognized for their creative legitimacy.

“At that time, these artists struggled significantly for recognition,” Brooks notes, elucidating the hardships faced by printmakers from the 1930s to the mid-1940s, many of whom had to maintain other jobs to sustain themselves.

Onchi’s leadership within the Ichimokukai group was crucial for fostering camaraderie and support among printmakers during the scarcity and hardship of World War II. The society served as a source of friendship and artistic nourishment, as evidenced by the collaborative spirit reflected in their works. The Ichimokukai artists not only created prints but also supported one another in promoting their art, particularly towards Western patrons during a time when artistic expression was rife with challenges.

According to Alicia Volk, a scholar at the University of Maryland, the post-war period saw an influx of American soldiers in Japan, leading to a new customer base for artists. Many recognized the strategic opportunity to market their prints as souvenirs, which were both affordable and easy to transport. This shift in patronage enabled printmakers like Onchi to experiment artistically without the constraints that had previously governed their work.

As Volk elaborates, the intimacy of printmaking captivates artists because of the balance it demands between control and spontaneity. Onchi thrived in this space where the imprint of chance played a crucial role in the final piece, allowing for expressions and interpretations that could resonate with broader audiences.

In a similar vein, other sosaku hanga artists such as Sumio Kawakami experimented with new techniques, exemplifying the innovative spirit of the movement. By incorporating glycerin into his ink, Kawakami created vibrant prints that mirrored the modernity of post-war Japan, reflecting the changing urban landscapes.

Lillian Wies, a research assistant for “The Print Generation,” also highlights how artists like Reika Iwami adapted traditional methods to express more contemporary and abstract ideas. Iwami’s use of mica powder creates a sparkling effect in her 1976 work Water Reflection, showcasing her unique approach to merging historical techniques with modern aesthetics.

Importantly, the Joryu Hanga Kyokai, an association founded to specifically uplift women artists, played a vital role in advocating for female representation in printmaking. This organization provided women artists the platform to showcase their talents, contrasting with the male-dominated Ichimokukai.

Despite their interconnectedness, some artists maintained ideological divides based on their political beliefs. The rise of the Cold War polarized perspectives, particularly regarding the jinmin hanga (people’s print) movement, which aligned with communist ideologies. These artists utilized their prints as political expressions, highlighting the nuanced relationship between art and politics during this turbulent period in Japanese history.

Onchi, mindful of the past censorship experienced during the war, valued the importance of keeping art from becoming a tool for political ends. He advocated for a separation of politics from artistic expression, believing that art should maintain its integrity independent of political agendas.

Both Brooks and Wies recognize that while the featured works in “The Print Generation” navigate complex political landscapes, the art produced also serves as a reflection of social dynamics of the period. Onchi’s 1946 print Cherry Blossom Time embodies a nostalgic portrayal of femininity and stability in the face of change, illustrating the interplay between art, gender roles, and cultural memory in post-war Japan.

The cultural diplomacy exercised through art during this time also reflected Japan’s desire to showcase its rich heritage amidst fears of external cultural encroachment. As Wies points out, the post-war representation of traditional motifs in the visual arts aimed to affirm Japan’s cultural pedigree, distinct from the Western influences that dominated the narrative.

Brooks notes the persistent inclination to view artworks as apolitical, suggesting that many spectators of Onchi’s work might choose to focus solely on aesthetic qualities without acknowledging their deeper political significance. This dichotomy emphasizes the ongoing challenge of interpreting art within its historical context.

Exhibitions like “The Print Generation” encourage audiences to reconsider their assumptions about artistic creation and its historical implications. Volk’s recent collaboration with University of Maryland students led to the exhibition “Onchi Koshiro, Graphic Artist: Picturing Postwar Japan,” which curates Onchi’s work from the Allied occupation era, allowing new perspectives on historical works of art that speak to both past and contemporary issues.

As discussions about the nature of Japanese art continue to evolve, especially in modern contexts, Wies argues for the recognition that Japan has always been part of a global artistic discourse. The notion of isolating Japanese art from international trends is a perception she contests, affirming that artistic expressions have always crossed cultural and temporal boundaries.

“The Print Generation” is currently on display at the National Museum of Asian Art and will remain open to the public until April 27, 2025.

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