One of the things that most inspires and captures my interest in art, is representations of the abnormal. I respect the skill of an artist who renders perfectly the contours of apples sitting atop a table, yet I am drawn far more strongly to an image depicting something that is alien to me, something that I do not come across in everyday life. This could be as simple as an innovative exploration into the properties of paint by an early Abstract Expressionist artist such as Franz Kline, or even an otherworldy landscape by surrealist artists as Dalí or De Chirico.
Kuniyoshi's pieces have this quality. The works in this exhibition of 150 prints show portraits and scenes of a Japanese culture so detached from our own European conventions, as a western viewer, I found myself captivated by their peculiarity. Pictured above is one of my favourites from the show, a portrait of Shôki the Demon Queller. What drew me to this particular piece was a combination of things, the first of which is the depiction in the figure's drapery. Kuniyoshi uses great variation in the thickness of his line, fused with a vigorous handling of ink to produce sleeves that seem to dance about the figure's arms, accentuating the tensed muscles of the forearm and wrist. This very eastern-style depiction of muscle definition was a great means by which to show the solidarity of Shôki's grip over the demon. I was also enticed by the stern expression and heavy-set features of the face, and wanted to understand more about Shôki as a character.When I got home I read that he was a budding physician based in Shensi, China, held back only by his ugliness. He was exceptionally good, yet his dreams of advancing his career were shattered when he was rejected from government service due to his appearance. He took his own life in shame on the steps of the Imperial palace, right in front of the emperor. Overcome with remorse, the emperor ordered that Shôki be buried with the highest honors, wrapped in a green robe usually reserved for members of the imperial clan. In gratitude, Shôki's spirit vowed to protect future rulers against demons. Kuniyoshi represents skillfully both Shôki's unfortunate facial features and honourable morality through a strong pose and piercing gaze.
The exhibition held a range of subject matter, from landscapes with majestic views of Mount Fuji, to battle scenes, to female portrait, to Japanese Theatre.
Finally, one last memorable aspect of Kuniyoshi's style was the manner in which he portrayed rain. Completely contrasting from western conventions, droplets or grey washes are replaced by thin, black, vertical lines. Small details like this kept me intrigued throughout the entire show, and are the basis for my love of the collection. I would recommend it, but take a look at a few images online before comitting to a visit, just in case it isn't your cup of tea!
