NIHONGA AVANT-GARDE: KYOTO 1948-1970

Kyoto has developed as one of the cultural centers leading modern nihonga (Japanese-style painting), serving as the foundation for the emergence of many outstanding Japanese painters.

In the post-war period, however, amidst a climate of reflection on the old regime, nihonga faced strong opposition as criticism of its cultural traditions grew stronger, with some even advocating for its destruction in resistance to established authorities and institutions.

Against this backdrop, the avant-garde nihonga movement began to gain momentum in the 1940s within Kyoto’s painting circles, as artists sought to reassess the framework of traditional nihonga and explore both its preservation and innovation. Young, ambitious painters who would play a key role in the post-war era took center stage, gathering like-minded individuals and forming dynamic art groups. It can be said that, precisely because they were in Kyoto, the heart of nihonga production, these artists were able to critically engage with the age-old traditions of the genre firsthand and demonstrate the latent strength needed to shape its future. The Kyoto Prefectural School of Painting, later known as Kyoto City University of Arts, also served as a platform for connecting artists of the same generation, becoming a foundation for the avant-garde movement.

Focusing on three prominent avant-garde movements—Sozo Bijutsu (literally “Creation of Art”), the Pan-Real Art Association, and the Cella Bijutsu Kyokai (Cella Art Association)—that were active in the post-war Kyoto art scene, this exhibition will reflect on how the lineage of nihonga has evolved and its connection to the present day.

Major participating artists: Tokuoka Shinsen, Domoto Insho, Uemura Shoko, Akino Fuku, Mikami Makoto, and Shimomura Ryonosuke among more than 30 artists