Հայ-ճապոնական կապերը կերպարվեստում

Abstract

The first manifestation of Armenian-Japanese relations in fine art can be conventionally considered “The Great Wave of Kanagawa” by Katsushika Hokusai (1760-1849). In the picture depicting a sea scene, the outline of Mount Ararat can be seen among the foaming waves, noticed by both Armenians and non-Armenians. For more than a century, Japan, its culture and people have been inspiring Armenian artists, who have expressed Japanese motifs in their paintings, sculptures, posters. Vardges Surenyants (1860-1921) was the first Armenian artist who referred to Japanese reality: his “Geisha: A Japanese Woman” was painted in 1900 – in time when Europe started to discover Japan and its art. Later Japanese inspirations, portraits and landscapes, can be found in arts of number of Armenian artists (Aslamazyan sisters, Gayane Khachaturyan, Taron Simonyan, etc.). From the beginning to this day, the Japanese themes remain within the limits of exotica for the Armenian artist. Japanese art is represented at the Far East section of the National Gallery of Armenia. Already in 1924, there were samples of Japanese embroidery in the newly created museum. The collection also includes Japanese craft samples, as well as 91 works by 19th century ukiyo-e color wood carving artist Utagawa Kunisada (1786-1864). Matenadaran Museum in Yerevan also possesses a Japanese handwritten picture book “Manga” from 1812. Mutual recognition of Armenian and Japanese artists continues with exhibitions organized from time to time in capital cities of both countries. In particular, artist and curator Ara Haytayan organized a number of exhibitions of Japanese artists and photographers in Yerevan in 2006-2005. However, for objective reasons, Japanese art is much more represented in Armenia than Armenian art in Japan.