| Titre | Le futurisme russe et l'art d'avant-garde japonais | |
|---|---|---|
| Auteur | Mitsuko Lanne, Jean-Claude Lanne | |
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Revue |
Cahiers du monde russe Titre à cette date : Cahiers du monde russe et soviétique |
| Numéro | volume 25, no 4, octobre-décembre 1984 | |
| Rubrique / Thématique | Autour du futurisme russe |
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| Page | 375-401 | |
| Résumé anglais |
Jean-Claude Lanne, Mitsuko Lanne, Russian Futurism and Japanese avant-garde art.
The exchange of letters between the Russian futurian poet V. Khlebnikov and the representatives of Japanese youth presents in an anecdotic guise the very serious problem of relations between Russian futurist art and the contemporary Japanese avant-garde. However, the Japanese intellectual elite discovered first the Italian Futurism, mainly through the translations and commentaries of Marinetti's manifestos. Hence the public discerned but slowly the specificity of the homonymous Russian movement in spite of the fact that already in November 1916 the particular character of Russian avant-garde art had been noted by a Japanese painter who happened to be in Moscow at the time of the Knave of Diamonds exhibition. As a matter of fact, it is only upon the arrival in Japan of D. Burliuk - "the father of Russian Futurism" - and of his companion V. Pal'mov (October 1920) that the Japanese public and artists became aware of the existence of Russian Futurism after Burliuk had organized art exhibitions throughout the country. His visit stimulated the futurist Japanese painting. The book that he published in collaboration with Kinosita What is Futurism? Here is our answer became the "bible" of the early Japanese Futurism. However, the activities of Burliuk were limited to painting. It does not seem that this great Russian artist (who was also a poet) did much for his comrades in arms, the poets of the Moscow cubo-futurist group. Nevertheless, in November 1922, an article appeared in a vanguard review Eppoku presenting for the first time a systematic picture of modern Russian poetry, mentioning futurist Russian poets and stressing the quality of their new poetic language. But interest for Russian Futurism was easily superseded by the fascination of the Soviet proletarian literature, all the more so as the glamour of Russian social revolution overshadowed in the Japan of the 1920' s the specifically artistic set of problems of the futurist school, which henceforward intermingled with the symbol of political commitment embodied by V. Maiakovskii. Nevertheless and however short-lived its influence, Russian Futurism contributed in a large measure to the modification of the Japanese artistic landscape and gave a new impact to the research for new ways in the construction and expression of painting and poetry. Source : Éditeur (via Persée) |
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| Article en ligne | http://www.persee.fr/web/revues/home/prescript/article/cmr_0008-0160_1984_num_25_4_2019 |
