04 Sep Seiran, Whispering Leaves and Seasonal Symbols—The Iwae Stories of Mizuguchi Kazuki
Aesthetics, elevated to the status of a modern academic discipline in the 18th century by the followers of the German philosopher Baumgarten, has since seen the emergence of numerous prominent Western scholars. Various schools, such as formal aesthetics, semiotic aesthetics, and psychoanalytic aesthetics, have flourished, with Kant being particularly influential. Even in the contemporary Eastern cultural sphere, many scholars and artists continue to reference related theories.
Despite attempts by aesthetics to analyze the overall culture of humanity and its aesthetic experiences through conceptual principles, it is undeniable that aesthetic experiences, shaped by historical accumulation, vary greatly among different ethnic groups. For instance, when Ōnishi Yoshinori explored Japanese aesthetics, he discussed the concept of “mono no aware” (the pathos of things), a notion that Western aesthetics had never touched upon. Conversely, in contrast to the Western visual culture that often expresses a will to conquer nature, Umehara Takeshi believes that Japanese views of life emphasize the cyclical nature of death and rebirth. This is reflected in art that praises the changing seasons and symbolically presents the spirit of nature.
Mizuguchi Kazuki, an artist specializing in “Nihonga” (Japanese-style painting) at Musashino Art University, is undoubtedly a master well-versed in Japanese aesthetic elements and adept at transforming them into visual language. His works often use symbols such as water, the moon, lotus, and wind, to create mysterious scenes that capture fleeting memories. Mizuguchi’s paintings go beyond the mere pursuit of shapes and colors, striving instead to capture the atmosphere and emotional experiences, thereby portraying the unique Japanese aesthetic that transcends luxury and returns to simplicity, all while swinging between the realms of life and the afterlife in a seemingly serene and elegant manner.
In his “Lotus” series, for example, there are works like “Lotus,” which continue the tradition of Eastern art by depicting the exuberant vitality of summer. Mizuguchi’s visual expression also reveals his individual creativity: “Lotus 09” is filled with vibrant colors but intentionally lowers the saturation, resulting in a dense and meticulous composition; “Lotus 11” plays with the concept of negative space, resonating with the Eastern philosophical exploration of “emptiness”; and ” Lotus and Wind” nearly abandons color entirely, returning to a focus on the beauty of line work. Apart from these lotus-themed works, there are also pieces like “Moonlight” and “Under the Moon,” which feature branches against an ink-black background, highlighting the moon’s bright and clear light, evoking associations with the ephemeral nature of life. These works create a poignant atmosphere.
Ōnishi Yoshinori, in his discussion of “mono no aware,” encompassed a wide range of emotions, from pity to being deeply moved, to nostalgia, which reflects a delicate psychological trait inherent in Japanese aesthetics. Mizuguchi Kazuki’s first solo exhibition in Taiwan, “Blue Storm, Sound of Leaves, Poetics of Wind,” draws from carefully selected Japanese words, each representing a keen observation and understanding of nature. These elements intertwine with Mizuguchi’s works to create a unique feast of Japanese visual aesthetics.
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Seiran, Whispering Leaves and Seasonal Symbols—The Iwae Stories of Mizuguchi Kazuki
Period｜2024.9.7-10.12
Opening reception｜2024.9.7 15:00 The artist will personally attend and guide the tour
Venue｜1F., No. 222, Shidong Rd., Shilin Dist., Taipei
Tel｜+886-2-28310558