As market interest in Japanese postwar art continues to pick up, particularly for Gutai and Mono-ha works, Asian collectors are turning their sights towards the less well-known ends of the spectrum.Ironically, knowledge of the artistic practice of Gutai’s original founder, Yoshihara Jiro, has so far been somewhat lacking — something that Sotheby’s Hong Kong hopes to rectify at a special section of its upcoming autumn sales called “Full Circle — Yoshihara Jiro Collection.”Featuring more than 20 of Yoshihara’s most representative pieces, all of which previously belonged to the artist’s own collection, the title of the sale refers both to the circular motif that Yoshihara borrowed from Zen calligraphy traditions, as well as the artistic circle that the Gutai Art Association built up around it during the 1960s.Evelyn Lin, Head of Sotheby’s Contemporary Asian Art, is in Kyoto this weekend to host an exclusive preview of the Yoshihara collection at the Hakusasonso Garden and Museum — a homecoming of sorts for an art movement that had its roots in the Kansai region of western Japan. She kindly shared some of her thoughts on this rare constellation of Yoshihara’s works.Can you say a little bit more about how these pieces came onto the market?With the international market gaining a more mature understanding of the concept and history of the Gutai Art Association, interest in collecting works by Gutai artists such as Shiraga Kazuo, Motonaga Sadamasa, Shimamoto Shozo, and Tanaka Atsuko is soaring, and auction records are being rewritten season by season.But while the market of its disciples is thriving, that of its grand master is underpromoted and understudied. Thus far, the market for Yoshihara has trailed behind that of his students—in large part due to a lack of knowledge and exposure—and this is a reality that the owner of the present collection understands along with Sotheby’s. Having entrusted us with these works, which were previously in Yoshihara’s personal collection, the owner and Sotheby’s believe that dedicated promotion, with both academic and commercial backing, will ultimately elevate the great master’s art-historical value — far beyond his role simply as the founder of Gutai, but also as a brilliant artist in his own right.This collection thus has as much a commercial purpose as it does an educational one. Partnering with Reiko Tomii, a renowned art historian who has contributed to our catalogue a meticulously-researched essay into the development of Yoshihara’s artistic evolution, we hope to make a lasting impression in the re-establishment of Yoshihara himself, strengthening his position among the vanguards of Asian avant-garde art.What is the significance of the “Circle” series in Yoshihara’s practice, and the Gutai art movement more generally?The Circle series is the culmination of Yoshihara’s artistic development, and is the most iconic series in his oeuvre. In this series, Yoshihara found his own unique method of creating the new art form that he had been preaching throughout the history of Gutai. While referencing calligraphy, the works are at the same time so drastically different from it, in everything from coloration to the method of creation. It also reflects the transition from a more experimental approach in the first half of Gutai (outdoor exhibition, performance, theater) to the later, more pictorial, and long-lasting canvas creations.The Circle series comprises works of large calligraphic circles painted on rich monochrome backgrounds of red, white, and black that draw inspiration from Zen Buddhist calligraphy, where drawing a circle in an uninhibited and singular stroke is believed to free the mind. As freedom is a key tenet in the teaching and actions of Gutai, Yoshihara’s circle captures the movement’s spirit in his final series. Yoshihara’s unique Circle transcends boundaries between East and West, using art as a universal language to speak to the world’s audience — an embodiment of Gutai as an “international common ground” for avant-garde art.This selection of more than 20 pieces will be presented at a preview hosted by the Hakusasonso Garden and Museum in Kyoto. In your view, how does the traditional Japanese landscape and architecture of the locale serve to illuminate or enhance particular aspects of Yoshihara’s work?We especially chose to host the preview in Kansai, which was the origin of the Gutai art movement when Yoshihara started it over 60 years ago. Housing Japan’s ancient capital of Kyoto and the country’s second largest city of Osaka, the Kansai area is rich in heritage, and has been — and still is — leading the contemporary art scene in Asia.With Yoshihara’s Circle series partly influenced by traditional Japanese Zen calligraphy, the Hakusasonso Garden and Museum is a fitting venue to showcase the works in traditional teahouses, where viewers can embrace the beauty of Yoshihara’s art and the centuries-old nature in the garden alongside one another.Follow @ARTINFOHongKong
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