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moreICCS WPS 11 The Great Japan Wave: Polish Japonisme from Paris as rooted in the symbolic capital of Feliks Jasieński Manggha
Author/Speaker｜Katarzyna Julia Marks
Publication Date｜2019-09
Abstract
Within the framework of cultural transfer, this paper describes the formation of Japan’s symbolic capital in Poland by highlighting its roots in the Japanese woodcut prints “Ukiyo-e” collection of Feliks Jasieński Manggha. Alongside the dissemination from the Far East through Paris to Eastern Europe of the visual worlds of “Ukiyo-e” (literally, pictures of the floating world) via its promoters and spaces of promotions, the meaning of polish Japonisme and its underlying political and cultural aspects will be drawn. “Ukiyo-e”, originating mostly from the Edo period and representing the transitory nature of the Asian worldview, inspired Paris into the Fin de siècle movement, yet it gained no interest in Warsaw in 1902. Jasienski’s collection stemmed from Japan’s opening to the world in 1853, and the resulting European wave of Japonisme would reach Poland only almost a hundred years later. Owing to Jerzy Wajda and the financial support from Japan, Jasieński collection finally received a permanent exhibition space in Krakow 1994. The building constructed for this purpose, designed by Japanese architect Arata Isozaki as a reference to Hokusai’s famous tidal wave woodblock print, was officially and symbolically called “The Manggha Museum of Japanese Art and Technology Europe – Far East Gallery”. The ebbs and flows in the transfer of visual images are embedded into geopolitical relations starting from the Russo-Japanese War and Poland’s subsequent symbolic “solidarity” with Japan. The symbolic capital of opening up to a “world out of reach” and its influence on the emergence of a new visual language will be presented in this paper.