Японізм у мистецтві України кінця ХХ – початку ХХІ століть: творчість Олексія Єсюніна

Abstract

У статті досліджено прояви японізму в сучасному художньому просторі України на прикладі творчості харківського художника Олексія Єсюніна. Розглянуто живописні, пластичні та поетичні твори митця в контексті японських мистецьких традицій. Визначено засоби використання японських технік складання паперу, принципів побудови пейзажу, віршування. Стаття базована на матеріалах приватних і галерейних колекцій.

В статье исследованы проявления японизма в современном художественном пространстве Украины на примере творчества харьковского художника Алексея Есюнина. Рассмотрены живописные, пластические и поэтические произведения художника в контексте японских художественных традиций. Определены способы использования японских техник складывания бумаги, принципов построения пейзажних композиций, стихосложения. Статья построена на материалах частных и галерейных коллекций.

The emergence of various artistic trends, directions and styles has been brought about by Japanese culture being embedded in the entirety of national artistic traditions. Borrowing particular Japanese artistic techniques, devices, images, motives was defined as Japanisme, its traces being observed in a number of national cultures world wide. New upsurge of interest in Eastern art and Japan in particular, was stirred up in 1991, when Ukraine gained its independence. O. Yesunin is one of those artists who vividly reveals the East–West artistic experience merge. Thus, addressing the Ukrainian artistic practice, in terms of Japanese influence, with the account taken of the artistic experience of the most prominent Ukrainian masters, in particular, seems both timely and topical. The study of O. Yesunin’s creative activity has brought to light various links with art culture of Japan. The artist, upon getting interested in the possibilities of transforming the plane into various forms, began studying the essentials of the ancient Japanese art – origami. As a result, he worked out a set of plastic objects under the umbrella title “The Zoo”. Starting with classical forms, worked out by the famous Japanese masters, he gradually turned to devising genuine models. In search of additional formation means O. Yesunin began experimenting not only with form itself but also with different materials. The application of iron, metal grid, copper, brass, aluminum has made his sculpture object more stable, on the one hand, while on the other hand, this process called for schemes simplification. In time, the original form – the square to be used by the artist for further transformations, underwent certain changes which made his author’s models, performed under the influence of ancient Japanese art, by far more stylized and modern. Striving to renew his artistic language stock and artistic expressive means O. Yesunin turns to landscape painting. The artist entitled his plein air series, performed in the Crimea, in the neighborhood of state Kara-Dag national park (2002–2008), “A Stroll with Mi-Fu”. His 120 video picture series is accompanied by a Japanese bamboo flute – shakuhachi. Thus, the author openly explicates the link with the Eastern country’s late historical experience, prompting the viewer that his landscapes are not simple replicas of well-known sights: his pictures inspire reflection. A definite connection with a Japanese art tradition can be traced in O. Yesunin’s poetic works, too. The artist’s poems, both structurally and semantically, follow the Japanese haiku. But, even in this case, the master is reconsidering the established tradition and, not in keeping with the accepted form (syllables number), provides a purely Eastern philosophical desire to concentrate the readers’ attention on small, at first glance, insignificant, ordinary things. Thus, it is quite evident that O. Yesunin employs Japanese – Chinese artistic experience in his work. In origami, he experiments with various materials, synthesizing different techniques; while in his fine arts series and in his poetic works the artist concentrates his attention on the poetics proper as well as on some unique life moments, helping him comprehend his own self-identification. Further research options comprise the study of other effects of Japanisme on modern Ukrainian art. Of particular interest, is the analysis of the outcomes of teaching traditional Japanese arts, the influence of the exhibition process on diversifying holistic views on Japanese artistic heritage as well as the study of the impact of Japanese art culture on contemporary visual practices.