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WISDOM, IMPRESSION, SENTIMENT |
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Dispute over Nude
Paintings
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I n April 1895, The 4th National
Industrial Exhibition took place in Kyoto (in Okazakicho, Kamigyoku
from 1 April to 31 July). Kuroda submitted Morning Toilette,
which he had executed while studying in France, and was awarded
second prize. Yet, once the exhibition opened, being a nude painting,
it created an unexpected stir. Critiques which appeared in the newspapers
at that time denounced the decision to exhibit this painting in
public. For example, the following article criticizes it from the
point of view of public moral.
"The nude beauty exhibited at the Exhibition in Kyoto is
indeed a vital problem. Although he may be a talented artist, let
me argue for the nude's sake. How unbecoming this is! Does a nude
painting really represent the essence of art? [...] If his nude
truly sufficed to demonstrate his artistic talent, I would not necessarily
prohibit him from painting one. However, when it comes to displaying
it in front of the general public, it is absolutely disgraceful.
Such artists are devoted to their own theory of art and have forgotten
their influence on social customs and manners." ('Hadakabijinga
wa Kore wo Hiseyo [Keep Nude Paintings a Secret]', Miyako
Shinbun, 11 May 1895.)
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I n those days, even the
artists themselves were hesitant about nude paintings and control
by the authorities over nudes and nude paintings was tight. Despite
the circumstances, Kuroda ventured to present his own work. He was
in fact provocative of the attitude expressed by the Western painting
circle in Japan and the Japanese society towards nude painting and
intended to enlighten them from the moment he started working on
this painting. Thanks to the president of the judging committee,
KUKI Ryuichi's judgement, on this particular occasion, the
painting was left on display. As for Kuroda, other than writing
the following letter to KUME, he kept silence in Kyoto.
"I cannot think of any reason to
abandon nude painting. There is nothing wrong with the international
standard of aesthetics. It is actually necessary and should
be promoted for the sake of the future of Japanese art. [...]
I don't care what the numerous people with no hope ahead of
them say. By the nature of things, I win. Whatever happens,
I am prepared to act in line with that painting. ('Hizume
no Ato (1) [Hoofmarks], Kofu no.3, September 1905.)
As an art educator,
Kuroda continued to encourage his students to draw nudes.
He himself also continued to produce nude paintings such as
Wisdom, Impression, Sentiment (Tokyo National Research
Institute of Cultural Properties) and submitted them to exhibitions.
However, in some strange cases, following instructions given
by the authorities, works in which the motif was a nude were
displayed exclusively in a separate room or were exhibited
with a cloth covering the lower part of the body. Resistance
and regulation regarding nude paintings thus continued for
quite a while.
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