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Kisho Mwkaiyama "Inishie / 7"
Yutaka Kikutake Gallery
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Kisho Mwkaiyama
Inishie / 7 is the second exhibition in Kisho Mwkaiyama’s Light of Prayer trilogy, which marked the artist’s entry into a new realm of work with last year’s solo show entitled Candle Flame / 9. Based on the number seven and a long-standing plan since the start of his career, Mwkaiyama developed the work for this show by superimposing the universal masterpiece Seven Samurai onto sacred figures of the Buddha and abstracting the forms. These seven new pieces, part of the Inishie series, make up the core of this solo show and are supplemented in the exhibition space by seven Nijisame pieces inspired by the movie’s powerful ending, and a group of other new work.
For Mwkaiyama, growing up at Mount Koya, where stone lanterns trace contours in the landscape, 1000-year-old cedar trees protect a solemn inner sanctuary, and monks offer prayers, the figure of the Buddha was familiar, as was esoteric Buddhist art, and also a vitally important presence. Sokushin Jobutsu, or the concept of becoming Buddha in one’s present physical form, is taught as the goal of esoteric Buddhism. Mwkaiyama, who is closely familiar with these teachings, apparently saw the seven samurai, rushing around volunteering to protect the peasants in the film, as seven figures of the Buddha. Based on this, he created subtitles for the various-sized canvases that combined the names of these Buddhist figures with those of the film’s seven main characters.
The artistic approach of these works, which primarily utilize circular shapes, is a continuation and development of "Marugalata 53kk – Inishie" which the artist presented in 2023. While the artist has previously used even numbers to express perfect circles and ovals, the odd number seven used in this Inishie series is inspired by the words of Kambei (the head samurai), “A good fort needs a gap.” Furthermore, the number seven, which holds important meaning in Shingon Buddhism, is incorporated into the teachings of a prayer called shingon, or mantra, that is chanted seven times. Mwkaiyama has further integrated this number into his artwork by painting seven layers of color to complete each piece.
Compared to the Inishie series, made up of deep, subdued color schemes reminiscent of a monk’s robe, the Nijisame series shines with seven vivid rainbow hues while maintaining the same depth of color. These works, inspired by the idea that the “rainbow” that Kambei fires into the cloudy sky during the decisive battle in the rain might have illuminated the monochrome screen with rainbow colors, are arranged along the top part of a hollow white box installed in the gallery wall. This white box represents white rice, the symbol of the peasant class. This Nijisame work is dedicated to the late Noriyuki Haraguchi, an artist to whom Mwkaiyama traces his roots and has long admired. When he was young, Mwkaiyama met Haraguchi on Mt. Koya. He says that his current artistic approach, which involves filling the canvas with wax or repeatedly layering it with color, was heavily influenced by Haraguchi’s practice. The tribute to Haraguchi in this exhibition will likely serve as a stepping stone to the conclusion of the Light of Prayer trilogy that Mwkaiyama will begin developing next year.
Kisho Mwkaiyama describes the phonetic sound of “seven” in Japanese “not as signifying a place of death, but rather as an expression of deep knowledge.” Born from the overwhelming influence of the divine masterpiece Seven Samurai, and centered around seven mandala-like Inishie works, and seven Nijisame works, this exhibition composes an artistic space that fuses his perspective on the extreme turmoil of contemporary society with his deeply held religious views. In the hope that his work will evoke a universal prayer, Mwkaiyama combines a longstanding faith with respect for art. By superimposing the seven majestic figures of the Buddha onto the pure-willed samurai of Kurosawa’s film, his work extends an offering of compassionate light that illuminates the world.
For Mwkaiyama, growing up at Mount Koya, where stone lanterns trace contours in the landscape, 1000-year-old cedar trees protect a solemn inner sanctuary, and monks offer prayers, the figure of the Buddha was familiar, as was esoteric Buddhist art, and also a vitally important presence. Sokushin Jobutsu, or the concept of becoming Buddha in one’s present physical form, is taught as the goal of esoteric Buddhism. Mwkaiyama, who is closely familiar with these teachings, apparently saw the seven samurai, rushing around volunteering to protect the peasants in the film, as seven figures of the Buddha. Based on this, he created subtitles for the various-sized canvases that combined the names of these Buddhist figures with those of the film’s seven main characters.
The artistic approach of these works, which primarily utilize circular shapes, is a continuation and development of "Marugalata 53kk – Inishie" which the artist presented in 2023. While the artist has previously used even numbers to express perfect circles and ovals, the odd number seven used in this Inishie series is inspired by the words of Kambei (the head samurai), “A good fort needs a gap.” Furthermore, the number seven, which holds important meaning in Shingon Buddhism, is incorporated into the teachings of a prayer called shingon, or mantra, that is chanted seven times. Mwkaiyama has further integrated this number into his artwork by painting seven layers of color to complete each piece.
Compared to the Inishie series, made up of deep, subdued color schemes reminiscent of a monk’s robe, the Nijisame series shines with seven vivid rainbow hues while maintaining the same depth of color. These works, inspired by the idea that the “rainbow” that Kambei fires into the cloudy sky during the decisive battle in the rain might have illuminated the monochrome screen with rainbow colors, are arranged along the top part of a hollow white box installed in the gallery wall. This white box represents white rice, the symbol of the peasant class. This Nijisame work is dedicated to the late Noriyuki Haraguchi, an artist to whom Mwkaiyama traces his roots and has long admired. When he was young, Mwkaiyama met Haraguchi on Mt. Koya. He says that his current artistic approach, which involves filling the canvas with wax or repeatedly layering it with color, was heavily influenced by Haraguchi’s practice. The tribute to Haraguchi in this exhibition will likely serve as a stepping stone to the conclusion of the Light of Prayer trilogy that Mwkaiyama will begin developing next year.
Kisho Mwkaiyama describes the phonetic sound of “seven” in Japanese “not as signifying a place of death, but rather as an expression of deep knowledge.” Born from the overwhelming influence of the divine masterpiece Seven Samurai, and centered around seven mandala-like Inishie works, and seven Nijisame works, this exhibition composes an artistic space that fuses his perspective on the extreme turmoil of contemporary society with his deeply held religious views. In the hope that his work will evoke a universal prayer, Mwkaiyama combines a longstanding faith with respect for art. By superimposing the seven majestic figures of the Buddha onto the pure-willed samurai of Kurosawa’s film, his work extends an offering of compassionate light that illuminates the world.
Schedule | Aug 3 (Sat) 2024-Sep 7 (Sat) 2024 Opening Hours Information
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| Fee | Free | ||||
| Website | https://www.yutakakikutakegallery.com/en/exhibitions/%e5%90%91%e5%b1%b1%e5%96%9c%e7%ab%a0%e3%80%80inishie%e3%83%bb%ef%bc%97/ | ||||
| Venue | Yutaka Kikutake Gallery http://www.ykggallery.com/ | ||||
| Location | 2F Piramide Bldg., 6-6-9 Roppongi, Minato-ku, Tokyo 106-0032 | ||||
| Access | 1 minute walk from exit 1a or 1b at Roppongi Station on the Hibiya or Toei Oedo line. | ||||
| Phone | 03-6447-0500 | ||||
| Related images | Click on the image to enlarge it  |
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