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POlAND-JAPAN
CONTEMPORARYARTANDARTisTiCRElATiONs
shigemiinaga
稲賀繁美,internationalResearchCenterforJapanesestudies,Kyoto
GraduateUniversityforAdvancedstudies,Hayama
UtsushiandUtsuroi:imprintandTransience
summary
Forthelastquartercentury,MorimuraYasumasa
(bl1951)hasCre-played’Westernworldarthistory
byusinghisownbodylHereplicatesthevisualex-
periencesofthefamousWesternartistsbyrecon-
structingthesceneofwell-knownmasterpieceslHis
bodyistherebyCpossessed’bythehistoricalperso-
naewhilehetakespossessionoftheveryimages
heimitateslMorimura’sownCself’issuperimposed
uponmanyhistoricalCselves’
,andthedoubleimages
constituteaparallelworldbetweenthepastandthe
presentlThereisacircularstructure:thedeadar-
tiststakepossessionofthelivingbodyofMorimural
Inthisreciprocaloverlapping,implyingimprint
andtransienceatthesametime,letusaskanum-
berofquestionslHowcanwelocateHistory?What
doesthejikihitsu,ortheartist’sownsignature,mean
inthisprocessofutsushi(duplication)andutsuroi
(transition-transience)?
Ontheotherhand,IshikawaKyûyô(bl1945)
retracesthelifeanddeedsofChineseChommesde
lettres’inhisHistoryofChineseWrittenLettersl1
Thelettersorpersonalsignaturesconsistoftraces
ofinkleftonthepaperbythemovementofbrush
1WerefrainfromusingthewordCcalligraphy’forthetrans-
lationof書,asitissimplymisleadingl
strokeslAndyetthisstoryorhistoryconcealsits
ownpre-historywhichhadconsistedofimprints
engravedonstonesbyachisel(beforethehistori-
calinventionofpaper)lThustheHistoryofChinese
Lettershighlightstheduplicationbywhichtheold-
erlayerofstoneengravinghadbeenerasedandcon-
cealedbythenewlayerofinkonpaperlMoreover,
thejikihitsuortheauthenticsignatureofthehisto-
ricalmasterpiecebyWángXīzhīrevealsitselfonly
asaphantomoraghostlTheoriginalislong-lost
andwecanhaveaglimpseofitonlythroughthe
amassedcopiesand(moreorlessfaithful)replica
meticulouslypreparedandtreasuredinthesucces-
siveroyalcollectionslTheoriginalandlostjikihitsu
canbeperceivedthroughthefiligreeofreproduc-
tionssedimentedinthecourseoftransmissionlJust
likeapalimpsestintheWesterntraditionlAndyet,
asapractitionerandtheoretician,IshikawaKyûyô
triestodiscoverthetruthinthehistoryofthejiki-
hitsuinthisveryprocessofirremediableperditionl
Accordingtohim,itisintheverylossandtransi-
enceofculturalheritageorinthisramificationof
concealmentthatHistoryrevealsitstruthl
Thesetwocasestudieswouldallowustograsp
themodusvivendiofjikihitsuinhistorylAsan
epigraph,letusquotefromRolandBarthes,who
famouslydeclaredinhisEmpiredessignes(1972):
“Lesigneestunefracturequines’ouvrejamaisque
