Akira Yamaguchi

Watercolor on paper signed and dated on the lower left image size：15.0×10.0cm 2000

AKIRA YAMAGUCHI (Born in 1969) Kikutodai signed and editioned 'Akira; 47/60' in Japanese (each) set of 20 digital prints accompanied with original novel and wooden case each print: 42 x 30 cm. (16 1/2 x 11 3/4 in.) wooden case: 34.5 x 46.8 x 4.5 cm. (13 1/2 x 18 1/4 x 1 1/2 in.) edition 47/60 Executed in 2004 (20) 山口晃 菊嬁台 一套20件數碼打印 菊嬁台小說 原裝木盒 2004年作 簽名：山口晃 版數︰47/60

Work YAMAGUCHI, Akira Japanese Contemporary Art 100,000 yen - 150,000 yen pencil on paper, 31.1x20cm, signed with seal of the artist, framed.

AKIRA YAMAGUCHI Lighthouse Chrysanthemum 2004 fuji xerox print ed. 43/60(each) S. 29.3x42.2 cm(each) set of 22

AKIRA YAMAGUCHI (B. 1969) Shintenno (Jikokuten, Zochoten, Tamonten, Komokuten) signed and dated in Japanese (on a label on the reverse of eachwork) four oil, watercolour and ink on canvas, mounted on woodpanel each: 194 x 97 cm. (76 3/8 x 38 1/8 in.) overall: 194 x 388 cm. (76 3/8 x 152 3/4 in.) (4) Painted in 2006 (4) Provenance Private Collection, Japan Literature Akiyama Ryota, 'Art Review', in Asahi News , Asahi Shimbunsha,Tokyo, Japan, 2006 (illustrated, p. 28). Seikatsu no Tomosha Publishing Co. Ltd., The Window of Arts , No.279, Tokyo, Japan, December 2006 (Komokuten illustrated). Kadokawa Crossmedia Co. Ltd., 'Akira Yamaguchi Exhibition -Lagrange Point', TokyoWalker , Tokyo, Japan, 6 December 2006(Komokuten illustrated). Magazine House, 'Mix & Mash Infotainment', in Brutus, Tokyo,Japan, 15 December 2006 (Komokuten illustrated, p. 152). Yomiuri Shimbunsha, 'Weekend Culture', in Yomiuri News, Tokyo,Japan, 16 December 2006 (illustrated, p. 15). Donald Eubank, 'New show offers breakthrough installation', in TheJapan Times , 21 December 2006 (Zochoten illustrated). Ueno Royal Museum, Art de Sauro: Aida Makoto Yamaguchi AkiraExhibition, exh. cat., Tokyo, Japan, 2007 (illustrated, plates28-31, pp. 36-37). Art It, Issue 15, Spring/Summer Issue, Tokyo, Japan, 2007(Komokuten illustrated, p. 9). Nagano Prefectural Shinano Art Museum, Heroes in Warrior Paintings,exh. cat., Nagano, Japan, 2007 (illustrated, p. 96). Article Publishing Co. Ltd., 'Akira Yamaguchi Interview', inArt_icle, Vol. 2, Tokyo, Japan, 2007 (Komokuten illustrated, p.6). Bijutsu Shimbunsha, Art Top, Issue 213, Tokyo, Japan, January 2007(work in progress illustrated, pp. 56-59, 61&69). Kodansha, 'Akira Yamaguchi Review', in Huge Magazine , No. 31,Tokyo, Japan, January 2007 (Komokuten illustrated). Pia Co. Ltd., 'Heads Up! (Interview)', 'Akira Yamaguchi LagrangePoint', in Weekly Pia, Tokyo, Japan, 11 January 2007 (Jikokutenillustrated, pp. 27&154). Michael Balderi, 'Akira Yamaguchi Lagrange Point', in Tokyo ArtBeat , Tokyo, Japan, 17 January 2007 (illustrated). Caelum, Nylon Japan , Tokyo, Japan, February 2007 (Komokutenillustrated, p. 111). EI Shuppansha, Real Design, Tokyo, Japan, February 2007(illustrated, p. 165). Gentosha Publishing Co., 'Akira Yamaguchi Exhibition - LagrangePoint', Papyrus, Tokyo, Japan, February 2007 (Komokutenillustrated, p. 300). Shinchosha Publishing Co., Geijutsu Shincho, Tokyo, Japan, February2007 (illustrated, p. 124). Madra Publishing Co., Kokoku Hihyo, No. 312, Tokyo, Japan, February2007 (illustrated, pp. 85-86). Seikatsu no Tomosha Publishing Co. Ltd., 'Contemporary ArtPreview', in The Window of Arts, No. 285, Tokyo, Japan, February2007 (Komokuten illustrated, pp. 139-140). Kondansha Famous Schools Co. Ltd., Famous Magazine, Vol. 40, March2007 (illustrated, p. 5). Yomiuri Shimbunsha, 'Art', in Yomiuri News, Tokyo, Japan, 7 June2007 (Komokuten illustrated, p. 19). Bijutsu Shimbunsha, Art Top, Issue 216, Tokyo, Japan, July 2007(Komokuten illustrated, pp. 99&103). Bijutsu Shuppansha, BT Magazine, Vol. 59, No. 896, Tokyo, Japan,July 2007 (illustrated, pp. 106-107). Tomosha Publishing Co. Ltd., Art Collector, Tokyo, Japan, January2008 (Komokuten illustrated, p. 128). Pia Co. Ltd., 'The Practical Guide to Appreciating ContemporaryChinese Art', in Pia Mook Magazine, Tokyo, Japan, 2008 (Komokutenand Jikokuten illustrated, p. 75). 'Neo-Nihonga artists of contemporary Japanese art of today - MakotoAida, Hisashi Tenmyouya, and Akira Yamaguchi', in Talking Heads,2008 (Zochoten illustrated, cover & pp. 88-90). 'Design Event Ace', in Japan Design Net (illustrated). Exhibited Aichi, Japan, Chukyo University Art Gallery, C. Square, LagrangePoint , 30 October-25 November 2006. Tokyo, Japan, Mizuma Art Gallery, Lagrange Point , 5 December2006-20 January 2007 (work in progress exhibited). Tokyo, Japan, The Ueno Royal Museum, Art de Sauro: Aida MakotoYamaguchi Akira Exhibition , 20 May-19 June 2007 (Jikokutenexhibited). Nagano, Japan, Nagano Prefectural Shinano Art Museum, Heroes inWarrior Paintings , 28 July-26 August 2007. Lot Notes Akira Yamaguchi, known for his intricate landscapes of Tokyolandmarks, is widely recognized as one of the pre-eminentneo-nihonga artists in Japan. His celebrated work Shintenno (Lot1034) is a blend of subtle Western influence and Japanese essence,a perfectly balanced composition of oils, ink and calligraphy, likean extended visual poem. The Four Heavenly Kings of Shintenno(Tamonten, Jikokuten, Zochoten and Komokuten) are populariconography for Chinese, Indian, Korean and Japanese Buddhists;they preach the universal message of Buddhism. As governors of theNorth, East, South and West of the Buddhist world, they aretraditionally depicted in paintings and sculptures as figures thatare heavily armed, fierce and foreboding in order to impose afearsome respect. Yamaguchi's rendition, however, inserts a divinegrace to the figures while nonetheless maintaining their commandingand breathtaking presence. Visually blending the customarycharacteristics of the four kings with signs of the 21st Century,Yamaguchi reinvents ancient Buddhist figures into relevant iconsfor contemporary viewers.. An admirer of 15th Century artists Jan Van Eyck and Fra Angelico,Yamaguchi's early work similarly dazzled the viewer with intricatesymbols and an exploration of oil paints in which realisticrepresentation is fused with nihonga. Only after several formativeyears do we notice a refined equilibrium of ambient ink, oils,distinctive calligraphic strokes and dramatic yet soft colourwashes as seen in Shintenno. In concentrating the colours purely onthe figures, Yamaguchi executes the painting with confident,precise brushwork and spontaneous spirit that conveys breathtakingethereality. Even while using the same materials as hispredecessors, Yamaguchi's careful consideration of colours andbrushstrokes revives Shintenno with a three dimensionality andillusion of movement as though the four kings were swiftly floatingdown towards the viewer. Yamaguchi's use of a human model for eachking and their integration as legendary characters also cleverlyconverts the Buddhist subject into reflective form of contemporaryportraiture, as if each sitter possesses some attribute of theking. Tamonten 's (North) trident marks his triumph over austeritieswhile the shimmering golden stupa in his left hand represents thewealth rewarded to him for his suffering. To further accentuate therenowned wealth of Tamonten , Yamaguchi employs silvery white paintto form the body which shimmers with phosphorescence. Blue-facedJikokuten (East), the king of celestial musicians, commands hisarmy with his sword while his ears lightly turned outwardly towardsthe viewer seeks music. Symbolic Japanese cranes and miniatureelephants double as moving accessories on his animal-metal hybridsuit while his coiffed hair provides striking imagery for the powerhe commands. Standing towards the South, Zochoten , instantaneouslyrecognizable for his striking red visage holds the Halberd andserves as a catalyst for spiritual growth. Over his chest is afuturistic contraption that seemingly cages his heart within,protecting its spirituality and purity. Lastly, Komokuten (West),notoriously the most ferocious, tenderly clasps a scroll and brushsignifying the power of Buddhist teachings to overcome ignoranceand to grant enlightenment. The fire traditionally crowning him istransferred to the fiery ends of his attire, gently smolderingdespite the wave-like water that meanders around him. In manipulating the conventional representation of the four kings,with a fantastical integration of machinery, Yamaguchi purposefullyseeks to astonish and inspire awe in contemporary viewers: "Whenthe Buddhist statues in armor were introduced to Japan, that armorwas the most advanced armor of the time. It was like the U.S.army's high-tech arming of today. In that sense, I thought addingmachinery would create a more appropriate feeling for the people ofthose days encountering the statues of Four Heavenly Kings for thefirst time, despite the apparent bizarreness. I attempted to tracethe feeling of the people at the time when I first portrayed thearmor piece." (Akira Yamaguchi as quoted in Junichi Yamashiro"Mitate in Oyamazaki" in Now, Oyamazaki YAMAGUCHI Akira, Mitsumurasuiko Shoin Publishing Co. Ltd, Japan, p.79). Perhaps even morestriking is how each historical male king gently floats abovedefeated Japanese demons in an oddly feminine stance. Coupled withalluring shapely faces, elongated fingers and pursed lips, theygenerate close visual associations with kawaii girls orbeauty-conscious males prevalent in Japan today. Portraying thekings with distinctive features of the youth of Japan with thecareful incorporation of futuristic accessories already familiar tous in sci-fi novels, the image magnetically draws the audience andthe subject closer, making this ancient subject exceedingly andsurprisingly relevant in today's contemporary world. Yamaguchi's refreshing portrayal of Shintenno is calculated toallure contemporary viewers with its religious, moral tales andremarkable contemporary features. As a result, the warriors instilla meditative calmness and cool admiration rather than a crushingpower and terror. Traversing generations and borders, Yamaguchi'sShintenno perhaps advocates Buddhist teachings and ideals, but moreimportantly persuades viewers across the world to recognize howYamaguchi has captured the gentle spirits of these cross-culturalreligious icons. Tracing from his earlier works, we can seeYamaguchi's exploration of portraiture in a self portrait (SelfPortrait With Rude Eyes, Contrary to My Expectation, 2001, Fig. 1)and through the replication of famous portraits in Japanesetradition (Portrait of Yoritomo, from a Distance/Concurrence, 2000,Fig 2). The resulting images, however, lacked the flawlessassimilation of Yamaguchi's subjective perspective and signaturedetails. It is as if only upon the encounter of Shintenno as asubject did Yamaguchi find the perfect subject with which toconfidently paint a portrait while articulating the contemporaryvisual desires and cultural associations of Japan throughtraditional representation. These four kings are the only exampleof life-size figurative portraiture painted by Yamaguchi with suchvibrant colours and fine details, and thus are recognized as one ofhis most iconic creations in his career. Shintenno is not merely apainting but equally a sculptural installation as his customdesigned frames are fashioned to allow each figure to stand liketemple guardians. This work represents the culmination of numerousyears in painterly exploration, now displayed in a rich layering ofemotional, historical and cultural factors. Its rarity, not only inthe artist's career, but also in contemporary art, marks Yamaguchias a truly rare treasure in contemporary Japanese art.