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Experiencing the atrocities in the immediate aftermath of the atomic bombing of Hiroshima in August 1945, Chinese-ink painter Iri Maruki and oil painter Toshi Maruki began their collaboration on the Hiroshima Panels in 1950. During the occupation of Japan by the Allied powers, when reporting on the atomic bombing was strictly prohibited, the panels...
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В 2021 году Приморская государственная картинная галерея отметила свой 55-летний юбилей выставкой «Пятьдесят пять историй». Каждый из показанных экспонатов имел особенную историю: провенанса, реставрации, атрибуции и т. п. Так сотрудники галереи решили рассказать зрителям о внутренней жизни музея и хранящихся в нем предметах. Два черно-белых рисунка Ири Маруки (1901–1995) и Тоси Маруки (1912–2000), переданные в дар галерее, дали возможность рассказать об одной из первых экспозиций иностранных художников, состоявшейся во Владивостоке в 1990 году. Статья посвящена описанию выставки, подаренных Приморской галерее экспонатов, их места в творчестве художников, японском и мировом искусстве. Сведения о представленных в статье графических произведениях вводятся в научный оборот впервые. Актуальность этой работы обусловлена, с одной стороны, исследовательским интересом к недостаточно изученным процессам взаимовлияния японского и западноевропейского искусства, а с другой стороны, современным историко-культурным контекстом, в котором выставка японских художников Ири и Тоси Маруки в России представляется свидетельством нерушимых творческих связей двух стран, а ее тематика — напоминанием об истинных ценностях человечества.
In 2021, the Primorye State Art Gallery celebrated its 55th anniversary with the Fifty-Five Stories exhibition. Each of the displayed exhibits had a special history: provenance, restoration, attribution, etc. The gallery staff decided to tell the audience about the inner life of the museum and the items stored in it. Two black-and-white drawings by Maruki Iri (1901–1995) and Maruki Toshi (1912–2000), donated to the gallery, made it possible to tell about one of the first exhibitions of foreign artists, held in Vladivostok in 1990. The article is devoted to the description of the exhibition, exhibits donated to the Primorye Gallery, their place in the work of artists, Japanese and world art. Information about the graphic works presented in the article is introduced into scientific circulation for the first time. The relevance of this work is prompted by research interest in the insufficiently studied processes of mutual influence of Japanese and Western European art. Moreover, the exhibition of Japanese artists Maruki Iri and Maruki Toshi in Russia seems to be evidence of the indestructible creative ties between the two countries in the modern historical and cultural context, and its theme is a reminder of the true values of humanity.
In Japan, there were continuities between wartime image production and early post-war images of the devastation at Hiroshima and Nagasaki. The artist Akamatsu Toshiko (later known as Maruki Toshi), illustrated patriotic children’s books during the war but would go on to produce what became known as the Hiroshima panels with her husband Maruki Iri. The Marukis were able to avoid the censorship that had been imposed on film footage and photographs of what occurred at Hiroshima and Nagasaki. Their mural-sized paintings, begun in the late 1940s, toured throughout Japan. The Hiroshima panels formed the core of exhibitions that sought to address the use of the atomic bomb and to educate the Japanese public about the dangers and possibilities opened up by the atomic age.
