(above) 30. Amateur Sumo. Shiko Munakata. (right) 31. “Banri Hen-un Nashi” (Cloudless). Shiko Munakata.
Munakata’s introduction to these two movements not only deeply affected his creative process, but also welcomed him into the international art scene. In 1935, Munakata joined the Sosaku Hanga print association, Kokugakai, as a junior member. During his first exhibition with the association, his work drew the interest of Yanagi, founder of the Mingei movement.6 Yanagi recognized Munakata’s talent in the series Yamato shi Uruwashi and purchased the entire set for the Folk Craft Museum in Tokyo. Even today, the museum holds the most comprehensive collection of Munakata’s pre-war work. This event marked the beginning of a period of stylistic and spiritual development for the artist. Reflecting on his career, Munakata recognized his introduction to the movement as the true beginning of his printmaking career, in his words, “Mingei gave birth to me.” 7 While visits to the Folk Craft Museum in Tokyo and workshops with various Mingei artists influenced his creative experience, his friendships with members of the movement revolutionized his personal philosophy. Yanagi became an inspiration, a trusted counselor, and a dear friend. In May of 1936, Munakata spent forty days in Kyoto at the home of his close friend and famous Mingei potter, Kanjiro Kawai. During his visit, Munakata explored Buddhist texts with his host and toured the city’s many temples, filled with awe at the sight of Buddhist sculpture.8 Struck by the dignity of the looming statues, Munakata felt humbled by their passionate presence. 7. Ibid, 14. 8. Masatomo Kawai, “Munakata Shiko’s Path of Hanga,” in Munakata Shiko: Master of the Modern Print, 17.
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