Prelude for the study of “Tohoku as Art-State” focusing on Joseph Beuys
and Kenji Miyazawa
Joseph Beuys (1921-1986 Germany) worked as
a sculptor, and Kenji Miyazawa (1896-1933, Iwate
Japan) worked as a Marchen-writer.
Two of them had cut their figure in different
fields, i.e., visual art or literature. But they both
dreamed of their magnificent Utopia where
everybody could be an Artist.
This essay is to try to pick up many things in
common between them. For example, They used
twin-character, were interested in railroad, played
piano and cello, worked as a professor or highschool
teacher, and created the art theory “The expanded
Concept of Art” or “Art Theory for Farmers.” The
most outstanding thing which stems from each
artist is the influence of Tommaso Campanella
(1568-1639 Italy) who wrote a political poem “La
Citta del Sole”.
Utopia of Beuys as known as “Social Sculpture”
put its symbol on the Sun. Kenji put the Galaxy
as a symbol of his Utopia as known as “lhatovo”.
The two of them set up the imaginary “Art-State”
on the way from the real world to the Utopia. This
essay assumes that such a longing spirit of them
comes from “The Tohoku-ism (North-East ism)”
where they were born and grown up.