Superflat

"Superflat" is used by Murakami to refer to various flattened forms in Japanese graphic art, animation, pop culture and fine arts, as well as the "shallow emptiness of Japanese consumer culture." Superflat has been embraced by American artists, who have created a hybrid called "SoFlo Superflat". Superflat is not limited to contemporary art alone. Murakami cites older Japanese pieces as superflat as well, including Katsushika Hokusai's "Thunderstorm Beneath the Summit" (1830–32) as an example of superflat. ==Artists==

Superflat artists include Chiho Aoshima, Keiichi Tanaami, Ayako Rokkaku, Mahomi Kunikata, Sayuri Michima, Yoshitomo Nara, Yuko Yamaguchi, Aya Takano, Yusuke Nakamura, Tomokazu Matsuyama, Sebastian Masuda, Fantasista Utamaro and Takashi Murakami. In addition, some animators within anime and some manga artists have had their past and present work exhibited in Superflat exhibitions, especially Kōji Morimoto, Keita Takahashi, Seizō Watase, Seiichi Hayashi, Hibiki Yoshizaki, and the work of Hitoshi Tomizawa, author of Alien 9 and Milk Closet. == Origins ==

There are multiple factors that played a role for Murakami to come up with his Superflat claim. In his Manifesto, he describes “Super flatness” as an original concept of Japanese who have been completely Westernized, that simultaneously links the past with the present and the future. The past, in this case, refers to art made during the Edo period in Japan, where Murakami finds his foremost inspiration in the works of Fine Art painters such as Kano Sansetsu, Ito Jakuchu, Soga Shohaku and Katsushika Hokusai. Murakami explains that his theory was born from a hypothesis created by art historian Nobuo Tsuji in his book The Lineage of Eccentricity. The particular sensibility of the gaze and inspiration from old masters is what Murakami continues to incorporate in his own works. An example of this is his painting called 727, a work made with acrylics on three panels. In the middle is his alter ego depicted, also known as 'Mr. DOB', riding a stylized wave that is a direct reference to Hokusai's famous Great Wave off Kanagawa. The panels on which it was painted show a resemblance to the flat and often 'blank' backgrounds characterizing in Nihonga paintings and folding screens, illustrating features of Superflatness. Another field within the arts that, according to both Murakami and Tsuji, is closely related to eccentricity of traditional Japanese art and also carries Superflat features, is animation. In his manifesto, Murakami takes Yoshinori Kanada as a prime example of an animator whose work contains a compositional dynamic that resembles that of the “eccentric” artists to a startling degree. Darling, 2001). He uses photography and fashion as further examples to illustrate Superflatness and the hype and high consumer demand of Japan. ==See also==