A significant collection of works and archives by the artist Morita Shiryū (1912–1998) was recently discovered in his family’s home in Kyoto, Japan. An online lecture by Dr Eugenia Bogdanova-Kummer was held during the project to survey this collection, remarkably within the very house where it was found, surrounded by newly uncovered materials. This rare setting transported the audience into the intimate, private world of the artist, offering an almost immersive experience across time and space.
Eugenia provided a rich insight into this unique archive of Morita, contextualising it within broader historical and theoretical frameworks. The lecture was structured into three main parts. The first introduced Morita Shiryū and his significant role in postwar art, both in Japan and internationally. The second part focused on the newly discovered archive collection and its history. The final part examined this archive through the lens of art historical theory, particularly the concept of the ‘archival turn’, and considered its role within modern and contemporary art history.
Morita’s artistic achievements are difficult to summarise—he was a pioneering avant-garde calligrapher, one of the founding members and leaders of the Bokujinkai group, and an active editor of journals such as Bokubi. He maintained close ties with Kyoto School philosophers and other artists, both in Japan and abroad. Eugenia highlighted the artist’s international network and his role in bridging East Asian calligraphy with Euro-American abstract art, citing fascinating traces like letters exchanged with Pierre Alechinsky and photographs showing Morita alongside Pierre Soulages to name a few.
Several of Morita’s works and tools from the private collection were also introduced, including unfinished pieces and ink recipes, providing a rare insight into his artistic process and experimental spirit. The scope of the archival materials was vast and varied, comprising personal letters with artists and friends, video and audio sources, photographs, manuscripts for journals, and more. These materials not only reflect his artistic practice but also his personality and private life, which had not come to light before.
Eugenia also questioned how this archive challenges or reinforces established art historical discourses, citing the so-called ‘archival turn’. This concept suggests a growing emphasis on archives as primary sources in the field of art history. In this context, the archive is often seen as a crucial source of knowledge and interpretation, inviting scholars and artists to engage actively, creatively, and dynamically. Indeed, Morita’s archive appears to hold infinite possibilities – many untold stories are waiting to be uncovered through future research.
When faced with such invaluable materials, one cannot help but feel admiration for those who preserved them. This project has highlighted the involvement of Morita’s family in safeguarding the collection. Through conversations with his grandchildren, the way in which the collection was passed down, alongside the complex family history, was revealed. Shiryū and his wife, Setsuyo, had been separated since the late 1960s. Nevertheless, Setsuyo, who remained committed to Shiryū’s artistic legacy, determined to preserve and pass on the collection despite their heartbreaking estrangement. Eugenia emphasised that, thanks to her and the female lineage in Morita’s family, this archive has been preserved and is now available for study. Katō Chikako, one of Shiryū and Setsuyo’s grandchildren who had generously welcomed researchers to the archive that week, joined Eugenia and answered questions from the audience at the end of the lecture.
On a personal note, this lecture was particularly meaningful. My first encounter with the archive was in the spring of last year, when I examined Morita’s works in the house. At that time, I only had a brief opportunity to view the archival materials. This time, I was able to return to the project briefly to engage more closely by handling them and attend Eugenia’s lecture which unpacked the significance of the archive from multiple perspectives. She invited further discussions about how it should be positioned within global art history and how to make this collection maximally useful for scholars. As someone who has had the privilege of contributing to this project, I am greatly excited about the discoveries that future research will bring.
Kuniko Matsui
Research Fellow, The Museum of the Imperial Collections, Sannomaru Shozokan