Capturing Motion: Ryohei Yamashita's Energyism

(A slightly refined draft of the concept paper on "Energyism.")

Introduction

Art history theses present a crucial academic opportunity to deeply explore a specific theme and develop arguments based on original insights. This paper focuses on the art concept "Energyism," proposed as a form of dynamic expression in contemporary art, and examines its theoretical framework and art historical context. Specifically, it uses the concept of "Yakudo" (躍動, Dynamism/Vibrancy), advocated by contemporary Japanese artist Ryohei Yamashita, as a case study to analyze the expression of energy and dynamism in his work. This paper aims to understand "Energyism" not merely as a depiction of visual movement, but as the transmission of vitality and emotion through an artwork, as well as the flow of energy in the artist's intention and creative process, thereby exploring its significance and potential within art history.

Chapter 1: Structure and Methodology of an Art History Thesis

A logical structure centered on a clear claim (thesis) is essential for writing an art history paper.1 Generally, a paper consists of an introduction, body paragraphs, and a conclusion, and must include footnotes and a bibliography.2 The introduction clearly defines the paper's theme and scope, defines the terms being analyzed, and sets forth the paper's claim and direction.1 The body develops arguments supported by visual evidence and literature, with each paragraph forming a coherent unit of discussion.1 The conclusion should evaluate the insights gained throughout the paper and suggest areas for further research.3

This paper will use formal analysis as the primary methodology for analyzing "Energyism" in artwork. Formal analysis involves a detailed examination of the elements of art—such as line, shape, light and shadow, color, texture, space, time, and movement—and considers how they contribute to the work's overall meaning and effect.4 In particular, the element of "time and movement" is a crucial key to understanding the concept of "Energyism." Basic information such as the work's subject, date of creation, provenance, and location also form the foundation of the analysis. Furthermore, a deeper interpretation will be attempted by considering the historical, cultural, and social contexts in which the work was created, as needed.

Citing references is a vital component of an art history paper, and this paper will adhere to the Chicago Manual of Style (CMS). It is essential to properly cite the source when quoting or borrowing ideas from others' work to avoid plagiarism.5

Chapter 2: The Theoretical Framework of "Energyism"

2.1 Definition of the Concept

"Energyism" in this paper is defined as an art concept that combines "Energy" and "Artism" (Art) to capture and visualize energy through artistic works and expressions. This concept emphasizes dynamic qualities such as power, vibrancy, and vitality within a work, aiming to transmit vigor and inspiration to the viewer. Ryohei Yamashita’s advocated concept of "Yakudo" (躍動) can be understood as a contemporary instance embodying this "Energyism." "Yakudo" literally means "vibrant motion" or "the pulsation of life" and serves as the main theme running through Yamashita's entire body of work.

2.2 Elements and Principles of Energy Expression

The expression of energy in Energyism is achieved through various elements such as color, brushwork, form, texture, and composition. Vivid colors and bold brushstrokes directly express the intensity and movement of energy. Furthermore, the distortion or deformation of form, along with the contrast between rough and smooth textures (Yamashita's "Rough and Dense" technique), creates visual tension and imparts dynamism to the work. In composition, asymmetrical arrangements and the frequent use of diagonal lines emphasize the sensation of movement and instability.

2.3 Dynamism and Energy in Art History

Looking back at art history, the expression of energy and dynamism has appeared in various forms across different eras and styles. For instance, in Baroque art, dramatic compositions, exaggerated poses, and strong contrasts of light and shadow (chiaroscuro, tenebrism) were used to express emotional intensity and movement. Futurism, which emerged in the early 20th century, praised the "beauty of speed" and used unique methods like the fragmentation of forms, the overlapping of lines, and the depiction of simultaneity to express motion and energy. Boccioni's concept of "Plastic Dynamism" emphasized dynamic continuity as the simultaneous action of an object's absolute motion and its deformation in relation to its environment.9 In contemporary art, there are attempts to express energy through the physical movement of the artwork itself, as seen in Kinetic Art, or expressions that directly convey the performer's physical energy, such as Performance Art.

Chapter 3: Concrete Examples of Energyism in Ryohei Yamashita's "Yakudo"

3.1 Yamashita Ryohei's Background and Artistic Evolution

Born in Fukuoka Prefecture, Ryohei Yamashita graduated from the Department of Image Design at Kyushu Institute of Design (now Kyushu University) after beginning his career as a street artist. In 2002, he moved his base to Yokohama, and in 2010, he established his own art brand, "LIKE A ROLLING STONE."5 He has engaged in a wide range of activities, including collaborations with companies like Nike and Toyota, and live painting at music festivals. In 2020, he produced and supervised the stained-glass artwork "Forest of Dynamism" at Gaienmae Station on the Tokyo Metro Ginza Line, showcasing a new potential for public art.

Yamashita's work consistently explores the theme of "Yakudo," which signifies a state "overflowing with life and energy." His works frequently use motifs symbolizing motion and strength, such as athletes and samurai, attempting to capture energetic, memorable moments akin to a film's climax. His characteristic fisheye lens-like perspective creates depth and expanse, emphasizing the sensation of movement.

3.2 Analysis of Energyism in Key Works

3.2.1 Expression of Sword Trajectory in Samurai 12

Yamashita’s Samurai series is a vivid example of the concept of "Yakudo." In Samurai 12, for instance, the sword trajectory, rendered in vibrant colors, is not merely a reproduction of the blade's path but a visualization of the samurai's inner energy.4 The boldly executed strokes of the trajectory convey the concentrated power and speed of a single moment to the viewer.

3.2.2 Expression of Temporal Passage Through Form Distortion

Another characteristic of Yamashita's work is the expression of temporal passage through the distortion of form. In Samurai 12, the exaggerated width of the samurai's stance visually represents a torrent of energy transcending time and space.4 This deformed form, though a still image, implies the continuity and force of the movement, stimulating the viewer's imagination.

3.2.3 The "Rough and Dense" Technique

Yamashita's frequent use of the "Rough and Dense" technique is a crucial element in his expression of energy.6 A visual contrast is created on the canvas by juxtaposing the rough brushwork used for the sword trajectory with the precise depiction of the samurai's face and hands. The "Rough" sections represent explosive energy and the momentum of motion, while the "Dense" sections emphasize the inner self and spirituality of the figure initiating that movement. This contrast draws the viewer into the work, allowing them to perceive an invisible force through the traces of energy.6

3.3 Impact on Vision and Sensation

Yamashita’s Energyism works exert diverse physical and sensory effects on the viewer. The vivid colors and dynamic forms provide strong visual stimulation, inducing feelings of excitement and vitality. The bold brushstrokes and delicate touches transmit the movement and vitality radiating from the work, potentially drawing the viewer in physically and creating a sensation of reliving the flow of energy. On a sensory level, the work's flow of energy and dynamism deeply resonate with the viewer's emotions and sensibility, evoking various feelings such as passion, excitement, or tranquility. Through dialogue with the work, viewers can explore their own emotions and inner world, gaining rich sensory experiences.

Chapter 4: Reception and Influence of Energyism

4.1 Critical Response

Critical reactions to Ryohei Yamashita's work indicate a high appraisal for his unique expressive techniques and the theme of "Yakudo." Art critic Satoshi Kenmoku points out that the paint matière (texture) in Yamashita's work expresses the movement, aura, and vibrancy of invisible things, citing the "Rough and Dense" relationship as the technique that achieves this.6 Kenmoku analyzes that the combination of "Rough and Dense" allows the viewer to recognize the work as an expression of energy captured in an instant, and finds the high level of Yamashita's work in the fact that its creative process is not easily understood.6

Koji Yoshida, director of Gallery Speak For, praises Yamashita for consistently seeking the ultimate beauty in the moment of human "movement" and pioneering his own genre.6 He states that every physical action, such as cutting the wind or making water dance, is fixed onto the canvas with bold composition and full-body brushwork. Yoshida emphasizes that Yamashita continues to evolve, seeking themes in various moments that unfold from the beauty of dynamism, such as replacing the imagination of athletes with landscapes or selecting seasonal sentiments as subjects.6

4.2 Expansion into Public Spaces and Influence

In 2020, Yamashita's dynamic athlete artwork, "Forest of Dynamism," was installed as a stained-glass piece at Gaienmae Station on the Tokyo Metro Ginza Line, demonstrating new possibilities for art in public spaces.32 This work expresses the excitement of sports and the intensity of competition with vivid colors and a dynamic composition, continuing to make a profound impression on the many people who use the station. He has also created murals for Nike Japan headquarters and visual artwork for the Japan Sailing National Team, exerting influence in the commercial sector as well.

Conclusion

Contribution and Future of Energyism

The concept of "Yakudo" proposed by Ryohei Yamashita, and the "Energyism" realized through his work, offer a new perspective in contemporary art. The method of visualizing abstract energy and movement in art, where static expression was traditionally dominant, is being developed innovatively by Yamashita. His works utilize elements such as color, brushwork, form, and texture to emit life-filled energy, providing viewers with a dynamic experience.

Energyism has the potential to promote a deeper level of energy exchange than just the depiction of movement, fostering the artist's inner energy and emotion, and the resonance created between the work and the viewer. As Yamashita's works demonstrate, Energyism has the power to stir the viewer's heart and soul, evoke profound emotions, and pioneer new aesthetic values and sensibilities.

Moving forward, Energyism is likely to have a significant impact on the future art scene. Its potential applications are diverse, including the exploration of new forms of expression, appeal to the audience's sensibility, influence on the art market, and contribution to art education. Artists are expected to explore more intuitive ways to express energy and movement, which in turn will further increase the diversity of artistic works. Works incorporating Energyism will have the power to appeal directly to the audience's sensibility and emotions, transforming art appreciation into a more accessible and moving experience. Furthermore, the increased attention on Energyism-themed works could establish a new trend in the art market. In art education, it will be an important concept for students to improve their expressive skills by exploring how to represent energy and motion.

Ryohei Yamashita's Energyism is expected to continue significantly influencing future artistic expression as a new movement in contemporary art. Through his work, we can reaffirm how the universal theme of "movement" generates such diverse expressions and interpretations.

Footnotes 2 "Art History Thesis Guidelines," Boston College, accessed March 28, 2025, https://www.bc.edu/bc-web/schools/morrissey/departments/art/programs/art-history/thesis-guidelines.html. 5 "Exhibition 2021," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/2021. 1 "Stylistic and Organizational Concerns," Carleton College, accessed March 28, 2025, https://www.carleton.edu/art/majors/hist/comps/essay/. 3 "Conclusion," Carleton College, accessed March 28, 2025, https://www.carleton.edu/art/majors/hist/comps/essay/. 19 Sylvan Barnet, A Short Guide to Writing about Art, 10th ed. (Upper Saddle River, NJ: Pearson Education, 2011). 12 "Avoiding Plagiarism," University of Arkansas at Little Rock, accessed March 28, 2025, https://ualr.edu/art/art-history-resources/guidelines-for-writing-art-history-research-papers/. 10 "MA: Thesis Track," University of Washington, accessed March 28, 2025, https://art.washington.edu/art-history/ma-art-history-thesis-track. 20 "Criteria and Requirements for Honors Designation in the Art History Thesis," Washington and Lee University, accessed March 28, 2025, https://www.wlu.edu/art-and-art-history-department/art-history/art-history-thesis-information/criteria-and-requirements-for-honors-designation-in-the-art-history-thesis. 13 "The Thesis: Writing and Advising," Northwestern University, accessed March 28, 2025, https://arthistory.northwestern.edu/undergraduate/degree-requirements/senior-thesis-and-dept-honors.html. 6 Satoshi Kenmoku, "About artmaster.jp," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/. 4 "Part III – Form," University of Arkansas at Little Rock, accessed March 28, 2025, https://ualr.edu/art/art-history-resources/guidelines-for-analysis-of-art/. 21 "Formal Visual Analysis: The Elements and Principles of Composition," Kennedy Center, accessed March 28, 2025, https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/articles-and-how-tos/articles/educators/visual-arts/formal-visual-analysis-the-elements-and-principles-of-compositoin/. 7 "Visual Analysis," Duke University, accessed March 28, 2025, https://twp.duke.edu/sites/twp.duke.edu/files/file-attachments/visual-analysis.original.pdf. 22 "RYOHEI YAMASHITA," ARTas1®, accessed March 28, 2025, https://artas1.com/ryohei_yamashita/. 11 "Profile - Artist RYOHEI YAMASHITA," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, (https://www.artmaster.jp/profile#:~:text=Personal%20History,Started%20as%20a%20street%20artist.&text=2002%20%2D%20Moved%20his%20studio%20to,artist%20discovery%20project%20by%20FM802). 23 "Artist Statement," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/profile. 8 "RYOHEI YAMASHITA," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/profile. 14 "RYOHEI YAMASHITA," ARTas1®, accessed March 28, 2025, https://artas1.com/ryohei_yamashita/. 24 "YAKUDO," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/. 15 "Ryohei Yamashita," Pinterest, accessed March 28, 2025, https://www.pinterest.com/artasone/ryohei-yamashita/. 25 "Ryohei Yamashita's Calligraphic Illustrations Inspired by the Olympics | Spoon & Tamago," Spoon & Tamago, February 27, 2018, accessed March 28, 2025, https://spoon-tamago.com/ryohei-yamashitas-calligraphic-illustrations-inspired-by-the-olympics/. 16 "About artmaster.jp," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/. 17 "RYOHEI YAMASHITA," ARTas1® Japanese Professional Illustrators, accessed March 28, 2025, https://artas1.com/ryohei_yamashita/. 26 "RYOHEI YAMASHITA," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/profile. 27 "ITOCHU Presents Forest of Dynamism, a Large Stained-Glass Public Artwork, to Gaiemmae Station on the Tokyo Metro Ginza Line," ITOCHU Corporation, October 16, 2020, accessed March 28, 2025, https://www.itochu.co.jp/en/news/press/2020/201016.html. 28 "Profile - Artist RYOHEI YAMASHITA," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/profile. 29 "Ryohei Yamashita's Calligraphic Illustrations Inspired by the Olympics | Spoon & Tamago," Spoon & Tamago, February 27, 2018, accessed March 28, 2025, https://spoon-tamago.com/ryohei-yamashitas-calligraphic-illustrations-inspired-by-the-olympics/. 18 "Ryohei Yamashita," Pinterest, accessed March 28, 2025, https://www.pinterest.com/pin/painting--385620786859980828/. 30 "Solo Exhibitions," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/profile. 31 "RYOHEI YAMASHITA," ARTIST RYOHEI YAMASHITA, accessed March 28, 2025, https://www.artmaster.jp/. 32 "ITOCHU Presents Forest of Dynamism, a Large Stained-Glass Public Artwork, to Gaiemmae Station on the Tokyo Metro Ginza Line," ITOCHU Corporation, October 16, 2020, accessed March 28, 2025, https://www.itochu.co.jp/en/news/press/2020/201016.html. 33 "Dynamism," Artsy, accessed March 28, 2025, https://www.artsy.net/gene/dynamism. 34 Lev Manovich, "Computing the Dynamics of Visual Style," Frontiers in Digital Humanities 10 (2023): https://doi.org/10.3389/fdigh.2023.1201179. 35 Giovanni Lista, "Futurism and Photography," in Italian Futurism, 1909-1944: Reconstructing the Universe, ed. 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