Introduction

This exhibition is more than just an art event; it serves as a vital platform to strengthen international visual art collaborations and advance the education of Asian printmaking in Malaysia. The selection of Yoshisuke Funasaka as the third featured artist in this special Asian Master Series marks the Museum of Asian Art’s commitment to celebrating contemporary Asian art and fostering cultural diplomacy between Malaysia and Japan. 

Juhari Said, a prominent figure in Malaysian printmaking and a former protégé of Funasaka, has long served as a key link between the university and regional art networks. As curator of this project, he is the driving force behind its concept and coordination — continuing the pivotal role he played in previous Asian Master Series exhibitions featuring A.D. Pirous from Indonesia and Mamoru Abe from Japan.

 This exhibition is also made possible through the close support and collaboration of the Japan Foundation Kuala Lumpur (JFKL), an organisation steadfast in promoting bilateral cultural exchange between Malaysia and Japan. 

This retrospective highlights Funasaka’s distinguished works, celebrating his artistic journey and philosophy as a maestro of Japanese printmaking. In a significant gesture, Funasaka-san has generously donated 241 works to the Universiti Malaya and creating new opportunities for research, education, and public appreciation. 

May this exhibition mark an important chapter in continuing the legacy of the biennial Asian Master Series, empowering regional art networks and elevating Asian art to greater international prominence.

ZAHIRAH NOOR ZAINOL ABIDIN

Kurator Kanan

Muzium Seni Asia, Universiti Malaya

The Simplicity of Yoshisuke Funasaka Curatorial Note by Juhari Said

My encounter with Yoshisuke Funasaka began in 1992 at the Asahi Cultural Centre, Shinjuku, Tokyo. Through connections formed at the 1991 Pameran Muhibah in Jakarta, and with the encouragement of figures such as A.D. Pirous, Sharifah Fatimah Zubir, and Setiawan Sabana, the opportunity to study under his guidance became a reality.

To delve into the works of Yoshisuke Funasaka, we must first grasp his modest character and unassuming lifestyle. Learning from Funasaka was not merely about mastering technique but about understanding life philosophy and tradition. Funasaka’s works reflect a deep-rooted minimalist aesthetic inherent in Japanese culture long before the West coined the term. His combination of woodblock and silkscreen techniques represents not a clash of East and West, but a wise selection of methods best suited for expression. 

Empty spaces in his works are not voids, but vital elements that strengthen the visual narrative. These spaces are sometimes paired with calm, geometric lines, and at times with seemingly uncontrolled strokes — perhaps embracing the philosophy of wabi-sabi, where imperfection holds beauty and meaning.

The simplicity and less is more philosophy in his works mirror Eastern values that celebrate harmony and complementarity: "Ease and hardship complete one another Length and shortness shape one another High and low fulfill one another".  

Learning from him was not just about craft — it was about understanding tradition, life, and the essence of being a true artist.

Juhari Said
Akaldiulu, 6 May 2025