Editing Superflat (section)

== 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.<ref name=":0">{{Cite book|last=Murakami|first=Takashi|title=Superflat|publisher=Madora Shuppan|date=November 1, 2000|isbn=978-4944079209|location=Japan}}</ref>

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 [[Kanō Sansetsu|Kano Sansetsu]], [[Itō Jakuchū|Ito Jakuchu]], [[Soga Shōhaku|Soga Shohaku]] and [[Hokusai|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''.<ref name=":0" />

In his book, Tsuji critically analyses works from Edo period painters and explains how the picture controls the speed and course of its observer's gaze, creating an interaction between the surface and the viewer with a zigzag motion. This is further elaborated in ''Takashi Murakami: Lineage of Eccentrics'', a book that presents key examples of Murakami's work alongside a selection of Japanese masterpieces arranged according to the concepts laid out by Tsuji himself. It is mentioned that the juxtaposition of foreground forms extending horizontally across broad compositions and two-dimensional surfaces is another feature that Murakami has adapted for his own theory and contemporary subject matter.<ref name=":1">{{Cite book|last=Murakami|first=Takashi|title=Lineage of Eccentrics; a collaboration with Nobuo Tsuji and the Museum of Fine Arts, Boston|publisher=MFA Publications|year=2018|isbn=978-0878468492|location=Boston|pages=65}}</ref>

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]] his 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.<ref name=":0" />

A connection can be made of modern-day animation back to twelfth- and thirteenth-century Japanese handscrolls, where the narrative is composed across multiple sheets of joined paper, read from right to left, providing the observer once again a two-dimensional 'flat' space and composition where the gaze leads the viewer through the story.<ref name=":1" />

A different factor that played a role for the emergence of Superflatness was the bursting bubble of the Japanese economy in the 1990s, where Japan was led into uncertain territory and a loss of its sense of security. Michael Darling explains that "rabid consumerism and the slavish following of fads, especially in fashion, have further contributed to a culture of surfaces and superficiality, representing still another facet of the Superflat concept".<ref>{{cite journal |last1=Darling |first1=Michael |title=Plumbing the Depths of Superflatness |journal=Art Journal |date=2001 |volume=60 |issue=3 |pages=76–89 |doi=10.2307/778139 |jstor=778139 }}</ref> Darling, 2001). He uses photography and fashion as further examples to illustrate Superflatness and the hype and high consumer demand of Japan.