Cows have recently begun grazing at Kogel mountain near the Roman quarry in St. Margarethen, Austria, as part of an effort to prevent overgrowth and keep the numerous sculptures from Karl Prantl's symposiums visible as public art. The largest of these works, known as the "Japanese Line," was carved into the landscape exactly 55 years ago, marking a significant milestone in the site's artistic heritage.
Karl Prantl pioneered the sculptural symposiums at the Roman quarry, and in 1970, he brought the first collective of sculptors to St. Margarethen - a group of five young Japanese artists. Among them was Satoru Shoji, who remains the only surviving member of the original group. Now 86 years old, Shoji fondly recalls his time in St. Margarethen and considers his work on the Japanese Line to be one of the most important experiences of his artistic career.
Also present in 1970 was sculptor Makito Fujiwara, who revealed that the original concept for the line was ambitious beyond imagination - it was intended to span the entire Earth. The project represented a bold artistic vision that sought to connect continents through sculptural intervention in the landscape.
Shoji shared intimate details about the creative process behind the Japanese Line's conception. "We were housed in the sculptor's house, and the idea for how the line should look came to me in the bathroom - like a niche in the toilet," he remembered. The specific dimensions were carefully planned: 70 centimeters wide and 80 centimeters deep, featuring gentle waves along the bottom surface resembling the flow of a stream.
The Japanese Line was carved directly into the landscape of Kogel mountain 55 years ago, creating a permanent dialogue between human creativity and natural terrain. This monumental work stands as a testament to the international artistic collaboration that Karl Prantl fostered at the Roman quarry, bringing together Eastern and Western sculptural traditions in a unique Austrian setting. The ongoing cattle grazing program ensures that this historic artwork, along with other sculptures from the symposiums, remains accessible and visible to the public for future generations to appreciate.
