Erik Thomsen 2010
Japanese Paintings and Works of Art
Japanese Paintings and Works of Art
Table of contents
3
5
49
79
91
102
110
120
126
2
Foreword and Acknowledgements
Screens
Paintings
Bamboo Baskets
Lacquers
Signatures, Seals and Inscriptions
Notes
Bibliography
Index
Foreword and Acknowledgements
This publication, our fifth catalog in the series
I wish to thank our Frankfurt designer and photog-
Japanese Paintings and Works of Art, coincides with
rapher, Valentin Beinroth and Cem Yücetas, with-
two other events: our move to a larger gallery
out whom this catalog and our earlier publications
location in New York and our inaugural exhibition
would not have been possible. Above all I wish
there, Screens and Scrolls of the Taishō Period.
to thank my wife, Cornelia. It is only thanks to her
strong partnership, encouragement and support
The new gallery at 67th Street between Fifth and
that our move to New York four years ago and the
Madison Avenues is a purpose-built space in a newly
establishment of our gallery since then has been
renovated townhouse. With double the wall space
possible.
of the previous location, it provides ample room for
showing large pairs of screens and paintings.
Erik Thomsen
Our inaugural exhibition at the new location, Screens
New York, September 2010
and Scrolls of the Taishō Period, features paintings
from the Taishō Era (1912 – 26). While short in duration, the Taishō Period was highly influential and
witnessed a remarkable flowering of the arts. It was
also a period of great wealth, and all types of art
were eagerly sought by new collectors. Visionary
young artists were sometimes sponsored by
wealthy patrons, who could afford to support the
artist while he or she worked on a single painting
or work of art for a whole year or longer. The goal
of the artists and their sponsors was to exhibit
a striking work of art at one of the annual national
art exhibitions that had been sponsored by the
Japanese government and other organizations
since 1907. Artists hoped to make a reputation for
excellence through the exhibition, the critical attention, and a possible prize winning of their works
at these prestigious venues. An example of such
a work which won a prize at the 8th Teiten National
Exhibition is the screen entitled Morning Quiet in
the current publication (item 7).
The catalog also features screens and scrolls of earlier periods; exquisite maki-e gold lacquer boxes;
and a selection of Taishō/early Shōwa-period bamboo baskets made for the sadō or kadō, the tea
ceremony or ikebana. I hope the viewer will enjoy
looking at and reading about the 30 paintings and
works of art we selected, spanning four centuries.
3
Screens
1
Kano School 狩野派
Roosters and Chicken in a Bamboo Grove
Edo Period (1615 –1868), early 17th C
The moriage consists of round family crests (mon)
H 64 ¾" × W 133 ½"
on a diamond pattern. Interestingly, the gilt and
(164.5 cm × 339 cm) each
chased copper hardware on the screen frame in-
Pair of six-panel folding screens
corporates the same family crest design and can
Ink, colors, gofun, gold and gold leaf on paper
therefore assumed to be the original 17th century hardware. Further use of moriage relief can
From the fourth century onwards, the Chinese de-
be seen in the three-dimensional modeling on the
picted sages in bamboo groves, in seclusion from
cockscombs and on the legs. The overall effect is
the world and in lofty conversation with each
other.1
that of luxury, privilege and expense, an effect un-
This tradition later transferred to Korea and Japan,
derlined by the heavy use of costly mineral colors.
where the theme, Chikurin no shichiken 竹林の七賢,
The screens were most likely created for the year of
became one of the traditional expressions of paint-
the rooster by a leading sponsor of the arts, pos-
ers, for example of the Kano school, who painted it
sibly by a member of the aristocracy or a daimyo
widely on scrolls, screens and sliding
doors.2
warlord.
In this painting we see the same theme of a gathering in a bamboo grove, yet here we have a play on
the genre, with roosters and hens taking the place
of learned sages. And instead of lofty conversation,
we have hens clucking to one another and to their
offspring. While the parody of traditional themes
was not unusual—painters such as Harunobu placed
courtesans in place of the sages in their versions
of the bamboo grove—the depiction of chickens as
sages is rare.
The paintings also have a seasonal element, as the
artist has divided the screen pair into images of
spring and autumn. The right half shows the spring
with newborn chicks, new bamboo sprouts and
flowering Chinese clematis (Tessen 鉄銑, Clematis
florida), a plant blooming in late April. In contrast,
the left half shows the autumn with the chicks
fully grown, the bamboo mature and, instead of
clematis, ivy with autumn colors. The artist contrasts
spring and fall, the newborn and the adult, beginnings and maturity.
The screens have an intricate and finely crafted
band along the top with gilt moriage patterns.
This moriage was built up with layers of gofun (sea
shell powder) and then painted with gold wash,
a phenomenon appearing in 17th century screens.3
6
7
2
Tosa Mitsuyoshi 土佐光吉 (1539 –1613), attr.
Scenes from the Tales of Genji
Momoyama Period (1568 –1615), early 17th C
Koremitsu hands him a writing box and brushes.4
H 63 ½" × W 146 ½"
The curved bridge on the screen refers to both
(161.3 cm × 372.3 cm)
scenes, the Uji Bridge and the Sumiyoshi Bridge;
Six-panel folding screen
the red torii gate in front of the bridge refers to
Ink, mineral colors, gofun, silver, gold
the Sumiyoshi Shrine. Bridges with their many po-
and gold leaf on paper
etic allusions became symbols for travel in nature
in the literal and visual culture of the Heian and
This important screen displays an elaborate sel-
later period.5
ection of scenes from the eleventh-century novel
Tales of Genji. The finely detailed figures inter-
The last two scenes that balance the composition
spersed throughout the composition illustrate
on the bottom left and right corners are, on the
scenes from different chapters of Genji, but are
bottom left, the emperor being presented with
unified by the theme of nature, more specifically,
pheasants taken in a hunt, bringing nature to the
the link between nature and the protagonists of
palace;6 and, on the bottom right, the poignant
the novel. Two keys to the connections are the full
scene from the Yomogiu chapter where Prince
moon on the upper left and the bridge on the
Genji visits his long-lost love, the Safflower Prin-
upper right of the screen.
cess, who suffers from poverty in a run-down mansion. Here Prince Genji is led by his servant Kore-
The full moon on the upper left refers to the ro-
mitsu, who guides him to the dilapidated house
mantic boat scene on a winter night in the Ukifune
through the overgrown garden.7
chapter, seen in the upper center. Here Niou is
seated in the boat with Ukifune and, while looking
In all of these scenes, we see how the figures nego-
at the hills bathed in moon light, they pledge
tiate with nature and how nature relates to love,
undying love to each
other.1
to imperial offerings, to travel and even to poverty.
What at first seems to be a set of non-connected
In the Asagao chapter the moon appears again as
scenes are in fact expertly selected moments in the
Genji and Asagao look out at the garden on a win-
novel that connect by themes from across the pan-
ter night and admire the fallen snow. Genji asks the
els of the screen.
page girls to go out in the garden and roll a snowball, and he and Asagao enjoy the scene bathed in
The screen is attributed to Tosa Mitsuyoshi through
moonlight.2
similarities in style, facial features, and golden
clouds. The golden clouds are made of two types
The moon connects these two scenes, which also
of gold—gold leaf bordered with gold wash on
share the same season and the nocturnal setting.
gofun—and the features of the faces are superbly
Central to both cases is the joy of love when look-
expressive. Mitsuyoshi and his atelier painted a
ing at nature together, specifically on a winter night.
number of Genji screens during his lifetime and
examples by him exist in the Metropolitan Museum
The bridge in the upper right corner refers to the
of Art in New York, the Honolulu Academy of Arts,
Ukifune love boat scene, which takes place close
the Kyoto National Museum and the Idemitsu
to Uji
Bridge.3
The bridge is also associated with the
Museum of Art.
excursion to Sumiyoshi Shrine in the Miotsukushi
chapter, seen on the right. Waiting inside his carriage,
Genji wants to write a love letter and his servant
12
13
3
Scenes from the Great Eastern Road
Unknown artist
Edo Period (1615 –1868), circa 1800
emphasis is clearly on the remarkable castles and
H 49 ¾" × W 117 ½"
mountains—the greatest feats of man and nature.
(126.5 cm × 298.5 cm) each
In contrast, the cities are here presented as an as-
Pair of six-panel folding screens
sembly of simple one-story buildings—even Edo,
Ink, mineral colors, gofun, gold flakes
the capital city.
and gold leaf on paper
The road became an important topic in the culture
This pair of screens presents the viewer with an ex-
of mid- to late-Edo period Japan. Not only were
citing journey through the imagination, without the
famous artists, such as Utamaro, Hiroshige, and
hardship of actually traveling. We see here in great
Hokusai making print series with connections to
detail the most important road in Japan, the Great
the Tōkaidō Road, but literature and Kabuki drama
Eastern Road Tōkaidō, which connected the old
also became obsessed with the idea of travel. The
and the new capital cities of Japan. Not only are the
comic novel Hizakurige, for example, centers on
cities and sites along the road depicted, but the
the adventures of two protagonists as they travel
artist has also added interesting events, such as pro-
down the Tōkaidō.2 An important multi-volume
cessions of daimyo warlords, street side shops,
publication in 1797, the Tōkaidō meisho zue, be-
and sea travel.
came a source for later artists, such as Hiroshige,
who found compositional ideas in the volumes.
The route is not a straight one, but one bending
And of course, the most famous of all these artistic
and turning along the mountains and streams. In
efforts was Hiroshige’s great series of woodblock
effect, the route is recreating travel with all its unex-
prints, the Fifty-Three Stages of the Tōkaidō,
pected twists and turns. As Constantine Vaporis re-
published in 1833 – 34, which came to influence
counts in his classic book on Edo-period travel, the
all efforts afterwards. This pair of screens shows
idea of travel became a nation-wide fad from the
no specific traces of Hiroshige’s work, but relates
mid-Edo period onwards, and people would take
instead to other earlier sources.3
long trips in groups or individually, enjoying the
sites along the way.1 This screen was very likely cre-
Interestingly, some of the sites named on small
ated in response to the demand for objects related
labels along the road are not on the Tōkaidō.
to travel, perhaps in commission for a patron who
These sites include mountains and large castles
had traveled the route himself.
(Mount Hiei and Zeze Castle) as well as parts
from other views series, such as the Eight Views
From the seventeenth century onwards, Japanese
of Ōmi (Karasaki and Miidera) and the famous
artists created woodblock prints, hand scroll paint-
views of Edo (Shiba Daibutsu).4 It seems that the
ings, screens and books on the topic of travel
names are taken from a conflation of sources:
along the Tōkaidō Road. In their images the artists
from the Tōkaidō, from famous view series, and
provided not only information about the sites, but
from important sites that can be seen from the
also placed the road in the contexts of the famous
road.5 They all have in common the sense of travel
views of Japan, Meisho, that could be seen along
within the imagination, experiencing all the plea-
the way. In this sumptuous pair of screens, we not
sures and serendipitous discoveries of travel while
only get a sense of the long and often arduous
in the comforts of one’s own home.
route of the Tōkaidō, but also see the splendid
sites along the way. Artists of the time emphasized
different aspects of the road; in this case, the
16
17
4
Araki Kampo 荒木寛畆 (1831–1915)
Peacock Pair by Cliffs
Meiji period (1868 –1912), dated 1907
ous styles and introduced new influences and tech-
H 76 ¾" × W 75 ¾"
niques from the West, and taught a generation of
(195 cm × 192.4 cm)
young artists, becoming an important pioneer of the
Two-panel folding screen
new age of painting in Meiji Japan.
Ink, colors, gold and gold-leaf on silk
Remarkably, Kampo had extensive success outside
Signature:
of Japan and became one of the most famous
Kampo 寛畆
Japanese artists in the West. He entered works and
won numerous prizes at international expositions,
Seals:
such as Vienna in 1872, Chicago in 1893, Paris in
1) »Seventy-seven year old Kampo« 七十七翁寛畆
1900, St. Louis in 1904, and London in 1910. He
2) »Artist name Tatsuan« 號達庵
was also the first Japanese artist to become a
member of the prestigious Royal Society of Arts in
A majestic peacock stands on top of a craggy cliff
London. Inside Japan, he was very active in na-
and surveys the world around him, while his mate
tional exhibitions and won numerous honors.2 He
walks below, in the safety of his alert gaze. The
taught at the Tokyo Art School from 1898 to 1908
painting was made by one of the great artists of
and at other universities as well. The present screen
modernizing Japan at the age of seventy-seven.
stems from the time he was teaching at the Tokyo
Despite his advanced age, we sense the strength
Art School.
of the artist in the dramatic brushstrokes, the clear
sense of composition, and the finely delineated
techniques. Just like the male peacock, he still very
much rules his corner of the world.
The sumptuousness and vitality of the peacock are
reflected in the rich gold-leaf ground and in the
fine details Kampo added with gold wash on top
of the ink. He also added light colors to give depth
to the plumage of the birds and drew the rocks
and the bamboo with an array of textured strokes
and ink wash techniques. In all these aspects, the
painter goes back to a long tradition of peacock
paintings on gold ground, such as those created
by the Maruyama and Kishi Schools.1
Kampo was born in Edo and started to work at an
early age as apprentice for the Araki workshop,
where he showed early promise. He was eventually
adopted into the Araki family at the age of twentytwo and became its head painter. At one time he
attempted oil paintings, but eventually returned to
the Nihonga school style. Kampo specialized in
paintings of flowers and birds. He unified the vari-
22
23
5
Usumi Kihō 内海輝邦 (b. 1873)
The Raven and the Peacock
Taishō Period (1912 – 26), circa 1920
its black feathers covered with powders of lapis
H 69" × W 136 ¼"
lazuli, its legs highlighted in lacquer, and its eyes
(175 cm × 346 cm) each
with gold. The face of the raven is finely modeled
Pair of six-panel folding screens
with masterfully modulated ink wash on its beak,
Ink, mineral colors, gofun, gold, silver,
giving a three-dimensional effect. The heavy use
lacquer and silver leaf on paper
of expensive mineral colors indicates that Usumi
made the screen pair for an important occasion,
Signature: Kihō 輝邦, Seal: Hiroaki 廣精
possibly a national art exhibition.
The artist presents the viewer with a remarkable
Usumi Kihō was a skilled painter of great promise.
composition of a raven and a peacock in conversa-
He was born in Matsue in Shimane Prefecture
tion across two large six-panel screens. The posi-
by the Japan Sea in 1873 and managed to gain
tioning of the two birds at first startles through the
acceptance to the highly competitive Tokyo Art
strong contrasts: the smaller jet-black raven on
School, presently the Tokyo University of the Arts,
the right and the large proud peacock with its full
at a key time in its history. The university had been
show of polychrome feathers on the left.
founded a few years earlier and was run by the
great artist Hashimoto Gahō 橋本雅邦 (1835 –1908).
What exactly was the intent of the artist in this strik-
Kihō became a student of Gahō1 and learned in
ing juxtaposition? He may have intended to show
the company of a select group of the future great
the animals as an episode from Aesop’s fable, the
artists of Japan. A list of his fellow students at the
story of the crow and the peacock. The narrative,
time reads like a who’s who of the great Taishō and
however, remains unclear: did the covetous crow
Shōwa period artists: Yokoyama Taikan 横山大観,
attempt to steal a feather and dropped it, dis-
Shimomura Kanzan 下村寒山, Hishida Shunsō 菱田
covered by the angry peacock? Or is the peacock
春草, Kawai Gyokudō 川合玉堂, among others.
bragging, showing off its rich display, while the
raven is looking on in envy? Although the message
During his years at the Tokyo Art School Kihō cre-
is uncertain, the dramatic dialogue is clear. A key
ated three works that were thought important
aspect of this dialogue is of course the contrast
enough to store at the university museum.2 Upon
between the large colorful bird and the seemingly—
graduation in 1893, Kihō accepted a position at
until examined closer—drab black bird.
the Fukushima Middle School in Fukushima Prefecture, teaching art. Among his colleagues at the
The screen is remarkable for another reason, its
school was the great scholar Tsunoda Ryūsaku 角田
tour-de-force display of materials and techniques.
柳作 (1877 –1964), who eventually became known
Usumi painted the silver-leaf surface with luxuri-
as the "father of Japanese studies" at Columbia Uni-
ous materials, including gold, silver, lacquer and
versity3 During their time there together (Ryūsaku
ground malachite, lapis lazuli and gofun. The
taught at the school 1903 – 8), the two collaborated
peacock is composed with a densely inter-woven
on projects.
texture of feathers imbedded with thick layers of
gold and mineral colors, including malachite and
We see traces of Usumi’s activities through the 1910s
lapis lazuli. The bright eye is painted with gold,
and 1920s of the Taishō period, when he moved
the beak with silver, and the head and body are
back to Tokyo and became an established artist in
molded with relief details using gofun. The drab-
the capital city.4 The present work stems from his
looking raven is in fact sumptuously created, with
period of activity in Tokyo.
26
27
6
Hirai Baisen 平井楳仙 (1889 –1969)
Chinese Landscape with Pagoda
Taishō Period (1912 – 26), 1925
portrays. The light blue color used in one spot, on
H 68" × W 74 ¾"
the coat edge of the single Chinese traveler, adds
(173 cm × 189.7 cm)
an exotic touch.
Two-panel folding screen
Ink and colors on paper
A number of other examples exist from the artist’s
period of intense immersion into Chinese expres-
Signature: Baisen 楳仙
siveness. For example, a pair of six-panel screens
Seal: »Painted by Hirai Baisen« 比羅居白仙画
in the Honolulu Academy of Arts displays the same
kind of composition and textual strokes.1 Here, too,
A series of perpendicular cliffs, precipitous gorges
we see a towering pagoda in the distance over ra-
and towering temple pagodas gives this remark-
vines and a precipitous landscape. What differenti-
able landscape painting a sense of peril and exoti-
ates the two works from each other is that the Ho-
cism. The setting is not Japan: this painting stems
nolulu screens are solely expressed in ink, whereas
from Hirai Baisen’s Chinese phase, a period that he
in the present work we see his experiment with col-
entered after his travel to China in 1913. Here is a
ors and a more complex composition.
painting with rough strokes of ink on paper in the
old tradition of depicting Chinese scenes, a tradi-
The screen was created in 1925 when Baisen was
tion that goes back to Sesshū (1420 –1506).
preparing a series of screens with ink paintings
of Chinese landscapes for the sixth Teiten exhibi-
We see the artist’s great skill in his use of ink. Not
tion of 1925. Two other sets of the screens created
only does he use ink in many modalities, varying
during this burst of energy have recently been
from intense black to faint grey, but he also varies
published.2
the wetness of the brush, creating a misty feel to
the vegetation, as some sections are vague while
Baisen is a painter of many styles who succeeds in
others are in sharp focus, lending to an atmosphere
surprising at every turn.3 A look at another painting
of misty mountain peaks. We also see a great
by him in this publication item15, (a snow scene
variety in brush patterns, with some brushes rough
of the Kamogawa River dated to 1917) shows how
and hard-bristled; Baisen uses these repeatedly
greatly his style changed over a few years. Constant
to get a sense of wild vegetation on the cliff sides.
is his technical excellence and his fascination with
Another indication of his love for experimentation
various materials and tools: the brushes, the paints,
can be found in the special paper he used for this
and the surfaces. We see him forever experiment-
work: both sides of the screen are painted on a
ing with new ideas. He was clearly an intellectual
single large, custom-made sheet of paper, which
painter at the cutting edge of the twentieth-century
is unusual for this scale of work.
Nihonga movements during his early years.4 The
screens are a testament to the genius of Baisen as
Baisen has used colors sparingly with careful
he revisits the iconic masterpieces of the past and
deliberation. To the landscape he added a well-
successfully reworks them into a new vocabulary of
balanced, faint application of red-brown colors.
his own.
These colors impart an autumnal feel to the scene
and at the same time create a color palette that
is exotic—it is after all not a scene from Japan, but
one from a foreign, yet familiar, culture that Baisen
32
33
7
Nakatsuka Issan 中塚一杉 (b. 1892)
Morning Quiet あさしづ
Shōwa Period (1926 – 89), 1927
Issan uses special effects, such as gofun, a white
H 70 ½" × W 90"
powder made from sea shells, which he applied
(179.3 cm × 228.6 cm)
below the paint on the cucumbers to give them
Two-panel folding screen
moriage three-dimensional effects. Throughout the
Ink, colors and gofun on silk
painting, the line is always under control; the dragonfly balanced on the cucumber leaf, for example, is
Signature: Issan ga 一杉画 »Painted by Issan«
drawn in a poetry of ink lines.
Seal: Nakatsuka 中塚
The work is a remarkable achievement for the
Exhibited: The 8th Teiten National Exhibition, 1927
young artist and was the first of his to be accepted
Published: Nittenshi 日展史, vol 8, p. 117, nr. 181.
for a national exhibition, the 8th Teiten Exhibition
in Shōwa 2 1927, shown under the title あさしづ or
The artist Issan presents us with an intimate scene
Morning Quiet and illustrated in the accompany-
of a small vegetable garden in the early morning
ing catalog.1 Born in 1892, Issan studied under two
quiet. It is early morning in summer, the lower part
giants in the Kyoto art world of the time: Takeuchi
of the painting still dark and soft light and blue
Seihō 竹内栖鳳 (1864 –1942) and Nishimura Goun
sky starting to appear above.
西村五雲 (1877 –1938).2 After his apprenticeship,
he settled in the Shimogamo area of Kyoto and ex-
We see a number of plants and vegetables in a
hibited at a number of prestigious national exhibi-
composition of compressed rows. In the front are
tions: he entered works in five Teiten exhibitions,
flowering garden balsam (Hōsenka 鳳仙花) and
three Shin-Bunten exhibitions, one Nitten exhibition,
three pepper plants (Shishitōgarashi 獅子唐辛子).
among others.3 The last trace we have of the painter
In the next row are four eggplants (Nasu 茄子),
is his entry in the ninth Nitten exhibition of 1953.
followed by a row of cucumber plants (Kyūri 胡瓜).
In the far background are the ink outlines of young
Interestingly, Issan must have been fond of the veg-
bamboo plants. The various plants with their differ-
etable garden theme, as he returned to it ten years
ent colors, leaves, fruits and flowers interweave on
later in a work labeled »Vegetable Garden in Early
the painting surface, creating a densely interrelated
Autumn« 菜園初秋 for his entry into the first Shin-
idyllic vision. A hint of humor can be seen with the
Bunten exhibition of 1937. The famous cultural figure
patch of weeds in the front right and with the morn-
Oguma Hideo 小熊秀雄 (1901– 40) saw this work
ing glory on the far right which comes out to greet
at the exhibition and wrote the following praise
the artist’s signature.
about Issan’s screen:4 »An outstanding characteristic of present-day Nihonga painting is the ability to
Looking closer, one notices four insects hidden
draw an inherently complex image of a vegetable
among the leaves: a praying mantis, a dragonfly
garden clearly without any confusion.« The skill
and two grasshoppers. The artist also chose to
that was apparent in Issan’s later work of 1937 is
show natural decay in the work: many leaves are
certainly also clear in this superb screen that Issan
insect-bitten, and a fallen-down cucumber and sev-
painted ten years earlier.
eral leaves are in various stages of decomposition.
This undertone of decay and death is contrasted
by the vitality of the strong colors of eggplants and
their leaves.
36
37
8
Nakatsuka Issan 中塚一杉 (b. 1892)
Flowering Yamabuki
Shōwa Period (1926 – 89), circa 1930
Much time, expertise and expense went into creating
H 78 ¼" × W 82"
this work, and judging from its over-sized format, it
(199 cm × 208 cm)
was most likely a shuppin-saku, made to be exhibit-
Two-panel folding screen
ed at one of the major art exhibitions of the time. In
Ink, colors and gofun on silk
the complex composition we see exquisite details
in the fine lines on the flowers and bamboo fence,
Signature: Issan saku 一杉 作 »Made by Issan«
and in the raised moriage areas on the yellow rose,
Seal: Nakatsuka 中塚
the peony flowers, and the cherry blossoms, which
were created with gofun or seashell powder. The
As with the other screen by Issan in the present
bark of the cherry tree is especially remarkable for
catalog, the previous entry entitled »Morning
its three-dimensional feel and realistic moriage tex-
Quiet«, we see here a close observation of nature
ture. The mounts are custom-made for the screen,
within an intimate garden setting.
using luxurious shibuichi 1 metal with a perforated
sukashi design of cherry petals.
The artist presents the viewer with a scene from
spring, from a warm sunny day in the second half
Issan studied under two of the greatest draftsmen in
of April. Dominating the scene over most of the
the history of the modern Kyoto art world: Takeuchi
painted surface is a Japanese Yellow Rose (Yama-
Seihō 竹内栖鳳 (1864 –1942) and Nishimura Goun
buki 山吹 Kerria japonica) which flowers in majestic
西村五雲 (1877 –1938). After his studies he settled
beauty by an old bamboo fence. Meanwhile to the
in Kyoto as an independent artist and submitted reg-
right a white Japanese peony (Yama Shakuyaku
ularly to the important national exhibitions over the
山芍薬 Paeonia japonica) blooms and below it,
next decades, the last being the Nitten in 1953.2
through a crack in the fence, we see another white
flowering plant. In the upper corners is a flowering
maple tree. Standing above the central Yamabuki
is a tall cherry tree, now past its point of glory with
its few remaining petals and many new leaves.
On the bottom left from the ground the artist has
depicted a winding ivy climbing up the broken
fence. In the middle of this maze of blossoms
and leaves sits a solitary Lidth’s Jay (Ruri Kakesu
瑠璃懸巣 Garrulus lidthi), its blue feathers forming a focal point and contrast to the yellows and
greens of the painting.
As with Issan’s other work »Morning Quiet«, we
see here a tension between youth and decay,
between the vibrant yellow colors of the brilliant
Yamabuki on the one hand and the deteriorating,
stained old bamboo fence on the other. The fallen
petals and wilting leaves on the ground also serve
as a contrast to the blooming Yamabuki above.
40
41
9
Sōju 双樹 (ac. Taishō Period)
Sea Gulls by the Seashore
Taishō Period (1912 – 26), 1920s
screen dates from the innovative period of the
H 69 ¼" × W 68 ¾"
early 1920s. The Taishō period was noted for a
(175.8 cm × 174.8 cm)
great flowering of the arts, with a proliferation of
Two-panel folding screen
art schools and the education of great many skilled
Ink, colors, gofun and silver on paper.
students. Unfortunately for them (and for us) the
period was also known for its great disasters: the
Signature: Sōju 双樹
Kantō Earthquake of 1923, the global economic
Seal:Sō 双
crash of 1929 and the resulting depression that
changed the future for a number of promising
In this striking composition, we see two seagulls
artists in a decidedly negative way, sometimes with
on the seashore, seemingly overwhelmed by the
catastrophic effect.1 Much research remains to be
incoming waves. The painting is a fascinating study
done about artists of this period, including the iden-
of movement and patterns that spread across its
tity and biography of the artist who created this
surface.
masterpiece.
Not only is the screen remarkable for its daring
composition, but also for its display of technical
ability. For one thing, this painting is a masterpiece
in the use of gofun, or seashell powder. Although
gofun has been used by Japanese artists for centuries, its use rarely reaches the level of technical
perfection seen in this screen. We can see extensive
use of gofun on the waves and on the bodies of
the gulls, which thereby achieve a tactile threedimensional feel. Detailed use of the material can
be seen on the seagull at the back, for example,
where a wave of white gofun faintly washes over
its left foot.
Another technical element is the sophisticated use
of sprinkled silver flakes, which can be seen not
only on the beach, simulating the wet sand sparkling
in the sunlight, but also under the layers of gofunwaves, where it mimics reflecting sand under water.
The artist has also darkened the rim of sand directly
bordering the incoming waves, cleverly giving an
impression of water-logged sand.
As for the artist, research still remains to be done.
Little is known, beyond the evidence of the screen
itself. Judging from the style, we know that it must
have been a Nihonga artist with great talent. And
judging from similar objects, we can say that the
44
45
Paintings
10
Hakuin Ekaku 白隠慧鶴 (1685 –1768)
The Second Patriarch Standing in the Snow
Edo period (1615 –1868), circa 1725
Box inscription, outer:
H 32 ¼" × W 11¼" (incl. mounting 65" × 15 ¾")
»True (Ink) Traces of Zen Master Hakuin: The
(82 cm × 28.3 cm, 165 cm × 40 cm)
Second Zen Patriarch« 白隠禅師真蹟二祖
Hanging scroll, ink on paper
Box inscription, inner:
Inscription:
»Certified by the old monk Sōkaku, presently at
二祖昔寒夜
the Shōin[ji] Temple, dated on an auspicious day
終夜立雪庭積
in the 2nd month of 1960«
雪埋腰初祖見
昭和三十五年如月吉日現松蔭宗鶴翁識
呵口諸佛無上少道
曠却難行難忍
Box inscriptions, end:
能忍難行能行汝
»Hakuin: Niso inscription, apprentice monk in
等憍心慢心争豈
snow. Bokubi« 白隠二祖賛　雪中雲水　墨美
得分二祖即断左臂
»Hakuin Zen Monk: painting and inscription of
見今時認無事安閑
Dharma Master Niso« 白隠禅師　二祖大師画賛
為向上禅認無念無心
為宗票視瞎癡漢
Oval seal mark: »Shinwa’an Collection« seal
將喜耶將悲耶嗟
Published in:
Translation:
Morita, Shiryū 森田子龍, ed. Bokubi Tokushū:
A long time ago, the Second Patriarch stood in a
Hakuin bokuseki 墨美特集―白隠墨蹟．Kyoto:
garden on a cold night until the snow came up to
Bokubisha 墨美社, 1985, plate 263.
his waist. The First Patriarch saw this and scolded
Tanaka Daisaburō 田中大三郎, ed. Hakuin zenshi
him: »It's wasteful for you to approach the marvel-
bokusekishu 白隠禅師墨蹟集. Tokyo: Rokugei
ous ways of the Buddhas with worthless efforts.
Shobō 六芸書房, 2006, plate 47
Can you endure that which cannot be endured, and
practice that which cannot be practiced? How can
Hakuin here represents the Second Patriarch of Zen
you hope to know true religion with a shallow heart
Buddhism, Eka 慧可 (Chinese: Huike; 487 – 593), as
and an arrogant mind?«
he is standing out in the snow, patiently hoping for
The Second Patriarch then cut off his left arm. See-
the First Patriarch, the great Bodhdharma (Japanese:
ing this, Bodhidharma immediately allowed Huike
Daruma), to accept him as a student. We see the
access to peaceful tranquility, and let him practice
snow piling up on the monk’s hat and on the pines
an advanced level of Zen. Allowing freedom from
in the background and feel the hardship of the monk
ideas and feelings, the Second Patriarch practiced
hoping for approval from the stern Indian monk,
the true nature of religion and came to understand
sitting in meditation in the Shaolin Temple 少林寺.
the blind and the stupid.
On one hand, rejoice! On the other, how sad!
According to the records, Eka was born close to
Luoyang 洛陽 and practiced religions under a
Seals:
number of masters before coming to the snowy
1) Hakuin 白隠
garden at age forty. The famous story alluded to in
2) Ekaku 慧鶴
Hakuin’s inscription describes how the monk was
3) Kokan’i 顧鑑意
finally able to receive Bodhidharma’s approval by
cutting off his left hand and presenting this as a
50
tribute to the older monk. After several years of
after the earliest period of painting.5 This makes
hard practice, Eka received the Dharma transmis-
the Second Patriarch paintings rare, as Hakuin
sion from Bodhidharma. During the lifetime of
claimed to have burned all his earlier paintings.
Eka, Buddhism suffered under persecutions in China.
Nonetheless, he is recorded as having preached
Furthermore, it could well be significant that Hakuin
for over forty years and coming to rest at the high
only painted the Second patriarch painting in his
age of 107.
younger days, at a time when he was still struggling
with the principles of Zen Buddhism. At times he
The earliest extant biographies of Zen Patriarchs is
surely must have felt like the Second Patriarch himself.
the Biographies of Eminent Monks (519) (高僧傳;
And as he writes in his inscription (»On one hand,
Japanese: Kōsōden; Chinese: Gaoseng zhuan) and
rejoice! On the other, how sad!«), Hakuin seems not
its sequel, Further Biographies of Eminent Monks
entirely at ease with the message of extreme self-
(続高僧傳; Japanese: Zoku Kōsōden; Chinese: Xu
mutilation that the story valorizes. Perhaps he was
gaoseng zhuan), written in 645 by Daoxuan (道宣;
able to separate himself from the pressing mes-
596 – 667). For the Japanese monks, however, the
sage of the story of the arm-sacrificing monk as he
fourteenth-century compilation Transmission of
got older and more settled into Zen practice.
the Lamp (伝灯録; Dentōroku), by Keizan Jokin
(1268 –1325), a collection of 53 enlightenment sto-
The painting is also of interest in the way it shows
ries based on the traditional legendary accounts of
Hakuin, the painter, working with shapes. Looking
the Zen transmission between successive masters
at the composition, one can see a carefully orches-
and disciples, became very influential.1 Although
trated semi-circle of triangular shapes, starting
the stories are semi-legendary, they came to take
with the monk’s hat in front and repeating with pine
on real importance for the early modern Japanese
trees behind. The receding line of similar shapes
monks, such as
Hakuin.2
Although Hakuin’s inscrip-
works to anchor the monk firmly into the composi-
tion quotes sections of the Transmission of the Lamp,
tion of this painting and further emphasizes the
there are sections that do not appear there or in
key point of the story: the permanence, duration,
other known texts. As all of Hakuin’s Second Patri-
and perseverance of the monk as he stands root-
arch paintings have variations in the text, it seems
ed to the garden ground over night while the snow
safe to say that Hakuin worked from memory and
piles up around him. It is a fine example of how
added or amended sections as he saw fit.
a painting’s composition reinforces its motif. It also
reminds us that the often haphazard-looking ap-
Many portraits of Zen patriarchs by Hakuin exist,
pearance of Hakuin paintings might well be any-
and he is famous for his images of the Bodhidharma
thing but spontaneous: the compositions are like-
and of the Kannon, which comprise the largest
ly the result of much consideration of shapes and
group of extant Hakuin paintings. There are, howev-
painterly ideas.
er, very few paintings of the Second
Patriarch.3
Ac-
cording to the great Hakuin scholar Takeuchi Naoji
The painting is housed in a kiri box that was certi-
竹内尚次, the portraits of the Second Patriarch are
fied and inscribed in February 1960 by the Hakuin
important as a representation of Hakuin’s earliest
authority Tsūzan Sōkaku (1891–1974), the seven-
extant paintings—he suggests that a painting similar
teenth abbot of Hakuin’s old temple, the Shōinji
to the present work was brushed by Hakuin in his
Temple in Hara.
thirty-fifth year.4 Moreover, Takeuchi provides no
examples of Second Patriarch paintings brushed
52
11
Hakuin Ekaku 白隠慧鶴 (1685 –1768)
Tenjin Traveling to China
Edo period (1615 –1868), circa 1760
As a god, Michizane took on the function of the
H 15 ¾" × W 5 ½" (incl. mounting 41¼" × 8 ¼")
God of Learning and received the blossoming
(39.9 cm × 13.8 cm, 104.5 cm × 21 cm)
plum flower as his symbol. Hakuin painted many
Hanging scroll, ink on paper
images of Michizane and seems to have been
fond of this gentle figure of learning and culture.2
Inscription:
It seems fitting that the God of Learning is here
drawn entirely in characters—in the so called mojie
唐衣おらで北野の神ぞとは
文字絵 »character painting« technique.3
袖にもちたる梅にても知れ
The inscription is from a 13th century Japanese text
Even if you cannot tell
in which the spirit of Michizane flies across time
From the Chinese robes he wears
and space and actively interacts with leading Bud-
You must know that it is him
dhist monks in Japan and China, more than 300
From the plum blossoms
years after his death.4 In this legend, he first ap-
He holds in his sleeves
pears in 1241 in the dream of a Kyushu merchant
and asks for a number of ceremonies in his honor.
Figure composed of characters:
Despite valiant attempts by the rich merchant,
they fail to satisfy Michizane,who decides to make
南無天満大自在天神
an appearance before the Tofukuji Temple abbot
Enni Benen 円爾弁円 (1202 – 80) in Kyoto and ask
Hail to Tenjin, God of the Tenman Shrine
to become his student. Enni instructs Michizane to
go instead to China and to seek guidance from the
great monk Wuzhun Shifan 無準師範（1178 –249),
Seals:
who was Enni’s own master. Michizane follows the
Hakuin 白隠
advice and travels to China in a single night to
Ekaku 慧鶴
appear before the Chinese monk and the two then
Kokan’e 顧鑑夷
hold a conversation, which includes an exchange
of poetry. This journey by Michizane to China
This whimsical ink painting by Hakuin is of Suga-
forms the title of this painting. A poem uttered by
wara Michizane 菅原道真 (845 – 903), a historical
Michizane is the one that Hakuin inscribed above
figure about whom many legends have been cre-
the painting. During the conversation, the Chinese
ated. Michizane was an aristocrat and courtier at
monk gives Michizane a Chinese robe as a sign of
the imperial palace in Kyoto and became a lead-
enlightenment, a robe that Michizane takes back
ing scholar and poet of his generation. After being
with him to Japan. Hakuin here depicts Michizane
falsely accused by a political rival, he was exiled
with the Chinese robe that he has just received
to Dazaifu in Kyushu, where he died in great sorrow.
from Wuzhun Shifan.
The legends have him come back later to the capital city as a malevolent ghost and cause great
The painting is interesting on a number of points,
havoc until the Kitano Tenmangū Shrine was built
as it represents interactions between religions
in his honor. Eventually his court titles and honors
and cultures, between images and words. The
were restored and he was deified as a Shinto god
Michizane painting can be seen as a symbolic
by the Heian leaders in an attempt to calm his
interaction between China and Japan (in people,
angry
54
spirit.1
in clothing, in travel, and in text) and between
religions (a Shinto god interacting with Buddhist
leaders and receiving enlightenment). We also
see the creative interaction between words and
images, as the clothing of Michizane is composed
of individual characters, forming the words »Hail to
Tenjin, God of the Tenman Shrine.« The characters
are not written in order, but instead randomly follow the contours of Michizane’s clothing and body.
The artist is mischievously playing a game with the
viewer and challenging him to solve the reading of
the visual puzzle.
We see Hakuin in this and other similar paintings
not as a strict promoter of his own sect, but rather
as a teacher who understands and appreciates differences—as someone who reaches across divides
between cultures, religions and traditions.
56
12
Sengai Gibon 仙厓義梵 (1750 –1837)
The Hakata Top Crossing a String
Edo period (1615 –1868), circa 1820
street performer, as he tries to gather a crowd (see
H 14 ¼" × W 21½" (incl. mounting 49 ½" × 24 ¾")
inscription). Of course, Sengai provides a serious
(36.3 cm × 54.7 cm, 126 cm × 62.6 cm)
edge to his joke: just as a slight movement to the
Hanging scroll, ink on silk
hand can make the difference between the top arriving (good luck) and the top flying away (bad luck),
Seal on painting: Sengai 仙厓
our lives and fortunes are also easily influenced
Painting inscription: Ladies and gentlemen, if you
by outside events. That is why we need to place our
are looking for wealth and fortune, then look at the
faith in permanent, immovable things, such as the
spinning top from Hakata, actually crossing a string.
Buddha.
Careful, careful! Look here, if you lower the string
then it will come spinning, spinning toward you. If
Sengai made a number of paintings of street per-
you raise it a little, then it will go spinning away, all
formers in order to illustrate his allegories.3 He
the way to the next town. So be careful of how you
was clearly interested in the life of the commoners
hold your string. Why don’t you try?
around him and saw the humor in daily life as an
effective way to make his serious points about life,
東西々々福徳を願ふ / なら博多古まの / 糸渡りアレ々々
religion and fate to the people who visited his
手元を / さくれハこちらへ / ころ々々ころんてこさる /
temple. The fact that this painting is done on silk,
手元を少高むれハ / 向ふ町へさけて行 / 手元におき
a rare material for Sengai, indicates that it was
を付られませ / ヨウ々々
made not for a common visitor but for an important
person. For Sengai the mixture of elite and com-
Box, outer inscription, top: »Brushed by the Monk
mon was entirely in character—in his paintings he
Sengai. Painting with Inscription of the Hakata Top
aimed at the common human condition of all, re-
Crossing a String« Hakata koma ito watari no gasan:
gardless of social status.4
Sengai oshō hitsu 博多古満糸渡りの画賛
仙厓和尚筆 1
Box, inner inscription:
Other examples of the spinning top performer are
»Title inscribed by the 70-year old Tōkō«
known. One example with a similar inscription is in
shichijū-ō Tōkō dai shirusu 七十翁韜光題署
the Idemitsu Collection5, a work that toured Europe
in one of the pioneering Edo-period Zen painting
We see here a strikingly humorous ink painting by
exhibitions in 1964.6 Other examples show similar
Sengai, one of the great Edo period Zen Buddhist
compositions, yet never exactly the same inscription
artists.2 Sengai depicts a street performer who bal-
and Sengai was apparently happy to keep chang-
ances a spinning top for an audience. The performer,
ing the wording of his message.7
the God of Luck Daikoku in disguise, balances the
top on a string which is tied to bales of rice—a refer-
The box is inscribed and authenticated by the Zen
ence to wealth in a time when wealth was generally
Buddhist abbot Tōkō Genjō. After a longer time of
measured in number of rice bales. There is also a
inactivity, Sengai’s old temple, the Shōfukuji 聖福寺,
large bag under the top, referring to the riches that
was revitalized by Tōkō. He was also active as a col-
may be available with luck.
lector of Sengai paintings. He became known as the
leading connoisseur of Sengai, and scrolls with
The joke here is how the important matter of fortune
his inscriptions are eagerly sought after by Sengai
in life can be reduced to a spinning top plied by a
collectors.8
street performer. The strangeness of the situation is
further reinforced by the colloquial banter of the
58
13
Kishi Chōzen 岸長善
(fl. 1st half of 19th century)
Fire in Edo
Edo period (1615 –1868), circa 1845
on the fire. The fire and great clouds of smoke can
H 50 ¾" × W 23 ¾" (incl. mounting 89 ¼" × 29")
be seen in the center, in the direction of Aoyama
(128.8 cm × 60.1 cm, 227 cm × 73.7 cm)
and the southwestern part of Edo.2
Hanging scroll, ink and light colors on paper
A number of Japanese paintings, for example emaTop seal: Kishi 岸
kimono narrative hand scrolls, woodblock prints,
Bottom seal: Chōzen 長善
books or paintings, show depictions of fire—and
Box inscription: »Shadow painting of a conflagra-
fire was also a major topic in literature and drama.
tion; night scene of Edo« 影絵火災　江戸夜景
Urban legends, such as the one about Yaoya no
Oshichi setting Edo afire to meet her beloved
During the Edo period, Edo became so famous for
monk, became one of many stories around which
its frequent fires (and fights) that it became popular
Kabuki and Bunraku plays were created. A whole
to say that: »Fire and Fistfights are the Flowers of
culture of fire and firefighters developed in Edo
Edo«, 火事と喧嘩は江戸の花
and much attention was given to the legend and
material culture of fire. It is not surprising that fire
With frequent earthquakes and architecture of wood
should capture the imagination of so many, when
and paper, fires were major events in the life of any
so much was at stake, even the lives of the citizens.
early modern Japanese city. None as much as Edo,
however, whose history is punctuated with major
Among the large groups of people gathering in
fires that razed large parts of the city, no less than
shadows are members of different professions
49 major fires during the Edo
Period.1
and social groups. The largest of these are the fire
fighters. They hold the tools of their profession—
In this rare and important painting we stand witness
banners, pikes and ladders—and are directed by
to another major fire in its early stages. What at first
city ward officials (machi bugyō) on horses with
appears to be a painting of the city at dawn is in fact
lanterns. Through this crowd scene, we can see how
a night scene with a fire in the distance. Upon see-
they have gathered, coming out of various build-
ing the running figures and riders on horses head-
ings and meeting in different groups, each with
ing toward the fire, the viewer starts to understand
distinct banners. The firefighters were divided by
the setting. The groups of firefighters and other citi-
name and area and were fiercely loyal to their
zens scurry about with lanterns in the darkness, some
group, working independently, sometimes in con-
clearly worried and yet others largely unconcerned
flict with other groups.3
with the approaching fire.
The drama of the fire and the firefighters heightThe painter of this scene was very careful with de-
ens upon coming closer to the fire. We see how the
tails: we are in the center of the city with the Edo
groups of firefighters with lanterns crowd across
Bridge to the middle-right edge of the painting.
the Edo Bridge and onto the other shore. Further
Further to the right, off the painting surface, is Nihon
on, we see how they have climbed up on the roofs
Bridge and the area with the merchant warehouses
of the houses right next to the fire, busily disman-
of Edo. Three of these large warehouses can be seen
tling houses and their tile roofs. The fires of Edo
to the left of the bridge, facing the river. From the
were not fought with water; rather, houses around
foreground to the far distance we see a multitude
the blaze were razed, creating natural fire barriers.
of fire towers with people on top, keeping an eye
60
The artist was clearly interested in the inner networks
tions, including early woodblock prints by Torii
of the city and delighted in his ability to depict as
Kiyonaga (1799), Dutch shadow prints by Jippensha
much information as possible through shadows.
Ikku (1810), parlor game prints of Hiroshige from
This he does in a remarkably complex way. We see
1842, and death portraits by Shibata Zeshin (1867).7
the different professions: geisha (elaborate hair
decorations), samurai (two swords), blind masseurs,
The artist Kishi Chōzen is presently unidentified, but
itinerant monks, porters, prostitutes, palanquin
this may be due to a number of factors, including
carriers, travelers, guides, merchants, waitresses
the possible need for anonymity in describing with
and even two dogs. The lanterns are likewise
great detail a scene that led to great destruction.
differentiated, with the marks of daimyo, temples,
Possible candidates are lesser-known members of
firefighter groups, restaurants, and food vendors.
the Kishi painting school, or a talented monk affiliated with the temple Chōzenji 長善寺 8 in Edo. An-
The artist seems to have had a soft spot for eating
other possibility is Chisen Daigu 智仙大愚 (ac. mid
establishments, as we see them in grand detail,
19th century), a poet in the Yanaka 谷中 district of
from a fine two-storied restaurant in the middle
Edo. He was active in the cultural circles of Edo in
(the Iroha いろは establishment) to a ramen noodle
the mid-nineteenth century and went by the name
shop and other eating stalls in the center. Restau-
of Chōzen 長善.9 In any case, the artist certainly had
rants were at the time not only places to eat, but
great talent and familiarity with the organizations
were also places to gather for entertainment or other
within the city, especially that of its firefighters: the
cultural activities, such as poetry groups or sales
details are remarkable, and the skill undeniable.
of art, and they frequently became the subject
We also get an indication of how a later owner of
matter for paintings or prints.4 This painting shows
the painting placed great value on this rare painting
an unusual example of a high-class restaurant in
by mounting the painting in rare imported sten-
full operation against the approaching inferno on
ciled cotton textile that was likely brought to Japan
the horizon.5
by Dutch traders in Dejima.
Another aspect of Edo food culture can be seen
in the booths of soba sellers in the center and the
very bottom of the painting. Both of the soba sellers are labeled Nihachi 二八 and are thus the same
establishment. The »Nihachi« also refers to a special kind of soba (called the Nihachi) that was introduced in 1716 and became enormously popular
in Edo during the mid- and late Edo period.6 The
soba was made on the spot and served hot, in fact
what we can see happening in the painting.
The prodigious amount of information conveyed by
shadows reflects a strong interest in the tradition of
shadow pictures. These types of shadow paintings,
or kage-e 影絵 became popular during the 18th and
19th centuries and appear in a number of permuta-
62
14
Mochizuki Gyokusen 望月玉泉
(1834 –1913)
Waterfall
Meiji Period (1868 –1912), circa 1900
Gyokusen’s painting reflects a clear interest in re-
H 65 ½" × W 22 ½" (incl. mounting 92 ¾" × 28 ¼")
alism. We also see his interest in earlier Japanese
(166.3 cm × 56.4 cm, 235.5 cm × 71.8 cm)
paintings as his work follows a tradition of monu-
Hanging scroll, ink and silver on silk
mental waterfalls by Maruyama Ōkyo.1 The intent
here was to create the feeling of a real waterfall,
Signature: »painted by Gyokusen« 玉泉写
which, when hanging in the tokonoma alcove, ap-
Seal: Shiseikan 資清館
pears to come crashing down, the four walls of
A thunderous waterfall crashes down onto rocks
ing down onto the tatami floor. Just as in the earlier
in this masterful display of natural forces. An ency-
versions by Ōkyo, Gyokusen emphasizes this surre-
clopedic array of ink techniques come together
al scene in a small room by the oversized format
to create a powerful, yet poetic evocation of a mas-
of the painting, almost 8 feet in length.2
the small room now sheer cliffs and the water rush-
sive waterfall in action. Through the mist, spray
and streams, we see here all the permutations of
Gyokusen was born in Kyoto and became the fourth
a waterfall in one great image.
generation Mochizuki painter, after taking over
from his father Gyokusen 望月玉川 (and eventually
Gyokusen uses the tarashikomi technique of drip-
handing it on to his own son Muchizuki Gyokkei
ping ink into wet ink, creating a mottled effect on
望月玉渓). Taught by his father, he took over the
the rocks. He sprays tiny ink droplets on the silk
family workshop and became the appointed court
surface and paints water splashes to portray the
painter for the imperial house. He became a lead-
violent energy of water crashing onto sheer rock.
ing figure of the Meiji-period Kyoto art scene, and
His use of fine silver droplets to simulate glistening
together with Kōno Bairei 幸野梅嶺 he founded the
water mist in the sunlight is rare and striking. By
Kyoto Prefectural Art School 京都府画学校 in 1878.
gradually shrouding details in mist as one goes
He was active in foreign exhibitions and won the
down the waterfall, the artist has generated a clear
Bronze Medal at the International Paris Exposition
contrast between the darkly-modulated and clear
in 1889. In his old age, he received numerous
details at the top of the paining and the misty grays
national prizes and honors and retained his close
a the bottom of the fall, heightening the narrative
connection to the imperial house.3
of a waterfall in action.
64
15
Hirai Baisen 平井楳仙 (1889 –1969)
The Snow of Kamogawa River 鴨川の雪
Taishō Period (1912 – 26), dated 1917
the late Taishō period, using similar techniques.3
H 50" × W 16 ½" (incl. mounting 85" × 22")
Clearly the artist had no difficulties in adjusting his
(126.7 cm × 41.9 cm, 216 cm × 55.8 cm)
compositions to different scales and formats.
Hanging scroll, ink, colors and gofun on silk
The artist was known for his remarkable changes in
Painting signature: »Painted by Baisen« 楳仙画
style and subject matter. His return from a trip to
Painting seal: Baisen 楳仙
China in 1913 inaugurated a period during which he
Box inscription, top:
created ink landscape paintings of Chinese moun-
»The Snow of Kamogawa River« 鴨川の雪
tains and pagodas.4 Later yet, his attention returned
Box inscription, inside:
to Japan and he went into a period of brilliant rec-
»Painted by Baisen on a spring day in 1917.
reations of his hometown, Kyoto. Not only did his
Titled by the artist himself«丁巳春日作楳仙自題
theme and subject matter change, but so did his
Seal: Baisen 楳仙
techniques and materials used. In place of ink and
Box inscription, end:
paper, he later used silk and heavy Nihonga-style
»By the brush of Baisen. Painting of Snow and Ka-
pigments of mineral colors and gofun, a powder
mogawa River. Matsubara Miyagawa 7-chō. Colors
derived from seashells.
on silk. Matched box«
松原宮川七丁　楳仙筆　鴨川雪の図　着色絹本　Baisen was particularly adapt in the use of gofun,
共箱　七丁
which, because of its thick and inflexible consistancy, can be difficult to use and tends to flake off.
It is a winter day with falling snow, the sky darken-
For this painting, Baisen prepared layers of gofun
ing in the late afternoon. We see a footbridge, the
on the front as well as on the back of the silk. Using
Matsubara Bridge, crossing the Kamogawa Riv-
the white material on both sides of the silk5 made
er in Kyoto, to the south of Shijō Street.1 Outlined
it possible to show various shades of white and
against the sky are the Higashiyama mountains on
impart a sense of depth to the colors. It also makes
the eastern side of Kyoto. On the far side of the river
the gofun snowflakes stand out more against
are the teahouses of the Gion entertainment dis-
the fine ink wash and gives a feel of looking at a
trict. The two travelers on the footbridge are head-
landscape through falling snow.6
ing toward Gion, perhaps customers preparing to
visit a favorite establishment or perhaps the geisha
Baisen was a leading painter of the twentieth-cen-
getting ready for that evening’s performance.
tury Nihonga movements during Taishō to early
Shōwa periods.7 An art critic and intellectual, he
The site, the Kamogawa River and the teahouses
was well aware of the history and traditions of
along its banks, has long been one of the famous
Japanese art, as can be seen in this painting, which
sights of Kyoto. This was the case in the 16th/17th
shows references to a line of prior images, from
century Rakuchū rakugaizu screens and was still
the early Rakuchū rakugaizu screens8 to the 19th
the case in the time of Hirai Baisen. Further views
century landscape prints by Hiroshige to early
of the area are included in the three albums that
20th century prints by the Shin hanga artists. The
Baisen composed for the tenth Bunten Exhibition
painting represents a brilliant reworking of past
in 1916, depicting thirty different views of Kyoto,
traditions and an evocative new depiction of one
entitled Miyako
sanjukkei.2
Interestingly, Baisen also
painted the Higashiyama mountains of the area
on a pair of monumental landscape screens during
66
of Kyoto’s famous sights.
16
Watanabe Shōtei 渡辺省亭 (1851–1918)
New Year with Small Pines and a Pair of Cranes
正月小松と雙鶴
Meiji period (1868 –1912), circa 1910
Shōtei, one of the greatest animal painters of the
H 42 ½" × W 15 ¾" (incl. mounting 75 ½" × 20 ¾")
Meiji period, the painting becomes much more
(108 cm × 39.9 cm, 192 cm × 52.6 cm)
than a New Year’s symbol. For one thing, Shōtei
Hanging scroll, ink, color and lacquer on silk
had a clear interest in portraying animals with real
personalities. The eye of the upper bird, painted
Inscription: Shōtei 省亭
with ink and black lacquer, is particularly life-like
Seal: Shōtei 省亭
and captivating. Through the poses of the birds,
Box top: »New Year: Small Pines and Crane Pair,
we also get a sense of cranes with different person-
Painted by Shōtei.« 正月小松と雙鶴　省亭画
alities: one protecting, the other cowering in the
Box end: »Pair of cranes by the brush of Shōtei,
shadow of the larger bird.
(First) Month.« 雙鶴省亭筆［正］月
Further, the combination of rough brush strokes at
Crane paintings have a venerable tradition in Japan
the tail feathers with fine brush strokes and details
and there are numerous well-known works on the
at the heads and beaks creates interest and vitality
theme.1
to the scene.
In Japan the combination of cranes with
young pines and the rising sun became a symbol
for the New Year and displaying such images at
Shōtei was one of the most colorful characters in
homes and institutions became a favorite way to
the art scene of the Meiji period and became a real
welcome the new
season.2
celebrity of his time.3 He was the first Japanese
student to study in Europe and learned, in 1878 – 81,
New Year was clearly also the intended message
the Western painting methods of his time. He won
in this painting, judging from the title that the artist
prizes in numerous Western exhibitions—such as in
wrote on the tomobako box. Yet, in the hands of
Paris in 1878, Amsterdam in 1883, and Chicago in
1893—and became one of the best-known Japanese
artists in the West. He also published numerous
books on paintings, collaborated on cloisonné designs, and courted controversy, for example, by
daring to publish a nude study in the journal Kokumin
no tomo in 1889.
The level to which he was esteemed by others—and
himself—can be gauged by the striking ichimonji
mounting of this hanging scroll: the design is his
own and displays a woven pattern with Shōtei’s
own seals, highlighted in silver and gold threads.
Shōtei was clearly an artist not afraid to go against
the conventions nor afraid of standing out in crowd.
And as we see in this superb bird study, he had
ample reasons to be justifiably proud of his skills.
68
17
Tojima Mitsuzane 戸島光孚 (fl. 1906 – 40)
Set of Three Lacquer Paintings with Carps
Shōwa Period (1926 – 89), dated 1929
his composition: »Lacquer paintings, set of three.
H 52 ¼" × W 16 ¼" (incl. mounting 83 ¼" × 21¾")
Center: Waterfall-Climbing Carp. Left and right:
(132.5 cm × 41.5 cm, 211.5 cm × 55.2 cm) each
Playing Carps.« This takes on an extra meaning in
Set of 3 hanging scrolls
spoken Japanese, as »playing carp« (yūri 遊鯉),
Lacquer, light color and ink on silk
can also be read »asobu koi« or »asobi koi«, the
same pronunciation as »come, let’s play!« In other
Inscription on central painting:
words, the stern injunction to persevere and to
»Lacquer painting by Mitsuzane of Kyoto«
sacrifice is here undercut with calls for enjoyment.
平安光孚漆画
Inscription on outer paintings:
The artist, Tojima Mitsuzane (also known as Kōami)
»Lacquer painting by Mitsuzane« 光孚漆画.
was a remarkable Kyoto lacquer artist who active-
Seal on all three paintings: Mitsuzane 光孚
ly took part in the changing cultural world of his
Box, outer inscription:
time.2 He was the founding editor of the Shikkikai,
»Lacquer paintings, set of three: center, waterfall-
an influential journal devoted to developments in
ascending carp; left and right, playing carp«
the lacquer world, and his interest in new ideas and
漆画　中瀑布登鯉　右左遊鯉之図　三幅対
reinterpretations of lacquer traditions can clearly
Box, inner inscription: »Mitsuzane of Kyoto painted
be seen in the way he works as a cross-over artist in
this, dated June of the year corresponding to 1929
this painting. He uses his lacquer techniques on the
(Shōwa 4)« 昭和己巳ノ初夏　平安　光孚画之
silk surfaces of the paintings but then adds details
Seal: Mitsuzane 光孚
in regular ink, colors and gold wash. He effectively
uses the glistening surface of lacquer to simulate
A striking set of three paintings depicting various
the glistening scales of the carps; this works partic-
aspects of the carp. The carp has many connota-
ularly well on the central waterfall-climbing carp’s
tions in Japanese culture and a key meaning dates
fish scales between the streams of water.
back to Chinese texts. It was said that a carp which
succeeded in ascending the Longmen Waterfall in
Mitsuzane’s attention to detail can also be seen
the Jishishan Mountains of China would become
in the silk mounting of the paintings, which have
a dragon. In extension, the image of the waterfall-
a design of water skaters and waves, echoing the
springing carp came to take on the symbolism
subject matter of the painting.
of perseverance. In Japan the image became a
fitting present for someone who had to overcome
We know that Mitsuzane took part in group exhibi-
adversity; for example, a student about to take
tions in the late Meiji period (the earliest record is
entrance exams.
1906) and that he exhibited lacquer pieces in several
national exhibitions, notably the 15th Teiten Exhibi-
The artist here, however, plays with this idea as he
tion (1934), the Revised Teiten Exhibition (1936),
depicts not only the central carp trying to cross
and the National Commemoration Exhibition (1940).3
the waterfall, but also two carps on the side paint-
He also held solo exhibitions, including a major one
ings swimming in tranquil waters. Although this
at the Tōhoku Kurabu in December 1917. Mitsuzane
combination is not unusual in itself, and artists such
was seen as an important lacquer artist of his time
as Maruyama Ōkyo (1733 – 95) have painted both
and there are several examples of his work in the col-
we understand the in-
lection of the Imperial Palace. In 2007, some of these
tention of the artist on reading the cover of the
objects were exhibited in a major exhibition of Taishō
wooden tomobako box. There the artist has entitled
period art in the Imperial collection.4
types of carp
70
paintings,1
18
Sano Kōsui 佐野光穂 (1896 –1960)
A Cat in a Melon Patch
Taishō Period (1912 – 26), circa 1925
The technique he uses throughout is tarashikomi,
H 57" × W 20" (incl. mounting 85" × 26")
a procedure in which ink, mineral colors and gold
(145cm × 50.7 cm, 216 cm × 65.8 cm)
are dipped into a still-wet surface of ink.1 As the
Hanging scroll, ink, colors and gold on silk
technique is difficult to control, it is usually done on
sized paper; tarashikomi on silk, as in this case, is
Signature: Keimei 契明
rare. The resulting painting is an elegant display of
Seal: Keimei 契明
the superlative skills of the artist.
A black cat sits among melons and looks out at the
Sano Kōsui came from the Nagano prefecture and
world. The artist presents us here with a striking
arrived in Kyoto in 1914 during the Taishō Period,
composition of a cat sitting in unexpected surround-
when many great painters were active at the same
ings. The painting is a well thought-out composi-
time.2 He was fortunate to become a student under
tion of shapes and colors in which the black furry
two of the leading artists of the time. He first learned
cat with golden eyes stands out among the light-
Shijō school techniques under Kikuchi Keigetsu
colored spiraling tendrils, decaying flowers, and
菊池契月 (1879 –1955), then Nihonga techniques
bulbous melons.
under Tomita Keisen 富田渓仙 (1879 –1936).3
The technical skills of the artist are astonishing:
The artist was also known for his independence and
he manages to combine the ink, colors and gold
strong will. He was ousted from Keigetsu’s studio
—both wet and dry—to create the furry coat of the
after he married against the wishes of his master.
cat (by making ink seep out into the silk) as well
Keisen, however, respected his talented student and
as the surface patterns of the melon and leaves.
the relations between the artist and his new master
remained harmonious.
Kōsui moved to Kobe, but returned to Kyoto in 1928,
where he stayed for the rest of his professional life.
He specialized in paintings of animals and took part
in numerous exhibitions. His works were also included in prestigious national venues, such as the
Teiten and the Inten exhibtions.4
72
19
Tsuji Kakō 都路華杳 (1870 –1931)
Daruma Portrait
Taishō Period (1912 – 26), circa 1915
mottling of the surface, giving a realistic touch.
H 46 ¼" × W 16 ¼" (incl. mounting 84 ¾" × 23")
Kakō created a series of Daruma portraits in the
(117.2 cm × 41 cm, 215 cm × 58.2 cm)
1910’s 1; as in the other extant examples, there is
Hanging scroll, ink and colors on paper
also here an emphasis on the chest and the general hairiness of the Indian patriarch.2
Signature, painting: Kakō 華香
Seal, painting: Kakō 華香
One may well ask why a Nihonga artist would paint
a series of Daruma images, a topic one would
Box inscription, top:
rather expect from Zen monks. One reason is Kakō’s
»Painting of Bodhidharma« 菩提達磨図
strong belief in Zen Buddhism, which is reflected
in the thirty years of religious training he underwent
Box inscription, signature and seal inside:
with the monk Mokurai (1854 –1930), a Zen Bud-
»Title by Kakō« 華香題 and Shishun 子春
dhist abbot of the Kenninji Temple in Kyoto.3 Further,
the historical and textual roots of Buddhism were
This striking portrait of the First Patriarch of Bud-
an important theme for the intellectuals of the Taishō
dhism, Bodhidharma (Japanese: Daruma) was
period. This was the time of the compilation and
painted by the noted Nihonga artist Kakō in the
publication of the great Taishō shinshū Daizōkyō, a
Taishō period. The body and robe of the patriarch
monumental work of Buddhist scholarship which is
are painted with strokes of abstracted repetitions,
still in use across the world. Therefore an intellectual
varying only in density. The heavy layering of color
interest in Buddhism and in the founder, Daruma,
on Daruma’s chest has resulted in an interesting
may also have been a reason for the many portraits.
Kakō was known for his unusual cutting-edge images
and succeeds, more than almost any other Japanese
artist of his time, in combining Japanese painting
tradition with modernist ideas; here, an old tradition
of drawing portraits of Daruma is updated by the
artist.4 For an example of his modernist painting in
a screen format, see our 2009 publication, item 3.
In the past decade, awareness of the artist has grown
dramatically in the West and Kakō is now well represented in the museums and collections of the
Western world.
74
20
Nantembō Tōjū 南天棒登洲 (1839 –1925)
Hearing Nothing, Seeing Nothing
Taishō Period (1912 – 26), dated 1923
outer world for three days. That is, the word katsu
H 54 ¾" × W 20 ½" (incl. mounting 80" × 26 ½")
brought enlightenment to the monk through the
(139.3cm × 52 cm, 203 cm × 67 cm)
sheer force of its delivery and the overwhelmingly
Hanging scroll, ink on satin
strong personality of the master monk.
Signature: »eighty-five year old Nantembō Tōjū«
Nantembō cleverly recreates this verbal explosion
八十五翁南天棒登洲
into a two-dimensional format by crashing his inkloaded brush with such force on the satin that ink
Seals:
splashes all over the surface—and even beyond.
1) »eighty-five year old Nantembō« 八十五翁南天棒
2) Hakugaikutsu 白崖窟, and 3) Tōjū
登洲 1
Matthew Welch describes an eye-witness description of such creations: »Nantembō…heavily loading
his oversized brush, slightly pinched the tip to tem-
Inscription: »Katsu! And for three days, hearing
nothing« Katsu mikka jirō
喝三日耳聾 2
porarily stop the flow of ink out of the bristles, and
then with great gusto hit the paper with the brush
to begin the character.«4 Clearly the monk was sim-
Box inscription: »Nantembō ›Katsu mikka jorō‹
ulating the verbal force of his distant predecessor
scroll with satin« 南天棒　喝三日耳聾　絖本竪幅
and attempted to lead his viewers to enlightenment
through a powerful calligraphic recreation of the
This powerful calligraphic scroll by the Zen monk
word katsu.
Nantembō shows the aged artist at the height of
his powers. At eighty-five, the monk still astonishes
Nantembō returned repeatedly to the word katsu;
the viewer with his forceful strokes and his clear
for example, a hanging scroll with a large single
insight into Zen Buddhist texts and traditions.
character dated to 1911 is in the collection of the
Museum of East Asian Art in Berlin.5 However, the
In this scroll Nantembō quotes an early key text of
combination of the character with the above inscrip-
the Zen monks, the Jingde chuandenglu (Japanese:
tion from Jingde chuandenglu is rare, and the
Keitoku dentōroku)『景徳伝燈録』, compiled in 1004.
present example may be the only extant version. It
The biography of the monk Hyakujō Ekai 百丈懐海
is in any case a remarkable example of Nantembō’s
(749 – 814) is described in this text, including how
striking visual interpretations of Zen Buddhist his-
he repeatedly goes to his master, the great monk
tory through the medium of calligraphy.
Basō Dōitsu 馬祖道一 (709 – 88), in order to receive
guidance on his quest toward enlightenment. The
meeting is recorded as follows:
When I again approached Master Basō, he gave out
a great yell: »Katsu!« and I could not hear for three
days, nor could my eyes see.
老僧昔再参馬祖被大師一喝、直得三日耳聾眼暗 3
In other words, the yell »katsu!«—a word used
to help bring monks to enlightenment—was said
with such force that the monk was lost to the
76
Bamboo Baskets
21
Yamamoto Chikuryūsai 山本竹龍斎
Boat-Shaped Wide Basket 船形広籃
Taishō Period (1912 – 26), dated 1916
wider bamboo strips held together with rattan.
H 15 ¼" × L 20 ¾" × W 11¼"
The distinctive four-point handle is attached to the
(38.5 cm × 52.5 cm × 28.5 cm)
body with rattan braiding, which covers the entire
Ikebana flower basket
surfaces of the handle in an elegant pattern.
Madake bamboo, Hōbichiku bamboo
and rattan
The basket comes with its original fitted tomobako
box which is lacquered on all surfaces, a sign of the
Incised signature on the bottom:
high value Chikuryūsai placed on the basket and
Chikuryūsai kore tsukuru »Chikuryūsai made this«
a treatment generally reserved for karamono-style
baskets. The box bears the inscriptions, signature,
Box inscription, outside:
date and cipher of Chikuryūsai.
Funagata morikago »Boat-Shaped Wide Basket«
Chikuryūsai must have been very satisfied with
Box inscription, inside: early spring, 1916 and
this boat-shaped basket, for when he was offered
signed Chikuryūsai with a kakihan cipher.
the opportunity to exhibit in Paris in 1925 at the
Japanese art exhibition, he made a slightly longer
This exceptional ikebana basket is a fine example
basket in the same shape and construction. This
of the Chinese karamono-style, in which narrow
exhibition basket was illustrated in the 1925 catalog
bamboo strips are plaited symmetrically with
and won a silver prize. It is now in the collection of
great precision. Here the strips are plaited in the
the Oita Prefectural Arts and Crafts Museum.
hexagonal muttsume pattern and supported by
80
81
22
Maeda Chikubōsai I
前田竹房斎 初代 (1872 –1950)
Wide-Mouthed Flower Basket 広口花篭
Shōwa Period (1926 – 89), dated 1942
which is reinforced by two larger bamboo pieces
H 19 ½", D 10"
crossing the center. One of these pieces bears the
(49.5 cm, 25.5 cm)
incised signature reading Chikubōsai made this.
Ikebana flower basket
Madaken bamboo, Hōbichiku bamboo
The sides are made of narrow strips of split madake
and rattan.
bamboo, plaited in a variation of the ajiro ami twill
pattern. The sides are reinforced by six vertical
Incised signature on the bottom:
bamboo ribs, which are tightly plaited with rattan.
Chikubōsai kore tsukuru »Chikubōsai made this«
The rim is plaited in no less than five different
patterns. The handle is made of three Hōbichiku
Box inscription, outside:
bamboo sections, decorated on the top with fine
Hiroguchi hanakago »Wide-Mouthed Flower Basket«
knotting and held to the body at ten points using
tight rattan knotting.
Box inscription, inside: Autumn day of the 2602nd
year of the Japanese Imperial calender (=1942).
The basket comes with its original fitted kiri-wood
Senyō Kuzezato Chikubōsai kore tsukuru
tomobako box bearing the inscriptions, signature
»Chikubōsai of the Senyō Studio in Kuzezato made
and seal mark of Chikubōsai.
this« with square red seal mark reading Chikubōsai.
Chikubōsai was one of the greatest basket makers
This large ikebana basket is made in the Chinese
of the Kansai region. He was active in the golden
karamono style, with exacting symmetry and
age of Japanese basketry, 1910 – 40, when high-qual-
perfection.
ity baskets such as this one were eagerly collected
by the Japanese and used in the tea ceremony.
The bottom is made of bamboo in the circular
Chikubōsai remained active through the second
amida kōami plaiting, where the bamboo strips are
World War and continued to make outstanding
arranged tangentially to form a circular opening,
baskets in those difficult years, such as this one in
1942 and another, item17 in our 2009 publication,
in 1941.1
His son, Chikubōsai II (1917 – 2003), continued the
basketry tradition and was named Living National
Treasure for bamboo crafts in 1995.
82
83
23
Tanabe Chikuunsai I
田辺竹雲斎 初代 (1877 –1937)
Crouching Tiger 虎伏
Shōwa Period (1926 – 89), 1920s
bottom in the hexagonal muttsume pattern. The
H 17 ¾", D 10 ¾"
bold handle of Kinmeichiku bamboo also has an
(45 cm, 27cm)
unusually beautiful patina and strength through
Ikebana flower basket
its bent form. In fact, the title that Chikuunsai gave
Kinmeichiku bamboo, Hōbichiku bamboo
the basket, »Crouching Tiger«, derives from this
and Madake bamboo
powerful handle.
Incised signature on the bottom:
The basket comes with its original lacquered bam-
Chikuunsai kore tsukuru »Chikuunsai made this«
boo otoshi tube to hold flowers and water and with
its original fitted and inscribed kiri-wood box.
Box inscription, outside:
Kinmeichiku hanakago torafushi
For two similar baskets using the same types of
»Kinmeichiku Bamboo Flower Basket: Crouching
bamboo, see Japanese Bamboo Baskets: Master-
Tiger«
works of Form & Texture from the Collection of
Lloyd Cotsen (Los Angeles: Cotsen Occasional
Box inscription, inside: Sakai-fu nansō Chikuunsai
Press, 1999), item number 85 by Chikuunsai I and
kore tsukuru »Chikuunsai of the Nansō Studio in
item number 86 by his son Chikuunsai II.
Sakai-fu made this« with two red square seal marks
reading Ta[nabe] Tsune[o] no in »seal mark of
Tanabe Chikuunsai, the son of a high-ranking phy-
Tanabe Tsuneo« and Chikuunsai.
sician in the Kansai region, studied bamboo art
under Wada Waichisai I from the age of 18. After
Chikuunsai was at the apex of his career when
becoming independent six years later in 1901,
he made this outstanding basket using smoked
he won numerous awards at national and interna-
Hōbichiku bamboo with rich patina for the basket,
tional art exhibitions, including one in Paris in
plaiting the sides in the hemp-leaf pattern and the
1925. He is especially well known for his precise,
detailed karamono-style baskets. He taught numerous apprentices, including Chikubōsai I and his
son, Chikuunsai II.1
84
85
24
Morita Chikuami
森田竹阿弥 (1877 –1947)
Flared Flower Basket 末広形花籃
Shōwa Period (1926 – 89), 1930s
a warm patina over time. To add to an aged, rustic
H 19", D 10 ¼"
look, sabi or charcoal powder was dusted onto the
(48.5 cm, 26 cm)
surfaces and then only partially brushed away, re-
Ikebana flower basket
maining in corners and cracks. The body is plaited
Hōbichiku smoked bamboo and rattan
in an irregular ajiro ami or twill pattern and along
the vertical bamboo strips and the handle are fancy
Incised signature on the bottom:
knots made with rattan.
Chikuami kore tsukuru »Chikuami made this«
The basket is square on the bottom, flaring out to
Box inscription, outside:
a larger round opening. This suehiro or flaring shape
Suehiro gata hanakago »Flared Flower Basket«
is auspicious in Japan, as it symbolizes growth and
improvement, starting small and growing in size.
Box inscription, inside:
Chikuami zō »Made by Chikuami«
On the bottom edge is the artist’s finely incised
with a round red seal mark reading Chikuami.
signature. The basket is complete with the original
Collector’s label on the box reads Takekago
otoshi bamboo tube to hold the flowers and water
hanaike or »Bamboo Basket Flower Vessel«
and the original fitted tomobako box.
This basket in the Japanese taste was made to look
Chikuami is the artist name of Morita Shintarō, who
rustic, using old hōbichiku smoked bamboo and
was active in Kyoto in the early Shōwa period. For
including knobbed node sections in the design.
this basket in the Japanese style (as opposed to the
After plaiting, the outer surfaces were lacquered
karamono Chinese style) he used Hōbichiku bamboo,
with a red-brown natural lacquer that has acquired
which is a smoked bamboo traditionally used in farm
house ceilings. They can be hundreds of years old
and have gained a warm rich-colored patina from
age and from hearth smoke.
For another basket by Chikuami in the karamono
Chinese style, see our 2006 publication, item 13.
86
87
25
Kyokusai 旭斎 (ac. 1910 – 40)
Flower Basket 花籠
Shōwa Period (1926 – 89), dated 1937
For a basket of similar shape and construction
H 17" × L 9 ¼" × W 7"
using light-colored bamboo, see Japanese Bamboo
(43.3 cm × 23.5 cm × 18 cm)
Baskets: Masterworks of Form & Texture from the
Ikebana flower basket
Collection of Lloyd Cotsen (Los Angeles: Cotsen
Susudake bamboo and rattan
Occasional Press, 1999), item number 210, entitled
Magaki or »Fence.«
Incised signature on the bottom:
Kyokusai saku »Made by Kyokusai«
Kyokusai is believed to have studied under Suzuki
Kyokushōsai 鈴木旭松斎 and to have worked in
Box inscription, inside: Hanakago »Flower Basket«
Tokyo from the Taishō to early Shōwa periods.
and Kyokusai saku »Made by Kyokusai« with a rectangular red seal mark reading Kyokusai. Dated
April, 12th year of Shōwa (=1937).
This elegant masterpiece follows the Sensuji gumi
or thousand-line construction, with parallel rows of
narrow susudake bamboo strips held together by
lines of rattan plaiting. Looking closely, one notices
that Kyokusai cleverly arranged the bamboo strips
so that the nodes appear on the bottom only. This
arrangement keeps the sides smooth without
distracting irregularities and reinforces the pure,
minimalist design.
88
89
Lacquers
26
Incense Box with the Full Moon
and Nanten
Edo Period (1615 –1868), 18th C
in gold, silver, red and green hiramakie lacquer.
H 1" × L 2 ¾" × W 2 ¾"
The insides and the bottom are sprinkled with
(2.3 cm × 6.8 cm × 6.7 cm)
small nashiji gold flakes and the rims are created
Lacquer box
of pewter.
Box inscriptions:
The kōgō comes with an old fitted kiri-wood box
Kaneda 金田
inscribed on the inside of the cover and on the
Hōjuten 宝珠店
bottom with collector’s numbers and marks and the
»Number nine« 九番
name of an art shop, the »Shop of the Treasured
Jewels« the Hōjuten 宝珠店.
In this evocative autumn view, we see sprays of the
Nanten 南天 (Nadina, Nandina domestica) against
the full moon. The season is indicated by the Nanten’s lingering blossoms on its branch tips and by
its reddening berries that fully ripen in late autumn.
With its red fruits, the Nanten became a symbol
of winter, and the red berries are often depicted
by Japanese artists who contrast them against
the white snow. Here, however, the Nanten is used
as a marker of the late autumn. The full moon on
the box is also associated with autumn in Japan, as
it is thought to be most beautiful in that season.
The scene depicts the melancholy moments of lingering beauty, just before the winter sets in.1
The Kōgo incense box is formed in a rounded
square shape and decorated on the top with the
full moon in gold and silver togidashi lacquer.
Around the moon and on the sides of the kōgo are
branches, flowers and berries of the Nanten plant
92
93
27
Writing Box with Fans and
Autumn Grasses
Meiji Period (1868 –1912), circa 1900
court tradition, the exchange of fans decorated
H 1½" × L 8" × W 7 ¼"
with painting or calligraphy.1 The building on the
(4 cm × 20.4 cm × 18.4 cm)
lower fan is in the Heian period shinden-zukuri
Maki-e lacquer box
palatial architecture style, with references to Heian
period Tales of Genji paintings, which featured
Inscription (on box top): »Autumn grasses pattern
similar settings with finely tended gardens. As
lacquer writing box« 秋草模様蒔絵硯筥
can be seen in item 2 of the present publication,
Inscription (on end of box): »Small type writing box,
scenes from Genji were also painted on folding
autumn grasses pattern, received from Mr. Nagata.«
screens in the Momoyama and Edo periods and
小形硯箱　秋草蒔絵　永田氏ヨリ
such compositions would have been familiar to
members of the educated elite.
The two gold-lacquer fans on the cover of this superb rectangular suzuribako writing box distinct-
The veranda of the palace building on the fan,
ly stand out against the roiro mirror-black ground.
however, is without its Prince Genji. The stage was
The upper fan is decorated with a scene of chry-
likely left open by the artist to impart a generic
santhemum flowers by a bamboo fence and flow-
Heian flavor to the composition without anchoring
ering trees, rocks, waterfall and stream; the lower
it to a specific text or scene. Perhaps it was left
fan with a palace building by a garden with pines,
open so that the owner of the writing box could im-
cherry blossoms and fence, all surrounded by gold-
agine himself in the role of the Heian-period aris-
en clouds. The décor is executed in finely-detailed
tocrat, about to open the box to brush a poem to
high-relief takamakie gold, silver and red lacquer
a distant lover.
with additional details in hiramakie and togidashi
lacquer and many inlays of irregularly-cut kirigane
Opening the writing box, one is rewarded with
gold foil squares and triangles. The curved outside
a dramatic view of a multitude of swaying fall
edges of the box are lacquered in togidashi gold
grasses, the Japanese pampas grass susuki 薄, in
lacquer; the rims of the box and of the ink stone in-
hiramakie gold and silver lacquer with the round
side are in solid silver.
suzuri ink stone representing the full moon. This
inner composition refers to the Autumn Moon
The writing box contains numerous references to
Festival, the Jūgoya 十五夜, which is often symbol-
the literary traditions of courtly Japan, specifically
ized by susuki and the full moon. The festival takes
to those of the Heian period, which was seen by
place on the 15th day of the 8th month of the
many as the pinnacle of Japanese cultural achieve-
lunar calendar (usually mid- to late-September in
ments. The décor on the cover refers to a Heian
the Gregorian calendar), a date that parallels the
autumn equinox in the northern hemisphere. The
traditional food for this festival is the round cake
tsukimi dango 月見団子, which echoes the shape
and color of the distant moon.
The writing box comes complete with the original
two brushes, paper cutter and suiteki water dropper
in the shape of shikishi poetry cards, all lacquered
in togidashi gold lacquer; and with the original kiriwood fitted box.
94
95
28
Writing Box with Books
Edo Period (1615 –1868), early 19th C
a rectangular silver suiteki water dropper and is
H 2" × L 9" × W 8 ¼"
decorated with more waves in gold and silver
(4.9cm × 22.8 cm × 21 cm)
togidashi. Below the tray, on the inside bottom of
Maki-e lacquer box
the writing box, are fifteen Chidori plover birds in
hiramakie gold lacquer, flying in a circular pattern.
Inscriptions (on end of outer box): 1) »Gold lacquer
writing box with books« 本蒔絵硯箱; 2) »Number
The scene refers to a poem from the famous poetry
seven. Strewn gold flakes and gold lacquer of
anthology, the Kokin wakashū:
books. Writing box, one piece«
七番　なし志　本　のまきへ　すすり箱　一ツ
The plovers dwelling in Sashide Bay by its the salty
cliffs cry yachiyo, wishing our lord a reign of eight
This exquisitely crafted gold-lacquer suzuribako
thousand years.
writing box, rectangular with rounded corners, is
decorated on the cover with two Japanese books,
しほの山さしでの磯にすむ千鳥　君がみ代をばやち
placed partly on top of each other, in raised taka-
よとぞ鳴く1
makie gold lacquer. The top book is decorated
with a dragon in dark clouds, with a multitude of
The elements of plovers, cliffs and the ocean
kirigane gold-foil inlays; the lower book depicts
combine to make a poetic allusion to the wish for
phoenix roundels and seasonal flower bouquets
a long rule. The plovers’ cry chiyo, homophonous
in minutely-detailed gold takamakie lacquer on a
with chiyo 千代 »a thousand years« is a call for long
diamond-shaped floral pattern in gold and silver
rule. This is changed here by the poet to yachiyo
togidashi lacquer. The books each have a title pa-
八千代 »eight thousand years« and, by extension,
per in respectively gold and silver foil.
eternal rule and a reference to Japan’s Imperial line.
The dramatic design on the inside cover features
Symbolically the strong cliffs in the design are rulers
a large red sun appearing behind narrow clouds,
steadfast in the stormy sea and the birds are sub-
rising above craggy rocks in a stormy sea. The sun
jects flying in circles around the cliffs, all under the
is decorated in red and gold togidashi lacquer,
imposing large red rising sun, the symbol of the
and the clouds and rocks in raised takamakie gold
Japanese state. The two book covers of the writing
lacquer with a tour-de-force inlay of kirigane gold
box, depicting volumes from a poem anthology,
foil pieces cut in irregular squares and triangles.
introduce other allusions and symbols: the dragon
The ocean waves are depicted in gold and silver
rising out of the sky as a symbol of the male ele-
togidashi lacquer with further details of abalone
ment and the roundels of phoenix and chrysanthe-
and aquatic plants in hiramakie gold lacquer. The
mum as female elements.
removable tray holds the suzuri ink stone and
The edges of the writing box cover are decorated
with minute karakusa scrolling and diamond patterns in hiramakie gold lacquer. The writing box
comes with its original double fitted storage boxes,
both in black lacquer, the outer one bearing two
inscribed collector’s labels. On the inside of the
storage box is pasted poetry paper with a dyed design simulating poetry sheets used in Heian-period
calligraphic works.
96
97
29
Zōhiko Studio 象彦
Tales of Genji Tebako Box
Meiji Period (1868 –1912), circa 1900
lacquer ground. The title »Tales of Genji« 源氏物語
H 4 ¼" × L 8 ¾" × W 7 ¼"
is written in takamakie gold lacquer on the cover
(11 cm × 22 cm × 18.5 cm)
on a gold and red lacquer togidashi ground with in-
Maki-e lacquer box
lays of small kirigane gold foil squares. The gold
lacquer label is especially remarkable as it not only
Inscription on top of box: »Tales of Genji« 源氏物語
replicates the calligraphy of the title, »The Tales of
Genji«, but also successfully replicates the complex
Inventory label on the inside cover:
dyed-paper slip on which the title seems to have
»Reference no. 817. Tebako in the Form of Genji
been written.
Books. Collection of the Zōhiko Country Pavilion«
Additional details in this quest for realism are the
Inscription on storage box: »Tebako box in the
remarkable mother-of-pearl clasps that seem to
shape of books, ex collection of the Zōhiko Country
keep the book cover together. The bottom and the
Pavilion« 冊子形　蒔絵手箱象彦山荘旧蔵
inside of the box are decorated with dense nashiji
gold flakes and the inside cover bears an old inven-
This outstanding rectangular tebako box simulates
tory label from the Zōhiko studio.
a bound volume of the eleventh-century novel The
Tales of Genji. The books are realistically rendered
The Zōhiko Studios is one of the oldest lacquer
with fine lines of silver lacquer to simulate indi-
houses of Japan. Presently under the leadership of
vidual sheets of paper as well as with a fine mosaic
the ninth-generation Nishimura Hikobei 西村彦兵衞
of mother-of-pearl and kirigane gold foil inlays on
(1931–), the house was established in the year 1661
a togidashi gold lacquer ground to simulate the
as the Zōgeya 象牙屋.1 The present lacquer box
book binding.
was in the storage of the studio for a long time and
had been used as a reference model for creating
The spectacular book cover, which appears to hold
other objects.
the seven book volumes together, is decorated
with alternating rectangles of shishi and dragons
The tebako comes with a black-lacquered fitted box
in takamakie raised gold lacquer on a togidashi
that bears an inscribed collector’s mark on the end.
98
99
30
Mikami Yōkōdō 三上楊光堂
Writing Box with the Hundred Kings
Taishō-Shōwa Periods, 1920s – 30s
hundred plants 百花之王.«1 Compositions that
H 4 ½" × L 10 ¾" × W 8 ¼"
depicted both together were deemed auspicious
(11.5 cm × 27.5 cm × 21.2 cm)
and were called the »Hundred Kings 百王« design,
Maki-e lacquer box
as they depicted the gathering of the respective
rulers of the animal and plant kingdoms.
Inscription on outer tomobako box:
»Tebako Box with Images of the Hundred Kings«
All outside edges are rounded and lacquered
手箱 百王之図
in gold and red lacquer togidashi. The lid rims and
(end of box):
the two rings to hold rope are in solid silver. The
»Tebako Box with Images of the Hundred Kings«
inside rims, including the suzuri ink stone rims are
手筥 百王之図
in silver lacquer; all other surfaces are covered
(inside lids):
with evenly sprinkled nashiji gold flakes. The suiteki
»Made by Mikami Yōkōdō of Kyoto«
water dropper is in the shape of a butterfly and is
平安 三上楊光堂造之
made of silver, shibuichi, shakudō, and inlaid gold.
Seals:
The superb work was made by the lacquer work-
1) Mikami 三上
shop Mikami Yōkōdō 三上 楊光堂, which under
2) Yōkōdō 楊光堂
the leadership of Mikami Harunosuke 三上治助
(1850 –1920) won many honors, both in Japan as
On the inside of this fine stacked rectangular writ-
well as abroad. Objects from the workshop won
ing box there is a compartment for writing paper
prizes at several international exhibitions, includ-
above which is a lipped tray to hold writing utensils
ing Chicago in 1893, Seattle in 1896, and Hanoi
and a removable plate that stores the suzuri ink
in 1903. The son of the founder, Mikami Jisaburō
stone and suiteki water dropper.
三上治三郎 carried on the family tradition and
The outside décor is dominated by two dramatic
ists of the studio were attentive to international art
shishi lions in gold, silver, red and black raised
movements during its time of intensive interaction
takamakie lacquer; they are surrounded by stylized
with foreign fairs and it is therefore no surprise
peonies in gold and red lacquer togidashi on a
that the present writing box bears signs of foreign
roiro black lacquer ground. The design on this writ-
influence in its design. Under the leadership of
ing box has an ancient Chinese origin. The leg-
Mikami Jisaburō 三上治三郎, the studio became a
endary shishi lions were called the »king of hundred
known leader in introducing Art Nouveau styles to
animals 百獣之王« and the peony the »king of
Japanese audiences in the 1920s, as documented
won a prize at the 1937 Paris exhibition. The art-
in the recent exhibition at the Tokyo National
Museum for Modern Art.2
A set of two nested double tomobako boxes were
made for the writing box, both of kiri-wood, the
outside one with lacquer. Both tomobako boxes are
signed and sealed by Mikami of the Yōkōdō Studio.
100
101
Signatures and Seals
Reproduced actual size
Nr. 5 Right
Nr. 8
Nr. 9
Nr. 10
Nr. 11
Nr. 4
Nr. 13
Nr. 5 Left
Nr. 12
Nr. 6
102
Nr. 7
Nr. 14
103
Nr. 15
Nr. 16
Nr. 19
Nr. 17
Nr. 18
104
Nr. 20
Nr. 21
Nr. 22
Nr. 23
Nr. 24
Nr. 25
105
Box Inscriptions
Reproduced half size except as noted
½ size
Nr. 12
½ size
¹∕¹ size
Nr. 16
¹∕¹ size
½ size
Nr. 17
½ size
Nr. 10
¹∕¹ size
¼ size
Nr. 19
½ size
½ size
¼ size
½ size
¹∕¹ size
¼ size
¼ size
¼ size
Nr. 21
¼ size
½ size
Nr. 13
¹∕¹ size
Nr. 15
¾ size
Nr. 20
¹∕¹ size
106
107
Nr. 23
¼ size
Nr. 28
Nr. 22
½ size
Nr. 29
¹∕¹ size
¹∕¹ size
Nr. 24
Nr. 25
½ size
¼ size
Nr. 26
¹∕¹ size
108
Nr. 27
Nr. 30
109
Notes
Nr. 1 Roosters and Chicken in a Bamboo Grove
in the moonlight… the moon shone more and more
Nr. 3 Scenes from the Great Eastern Road
Nr. 4 Peacock Pair by Cliffs
brightly through the marvelous stillness. She said:
1 An early example of this communal reclusion
»Frozen into ice, water caught among the rocks
1 See: Constantine Vaporis. Breaking Barriers: Travel
1 See an example by Maruyama Ōkyo in: Sasaki
appearing in both literature and art was the Seven
can no longer flow, and it is the brilliant moon that
and the State in Early Modern Japan. Cambridge,
Jōhei, Sasaki Masako, Osaka Shiritsu Bijutsukan
Sages of the Bamboo Grove (竹林七賢 Zhulin qi
soars through the sky.« Chapter 20, Tylor 373 – 4.
Mass.: Council on East Asian Studies, Harvard Uni-
大阪市立美術館, 佐々木丞平,佐々木正子, eds.
xian), a group of semi-legendary, like-minded sages,
Illustrated in Akiyama Ken and Eiichi Taguchi.
versity, 1994.
Maruyama Ōkyo: Shaseiga sōzō e no chōsen
who created a small secluded community isolated
Genji monogatari: Gōka »Genji-e« no sekai. Tokyo:
from the outside world. The group was composed
Gakushū Kenkyūsha, 1988, pp. 96 – 7.
of both historical and legendary figures said to have
tokubetsuten 円山応挙: 写生画創造への挑戦特別展.
2 Jippensha Ikku’s Hizakurige. An English translation
Tokyo: Mainichi Shinbunsha 每日新聞社, 2003, pp.
by Thomas Satchell is the Shanks’ Mare: Being a
198 – 201
been active in the third century, A.D. They rejected
3 Some artists depict this scene with the bridge,
Translation of the Tokaido volumes of »Hizakurige«,
the mundane world and gathered in a bamboo
see Akiyama Ken and Eiichi Taguchi. Genji mono-
Japan’s Great Comic Novel of Travel and Ribaldry
2 For other biographical details, see Yui Kazuto
grove to drink wine, play musical instruments, and
gatari: Gōka »Genji-e« no sekai. Tokyo: Gakushū
by Ikku Jippensha (1765 –1831). Tokyo and Rutland,
油井一人. Nijusseiki bukko nihongaka jiten 20世紀
carry on lofty conversation. For an early description
Kenkyūsha, 1988, p. 236.
VT.: Charles E. Tuttle Company, 1960.
物故日本画家事典. Tokyo: Bijutsu Nenkansha 美術年
of the group, see Liu Yiqing 劉義慶 (403 – 44), Shi
鑑社, 1998, p. 18. For the Kampo and the Araki fam-
shuo xin yu『世說新語』in Richard Mather, ed., Shih-
4 »The Pilgrimage to Sumiyoshi« Chapter number
3 The illustrations are not based on Hiroshige’s
ily of painters, see also Hitachi-shi Kyōdo Hakubut-
shuo Hsin-yü: A new account of tales of the world.
14, Murasaki Shikibu. The Tale of Genji. Royall Tyler,
series, although some stations might seem to be
sukan 日立市郷土博物館, ed. Kindai kachōga kō:
2nd ed. Ann Arbor: Center for Chinese Studies,
trans. 2 vols. New York: Viking, 2001, pp. 291– 2.
connected, such as Okazaki and Ishiyakushi. These
Dokugakai, Araki Ichimon no keifu 近代花鳥画考・
University of Michigan, 2002, 235 – 6, 399 – 405.
Illustrated in, for example: Akiyama Ken and Eiichi
images are instead based on the compositions in
読画会、荒木一門の系譜. Hitachi 日立: Hitachi-shi
Taguchi. Genji monogatari: Gōka »Genji-e« no sekai.
the 1797 Tōkaidō meisho zue, which, as mentioned
Kyōdo Hakubutsukan 日立市郷土博物館, 2000.
Tokyo: Gakushū Kenkyūsha, 1988, p. 79.
above, served as a model for many of Hiroshige’s
2 For a book-length discussion of such images, see
Kendall Brown. The Politics of Reclusion: Painting
and Power in Momoyama Japan. Honolulu: Univer-
views. See also footnote 5.
5 See the thoughtful article by Melinda Takeuchi
Nr. 5 The Raven and the Peacock
on the cultural meaning of the Uji Bridge in Kuroda
4 This was already a famous place in Edo in the
Taizō, et al. Worlds Seen and Imagined: Japanese
mid-17th century. See the study by Hiraoka Naoki
1 Taking the character »Hō 邦« from his teacher.
3 See examples in Wakisaka Atsushi. Momoyama
Screens from the Idemitsu Museum of Arts. New
平岡直樹 and Sasaki Kunihiro 佐々木邦博 »Edo mei-
Kihō’s original name was Hiroaki 廣精, which appears
kōki no kachō: Kenrantaru taiga II. Series: Kachōga
York: The Asia Society Galleries, 1995.
shoki ni miru 17-seiki nakagoro no Edo no meisho
in the seal on the screen.
sity of Hawaii, 1997.
no tokuchō«『江戸名所記』に見る17世紀中頃の江戸
no sekai, vol. 4. Tokyo: Gakken, 1982, plates 22, 34,
and 35.
6 Miyuki Chapter 29. Murasaki Shikibu. The Tale of
の名所の特徴. Shinshū Daigaku Nōgakubu Kiyō
2 They are still in museum storage. According to
Genji. Royall Tyler, trans. 2 vols. New York: Viking,
信州大学農学部紀要 38,1/2 (2002), pp. 37 – 44
the database of the University Art Museum, Tokyo
University of the Arts, they are Summer Landscape
2001, p. 499. Illustrated in Akiyama Ken and Eiichi
Nr. 2 Scenes from the Tales of Genji
Taguchi. Genji monogatari: Gōka »Genji-e« no sekai.
5 A screen in the Berkeley East Asian Library (East
夏景山水, hanging scroll, colors on silk, composed
Tokyo: Gakushū Kenkyūsha, 1988, p. 143.
Asian Library call number: Byobu 2 SPEC-Map),
in 1890, 123.8 × 61.3 cm; Two Figures under a Pine,
which the university dates to the 17th century,
hanging scroll, colors on paper, 105.7 × 39.0 cm;
1 »Many years may pass, yet one thing will never
change: that my heart is yours, for that I promise
7 Chapter 15, Murasaki Shikibu. The Tale of Genji.
shows the same mixture of sources. It may well be
and Summer Landscape, hanging scroll, colors on
you by the Isle of Orange Trees« From chapter 51
Royall Tyler, trans. 2 vols. New York: Viking, 2001,
that this was a separate tradition that focused on
silk, dated 1893, 80.8 × 155.8 cm. The latter is listed
in the Genji. Murasaki Shikibu. The Tale of Genji.
pp. 308 –10. Illustrated Akiyama Ken and Eiichi
the screen and hand scroll formats. The Berkeley
as his graduation work.
Royall Tyler, trans. 2 vols. New York: Viking, 2001,
Taguchi. Genji monogatari: Gōka »Genji-e« no sekai.
screen and the present screen share a number
p. 1025. See illustrations of this scene, for example,
Tokyo: Gakushū Kenkyūsha, 1988, pp. 80 – 3.
of compositional features and it is possible that
3 Tsunoda Ryūsaku developed the Japanese collec-
Akiyama Ken and Eiichi Taguchi. Genji monogatari:
there is a connection of some kind between
tions at Columbia Univeristy’s library and taught
Gōka »Genji-e« no sekai. Tokyo: Gakushū Kenkyūsha,
the screens and their artists. For a image of the
a number of pioneering courses at the university.
1988, page 236.
Berkeley screen, see the internet site: http://
Among his many students are figures such as
luna.davidrumsey.com:8380/luna/servlet/detail/
Donald Keene, who has in turn been key in the
2 »Genji had the page girls go down and roll a
RUMSEY~9~1~23272~50063:Tokaido-dochu-ezu-
development of Japanese studies in the United
snowball. Their charming figures and hair gleamed
byobu--verso---16
States. Among Tsunoda’s texts is the still-reprinted
110
111
anthology of Japanese texts: Tsunoda Ryusaku,
entries. For a biography of the artist, see Ōtsu City
Nr. 8 Flowering Yamabuki
1964, p. 205, and Hanazono Daigaku Kokusai
Zengaku Kenkyūjo 花園大学国際禅学研究所, ed.
William Theodore de Bary, and Donald Keene.
Museum of History 大津市歴史博物館, ed. Shirarezaru
Sources of Japanese Tradition. 2 vols. New York:
Nihon kaiga 知られざる日本絵画 (English title:
1 Shibuichi (四分一) is a type of metal that can be
Hakuin zenga bokuseki 白隱禪画墨蹟. 3 vols. Tokyo:
Columbia University Press, 1958.
Unexplored Avenues of Japanese Painting). Seattle
patinated into a range of subtle muted shades
Nigensha 二玄社, 2009, vol. 1, pp188 – 9.
and Ōtsu: University of Washington Press, Ōtsu
of blue or green. The name means literally »one-
4 For example, he makes a visit to the Hōdai’in
City Museum of History 大津市歴史博物館, 2001,
fourth« in Japanese and indicates the chemical
4 See Takeuchi Naoji 竹内尚次. Hakuin 白隠. Tokyo:
宝台院 in Shizuoka Prefecture in 1917. See Tachibana
36, 124, 190; Paul Berry and Michiyo Morioka,
formula of one part silver to three parts copper.
Chikuma Shoten 筑摩書店, 1964, appendix, p. 40.
Yoshiaki 立花義彰 »Shizuoka kindai bijutsu nenpyō,
Modern Masters of Kyoto: The Transformation of
Taishō hen 静岡近代美術年表 大正編« Shizuokaken
Japanese Painting Traditions, Nihonga from the
2 For list of the exhibitions and other information on
Hakubutsukan Kyōkai Kenkyū Kiyō 静岡県博物館協会
Griffith and Patricia Way Collection. Seattle: Seattle
Issan’s career, see the other entry by Issan in this cata-
研究紀要 29 (2006), 55. For other details, see: Araki
Art Museum, 1999, 270 – 3; and Roberts (1976), 43;
log and Nittenshi Hensan Iinkai 日展史編纂委員会.
5 Takeuchi ordered all Hakuin paintings and cal-
Tadashi 荒木矩. Dai Nihon shoga meika daikan『大日
and Paul Berry and Michiyo Morioka, Literati Mod-
Bunten, Teiten, Shin Bunten, Nitten zen shuppin
ligraphies into four different periods, in which the
本書画名家大監』. 4 vols. Original ed.: 1934. Tokyo:
ern: Bunjinga from Late Edo to Twentieth-Century
mokuroku: Meiji 40-nen--Shōwa 32-nen: Nitten shi
earliest period dates up to the monk’s 56th year.
Dai-Ichi Shobō 第一書房, 1991, vol. 2, p. 2489.
Japan: The Terry Welch Collection at the Honolulu
shiryō 文展・帝展・新文展・日展全出品目錄: 明治 40
See Takeuchi Naoji 竹内尚次. Hakuin 白隠. Tokyo:
Academy of Arts. Honolulu: Honolulu Academy of
年--昭和 32年: 日展史資料. Tokyo: Nittenshi Hensan
Chikuma Shoten 筑摩書店, 1964, p. 51.
Arts, 2008, pp. 265 – 6.
Iinkai 日展史編纂委員会, 1990, vol. 2, p. 24
Nr. 7 Morning Quiet
Nr. 9 Sea Gulls by the Seashore
If true, it would mean that the monk painted the
work only a year after receiving his name Hakuin.
Nr. 6 Chinese Landscape with Pagoda
Nr. 11 Tenjin Traveling to China
1 Paul Berry and Michiyo Morioka, Literati Modern:
1 For more information on this important char-
Bunjinga from Late Edo to Twentieth-Century Japan:
The Terry Welch Collection at the Honolulu Academy
1 For details, see: Nittenshi Hensan Iinkai 日展史編
1 In Tokyo alone, it is estimated that over 140,000
acter, see the excellent book by Robert Borgen.
of Arts. Honolulu: Honolulu Academy of Arts, 2008,
纂委員会, ed. Nittenshi 日展史. Tokyo: Nitten 日展,
people lost their lives in the Kanto Earthquake and
Sugawara no Michizane and the Early Heian Court.
pp. 170 –1.
1980 –, vol. 8, p. 117, nr. 181. See also exhibition
the resulting fires.
Honolulu: University of Hawaii Press, 1994.
labels on the back of the screen.
2 See Paul Berry and Michiyo Morioka, Modern
2 At least twenty extant Hakuin paintings of Michzane
Masters of Kyoto, pages 272–3, and their Literary
2 The emphasis on the line in Issan’s work clearly
Modern, pages 170–1 for depictions of two sets
comes from his two masters of the sketched line.
of ink landscape screens that were produced at
Nr. 10 The Second Patriarch Standing in the Snow
have been published. See: Hanazono Daigaku
Kokusai Zengaku Kenkyūjo 花園大学国際禅学研究所,
1 For more information on the stories of the early
ed. Hakuin zenga bokuseki 白隱禪画墨蹟. 3 vols.
around this time, including the pair of screens that
3 For details on exhibits, see: Nittenshi Hensan Iinkai
Zen Patriarchs, see John R. McRae, Seeing through
Tokyo: Nigensha 二玄社, 2009, vol 1, pp. 218 –19;
was sent to the Teiten in 1925. This group of works
日展史編纂委員会. Bunten, Teiten, Shin Bunten,
Zen: Encounter, Transformation, and Genealogy in
John Stevens. Zenga: Brushstrokes of Enlightenment.
is further described in a footnote on page 273 of
Nitten zen shuppin mokuroku: Meiji 40-nen--Shōwa
Chinese Chan Buddhism. Berkeley: University of
New Orleans: New Orleans Museum of Art, 1990,
Modern Masters of Kyoto.
32-nen: Nitten shi shiryō 文展・帝展・新文展・日展全
California Press, 2003, and Philip Yampolsky, Ch’an,
pages 124 – 5; Nakamura Gen 中村元, ed. Hakuin Zenji
出品目錄: 明治 40年--昭和 32年: 日展史資料. Tokyo:
a Historical Sketch in Buddhist Spirituality in Later
白隠禅師. Hara 原: Shōinji Temple 松蔭寺, 2000, p. 95;
3 For another work with a similar theme, see the
Nittenshi Hensan Iinkai 日展史編纂委員会, 1990,
China, Korea, Japan and the Modern World, edited
Tanaka Daisaburō 田中大三郎, ed. Hakuin zenshi
pair of six-panel screens in the 2009 catalog, featur-
vol. 2, p. 24.
by Takeuchi Yoshinori. SCM Press, 1999.
bokusekishu 白隠禅師墨蹟集. Tokyo: Rokugei Shobō
六芸書房, 2006, pl. 50; Hanazono Daigaku Rekishi
ing a winter scene of the Higashiyama district. Here,
too, was a remarkable display of technical abilities,
4「いりくんだ菜園を混沌もなく描き得てゐる日本画の
2 As well as for artists: for example, Sesshū Tōyō
Hakubutsukan 花園大学歴史博物館, Yoshizawa
especially in the virtuosic use of gofun, or sea shell
本領の優れた点はかういふ時に良く現はれるといふべ
雪舟等楊 (1420 –1506) famously painted the scene
Hatsuhiro 芳澤勝弘, Fukushima Tsunenori 福島恒徳,
powder, to imitate snow.
きだらう」See his article: »Bunten nihonga tenbō
of the Second Patriarch bringing his severed arm to
Satō Makoto 佐藤誠, eds. Hakuin Zenji to bokuseki:
文展日本画展望« in Oguma Hideo 小熊秀雄.
the seated Bodhidharma in a painting from 1496.
Shinde Ryūunji Temple Collection 白隠禅師と墨跡・
4 Baisen exhibited extensively at the national exhibi-
Oguma Hideo zenshū 小熊秀雄全集. 5 vols. Tokyo:
tions and his work was accepted into every Teiten
Sōjusha 創樹社, 1990 –1, vol. 5.
新出龍雲寺コレクション. Kyoto: Hanazono Daigaku
3 Besides the present work, only three portraits
Rekishi Hakubutsukan 花園大学歴史博物館, 2004,
exhibition from the very first to the very last and
have been recorded. Takeuchi Naoji 竹内尚次.
p. 33; Asai Kyōko 浅井京子, ed. Kyū-Tomioka
into all but one Bunten exhibitions, twice with two
Hakuin 白隠. Tokyo: Chikuma Shoten 筑摩書店,
Bijutsukan shozō: Zen shoga mokuroku 旧富岡美術
112
113
館所蔵・禅書画目録. Tokyo: Waseda University Aizu
2 For an English-language biography of Sengai,
audiences, particularly in the 1950s and 1960s.
the Good Life«, Impressions 24 (December, 2002):
Yaichi Memorial Museum 早稲田大学會津八一記念
see Stephen Addiss. The Art of Zen: Paintings and
Recent scholars have been somewhat more critical
pp. 15 – 21 and 48 – 71; and »Food and Art: Hiroshige’s
博物館, 2007, page 88; Yamanouchi, Chōzō 山内長
Calligraphy by Japanese Monks 1600 –1925. New
of his role, see, for example, Robert Sharf, »Who’s
Restaurant prints in the Elvehjem.« Bulletin of the
三. Hakuin-san no eseppō 白隠さんの絵説法. Tokyo:
York: Harry N. Abrams, 1989, pp. 176 – 85.
Zen: Zen Nationalism Revisited«, in Rude Awaken-
Elvehjem Museum of Art, Summer 2002 issue,
ings: Zen, the Kyoto School & Zen Nationalism,
pp. 27 – 40.
Daihō Rinkaku 大法輪閣, 1991, p. 100; Mochizuki
Noboru 望月昇, ed. Hakuin: Zen to shoga 白隠・禅と
3 See for example the humorous street performers
J. W. Heisig & John Maraldo eds., Nanzen Institute
書画. Kyoto: ADK, 2004, p. 148; Morita, Shiryū 森田
in Furuta Shōkin 古田紹欽. Sengai 仙厓. Tokyo:
for Religion and Culture. Honolulu: University of
5 On the second floor we see a drinking party with
子龍, ed. Bokubi Tokushū: Hakuin bokuseki 墨美特
Idemitsu Bijutsukan 出光美術館, 1985, pp. 102 – 3;
Hawaii Press, 1995.
a geisha. Interestingly, this information is imparted
集―白隠墨蹟．Collected edition of the issues of the
see also Daisetz Suzuki. Sengai: The Zen Master.
Bokubi journal numbers 77, 78, 79, and 90, illustrat-
London: Faber and Faber, 1971, p. 124.
through a shadow on a window—that is, through a
7 Two other examples can be seen in Nichibō
shadow of a shadow.
shuppansha 日貿出版社, ed. Sengai no zenga:
ing the collected works of Hakuin. Kyoto: Bokubisha
墨美社, 1985, pp. 86 and 124; Tanahashi, Kazuaki.
4 We see Sengai playing with a similar blurring
Satori no bi 仙厓の禪画: 悟りの美. Tokyo: Nichibō
6 The name refers to the ratio of buckwheat flour
Penetrating Laughter: Hakuin’s Zen & Art. Woodstock,
between elite and common factors in the very
shuppansha 日貿出版社, 1984, plates 84 and 118.
(80%) to wheat flour (20%). This was a type of soba
NY: The Overlook Press, 1984., pl. 30; and Takeuchi,
execution of the painting. Here the silk surface has
Naoji 竹内尚次. Hakuin 白隠. Tokyo: Chikuma Shoten
been left only partly sized, which led to the striking
8 Hisamatsu Shin’ichi 久松真一 describes the col-
preferred today. Due to the fear of fire, the type of
筑摩書店, 1964, pl. 375 – 6.
pattern of ink clots on the surface. Moreover, Sengai
lecting activities of the monk in his article: »Sengai
traveling soba seller (with his fire and hot cauldron)
seems to have painted on the top of a tatami panel
no zenfū 仙厓の禪風.« Bokubi 墨美 110 (1961),
that we see on this painting was prohibited in 1799,
pp. 11–16.
but the laws were relaxed in the first decades of
that was favored in Edo and is harder than the type
3 Hakuin appears to have enjoyed using mojie and
division, which left a line intersecting across the
there are numerous other examples of his using
top of the rice bales. This visual clumsiness was not
the nineteenth century. By the time this painting
the technique with other topics and compositions.
accidental, as Sengai was thoroughly able to com-
was made, the prohibition was no longer followed.
The tradition is old in Japan with examples dating
pose careful and skillful images, including works on
back to the Heian period. For more on the tradition
a large scale and full-sized six-panel screens. See
Nr. 13 Fire in Edo
See: Nagayama Hisao 永山久夫. Tabemono Edo shi
たべもの江戸史. Tokyo: Shin Jinbutsu Oraisha
and on Hakuin’s mojie paintings, see Audrey Seo.
the remarkable screens in Takeo Izumi 泉武夫 and
1 As for the number of fires for the major cities dur-
Painting-Calligraphy Interactions in the Zen Art of
Minakami Tsutomu 水上勉. Sengai, Hakuin 白隱・
ing the 267 years of the Edo period, Osaka had 6
Hakuin Ekaku (1685 –1768). PhD dissertation.
仙厓. Tokyo: Kōdansha 講談社, 1995, pp. 10 –11,
major fires, Kyoto had 9, Kanazawa had 3, and Edo
7 See for example, Itō Shiori 伊藤紫織. »Shini-e to
University of Kansas, 1997. For more on Hakuin’s
54 – 9. Sengai’s paintings appear unskillful but this
had 49 major fires. Kuroki Takashi 黒木喬. Edo no kaji
gachūga: shōzō toshite no shini-e« 死絵と画中画・
Michizane paintings, see pages 253 – 5. See also
was clearly an intended effect by the artist. Sengai
江戸の火事. Dōseisha 同成社, 1999, p. 3.
肖像としての死絵. Journal of Development and Sys-
Yoshizawa Katsuhiro 芳澤勝弘. Hakuin no mojie:
was in fact highly skilled and a great deal of experi-
新人物往来社, 1976.
tematization of Death and Life Studies, Tokyo Univer-
Hitomaro-zō to Totō Tenjin-zō 白隠の文字絵―人丸像
ence and technical abilities stand behind his works.
2 The painting may very well be the depiction of
sity 東京大学グローバルプログラム「死生学の展開と組
と渡唐天神像―. Zen Bunka 禅文化 188 (2003)
See for example the interesting article by Nishimura
the great Aoyama Fire 青山火事 of the 24th day of
織化」(2009) pp. 173 – 96; Osaka Municipal Museum
Nangaku 西村南岳. »Sengai Zenga: Honmono,
the first month of 1845, which eventually spread
of Art 大阪市立美術館, ed. Tokubetsuten: Shōzō
4 The text is the Kanshin nissō jueki 菅神入宋授衣記.
nisemono 仙厓禅画・ほんもの、にせもの.« Bokubi
across the western part of the city, leading to the
gasan, hito no sugata hito no kotoba 特別展・肖像画
It can be found in the nineteenth volume of Gunsho
墨美 114 (1962), pp. 5 – 8.
destruction of vast tracts of land, including 187
賛＝人のすがた、人のことば. Osaka: Osaka Municipal
Buddhist temples, and the death of 800 – 900 people.
Museum of Art 大阪市立美術館, 2000, pl. 123; and
texts deal with this narrative, but the above text
5 Daisetz T. Suzuki. Sengai (1750 –1837). Trans. Eva
Hata Ichijirō 畑市次郎. Tōkyō saigai-shi 東京災害史.
Timon Screech. The Western Scientific Gaze and
seems to be the original one. See article by Yoshizawa
von Hoboken. Vienna: Oesterreichisches Museum
Tokyo: Tosei tsūshin sha 都政通信社, 1952, p. 54
Popular Imagery in Later Edo Japan: The Lens within
for a more complete discussion.
für Angewandte Kunst, 1964, plate 5.
ruiju 群書類従. A number of other 13th century
the Heart. Cambridge, New York and Melbourne:
3 A number of fire fighting groups were active in
Nr. 12 The Hakata Top Crossing a String
Cambridge University Press, 1996, pp. 113 –16.
6 The catalogue that accompanied the tour fea-
this area. For an overview, see Kuroki Takashi
tured the writing of the famous Buddhism scholar
黒木喬. Edo no kaji 江戸の火事. Dōseisha 同成社,
8 This temple, also called the Sasadera 笹寺, was
Daisetz T. Suzuki (1870 –1966). Suzuki was an
1999.
one of the best known temples in the city and a
1 Box, outer inscription on end: »Painting of the
important author of books and essays on Zen
Hakata Top by Sengai« Hakata koma no e Sengai
and Pure Land Buddhism that spread interest in
4 For the restaurant culture of Edo, see Hans Bjarne
Hasegawa Settan (1778 –1843) in the Edo meishi
博多コマノ絵 仙厓
Buddhism and Eastern Spiritualism to Western
Thomsen, »The Other Hiroshige: Connoisseur of
zue book series, initially published in 1834 with
114
place for cultural meetings. It was illustrated by
115
volumes 1– 3 (a total of 10 books) and republished
2 The album is noted in Nittenshi Hensan Iinkai
For short but useful biographies with paintings of
University of Washington Press, Ōtsu City Museum
in 1836 with volumes 4 – 7 (a total of 20 books). The
日展史編纂委員会. Bunten, Teiten, Shin Bunten,
this artist, see Ōtsu City Museum of History 大津市
of History 大津市歴史博物館, 2001, pp. 160 –1.
temple, located in Yotsuya, was founded in 1575.
Nitten zen shuppin mokuroku: Meiji 40-nen--Shōwa
歴史博物館, ed. Shirarezaru Nihon kaiga 知られざ
32-nen: Nitten shi shiryō 文展・帝展・新文展・日展
る日本絵画 (English title: Unexplored Avenues of
9 He is listed in a number of contemporary bio-
全出品目錄: 明治 40年--昭和 32年: 日展史資料.
Japanese Painting). Seattle and Ōtsu: University of
graphical dictionaries featuring cultural figures of
Tokyo: Nittenshi Hensan Iinkai 日展史編纂委員会,
Washington Press, Ōtsu City Museum of History
the time, for example: Ansei bungajin meiroku
1990, vol. 2, p. 28. See also: Paul Berry and Michiyo
大津市歴史博物館, 2001, 36, 124, 190; Paul Berry
1 A number of paintings of carps were painted by
安政文雅人名録 from 1860.
Morioka, Literati Modern: Bunjinga from Late Edo
and Michiyo Morioka, Modern Masters of Kyoto:
Maruyama Ōkyo, who also specialized in waterfall
to Twentieth-Century Japan: The Terry Welch Col-
The Transformation of Japanese Painting Traditions,
paintings. He famously created an image of the
lection at the Honolulu Academy of Arts. Honolulu:
Nihonga from the Griffith and Patricia Way Collection.
climbing koi partly obscured by the streams of fall-
Honolulu Academy of Arts, 2008, p. 265.
Seattle: Seattle Art Museum, 1999, 270 – 3; and
ing water. Mitsuzane clearly refers to these painting
Roberts (1976), 43.
and then recreates them in the medium of lacquer.
Nr. 14 Waterfall
1 See, for example, an example of a hanging scroll
3 This pair of screens, Kyoto in the Winter, is depicted
over 3.6 meters in length in Sasaki Jōhei, Sasaki
and described in our 2009 publication, item 5.
Masako, Osaka Shiritsu Bijutsukan 大阪市立美術館,
Nr. 17 Set of Three Lacquer Paintings with Carps
For images of both types of carps by Ōkyo, see
8 See examples of the former in McKelway, Matthew,
for example Sasaki Jōhei, Sasaki Masako, Osaka
Capitalscapes: Folding Screens and Political Imagi-
Shiritsu Bijutsukan 大阪市立美術館, 佐々木丞平,佐
佐々木丞平, 佐々木正子, eds. Maruyama Ōkyo:
4 For a two-panel screen with a Chinese scene
nation in Late Medieval Kyoto. Honolulu: Hawaii
々木正子, eds. Maruyama Ōkyo: Shaseiga sōzō e no
Shaseiga sōzō e no chōsen tokubetsuten 円山応挙:
from the mid 1910’s, see the present publication,
University Press, 2006.
chōsen tokubetsuten 円山応挙: 写生画創造への挑
写生画創造への挑戦特別展. Tokyo: Mainichi Shin-
item 6.
戦特別展. Tokyo: Mainichi Shinbunsha 每日新聞社,
bunsha 每日新聞社, 2003, p. 159
2003, p. 27.
5 The use of gofun on the reverse side of a painting
Nr. 16 New Year with Small Pines and a Pair of
2 The details do not stop at the painted surface.
is a technique used much earlier in Buddhist paint-
Cranes
Looking closely, one can see that the silk strips
ings. The painter Itō Jakuchū (1716 –1800) also used
(ichimonji) above and below the painting has a
the technique in some of his finest paintings.
lacquer screen with an image of a carp, can be
1 See for example, the famous pair of crane
seen in our 2007 publication, item 30.
paintings by Wen Cheng (ac. 15th century) in the
décor of waves and clouds and function as an
extension of the painted scene.
2 Another work by this talented artist, a standing
6 For another work with a similar theme, see the
Daitokuji Temple and the later adaptations by Itō
3 Nittenshi Hensan Iinkai 日展史編纂委員会. Bunten,
pair of six-panel screens in the 2009 publication,
Jakuchū (1716 –1800) in Money L Hickman and
Teiten, Shin Bunten, Nitten zen shuppin mokuroku:
3 For biographical details, see Yui Kazuto 油井一人.
item 5, featuring a winter scene of the Higashiyama
Yasuhiro Satō. The Paintings of Jakuchū. New York:
Meiji 40-nen--Shōwa 32-nen: Nitten shi shiryō 文展・
Nijusseiki bukko nihongaka jiten 20 世紀物故日本
district. Here, too, was a remarkable display of
Asia Society Galleries, 1989, pp. 36 – 7.
帝展・新文展・日展全出品目錄: 明治 40年--昭和 32年:
画家事典. Tokyo: Bijutsu Nenkansha 美術年鑑社,
technical abilities, especially in the virtuosic use of
1998, pp. 382 – 3.
gofun to depict falling snow.
日展史資料. Tokyo: Nittenshi Hensan Iinkai 日展史編
2 In addition, the tradition of displaying young pine
纂委員会, 1990, vol. 2, p. 108.
seedlings—the so-called kadomatsu—at house en7 Baisen’s later works were criticized by some of
Nr. 15 The Snow of Kamogawa River
trances at New Year became a Japanese tradition.
4 See: Sannomaru Shōzōkan 三の丸尚蔵館, ed. Iwai
no bi: Taishōki kōshitsu gokeiji no shinajina 祝美大正
his contemporary critics, who characterized him
期皇室御慶事の品々. Tokyo: Kunaichō 宮内庁, 2007
as an artist who peaks early and then levels off to
3 See details of his life in the following publications:
1 The name of the Matsubara Bridge is also written
mediocrity. In retrospect this seems highly unde-
Yui Kazuto 油井一人. Nijusseiki bukko nihongaka
on the inscription at the end of the box. The address
served, as the works of the mature artist are just as
jiten 20世紀物故日本画家事典. Tokyo: Bijutsu Nenk-
is given there as »Miyagawa 7-chō«, a shortening of
imaginative as the earlier, though not in an openly
ansha 美術年鑑社, 1998, pp. 430 –1; Ellen P. Conant,
the name Miyagawasuji. The present address is the
demonstrative manner. A reappraisal of the artist’s
et al., Nihonga, Transcending the Past: Japanese
sixth ward and not the seventh, perhaps a mistake
career and his role of twentieth century Nihonga
Style Painting, 1868 –1968. Saint Louis: The Saint
1 The process was originally developed by Rimpa
by the artist. The bridge is unchanged to this day and
movement are clearly needed. For one thing, his
Louis Art Museum and The Japan Foundation,
school artists, such as Ogata Kōrin, but was ad-
there are still places for nocturnal entertainment
remarkable success at national exhibitions is hard
1995, p. 329; and Ōtsu City Museum of History
opted by the Nihonga school in the early twentieth
on the other side of the river.
to deny: his work was accepted into every Teiten
大津市歴史博物館, ed. Shirarezaru Nihon kaiga
century. Kōsui takes the process to new levels, for
exhibition from the first to the very last and into all
知られざる日本絵画 (English title: Unexplored
example, even his signature on the top right of the
but one Bunten exhibitions, twice with two entries.
Avenues of Japanese Painting). Seattle and Ōtsu:
painting is created in ink mixed with gold.
116
Nr. 18 A Cat in a Melon Patch
117
2 For biographical details, see: Yui Kazuto 油井一人.
3 One of the last paintings brushed by Kakō was
2 Also Romanized as »sanjitsu jirō« and »mijirō.«
Nijusseiki bukko nihongaka jiten 20世紀物故日本
a portrait of this monk. For details, see: Paul Berry
See for example, Yokoi Yūhō, The Japanese English
画家事典. Tokyo: Bijutsu Nenkansha 美術年鑑社,
and Michiyo Morioka, Literati Modern: Bunjinga
Buddhist Dictionary (Tokyo: Sankibō Buddhist Book
1 Kokin wakashū 古今和歌集, poem number 345.
1998, p. 196. Some of the artist names he used
from Late Edo to Twentieth-Century Japan: The Terry
Store, 1991), pp. 580 –1
Based on the translation in Helen Craig McCullough,
include Keimei 契明, Deigyū 泥牛, and Kōrin 晃林.
Welch Collection at the Honolulu Academy of Arts.
Honolulu: Honolulu Academy of Arts, 2008, p. 266.
Nr. 28 Writing Box with Books
Kokin wakashū: the First Imperial Anthology of
3 Jingde chuandenglu (Japanese: Keitoku dentōroku)
『景徳伝燈録』(Shanghai: Shang wu yin shu guan,
Japanese Poetry: with Tosa nikki and Shinsen waka.
3 See biographical information on Keisen: Paul
See also: Ellen P. Conant, et al., Nihonga, Transcend-
Berry and Michiyo Morioka, Literati Modern: Bunjinga
ing the Past: Japanese Style Painting, 1868 –1968.
from Late Edo to Twentieth-Century Japan: The
Saint Louis: The Saint Louis Art Museum and The
Terry Welch Collection at the Honolulu Academy of
Japan Foundation, 1995, p. 328.
4 See Welch, ibid, page 136.
Nr. 29 Tales of Genji Tebako Box
pp. 306 – 8; for Keigetsu, see: Kyoto City Museum
4 For biographical information on the artist, see the
5 See Stephen Addiss. The Art of Zen. New York:
1 The store is presently located in the Okazaki area
京都市美術館, ed. Kikuchi Keigetsu to sono keifu
following texts: Michiyo Morioka, »A Reexamination
Harry Abrams, 1989, p. 191.
of Kyoto, which is also the location of period exhi-
菊池契月とその系譜. Kyoto: Kyoto Shimbunsha
of Tsuji Kakō’s Art and Career« in Paul Berry and
京都新聞社, 1999.
Michiyo Morioka, Modern Masters of Kyoto: The
Stanford, CA: Stanford University Press, 1985, p. 83.
1935).
Arts. Honolulu: Honolulu Academy of Arts, 2008,
Transformation of Japanese Painting Traditions,
bitions of objects from the storage collections of
the studio. There is also a major store in Tokyo in
Nr. 22 Maeda Chikubōsai I
4 For some of the national exhibitions he was part
Nihonga from the Griffith and Patricia Way Collection.
of, see: Nittenshi Hensan Iinkai 日展史編纂委員会.
Seattle: Seattle Art Museum, 1999, 40 – 54. See
1 For three more examples of his work, see our
Bunten, Teiten, Shin Bunten, Nitten zen shuppin
also references in Ellen P. Conant, et al., Nihonga,
2006 publication, item12; the 2007 publication,
mokuroku: Meiji 40-nen--Shōwa 32-nen: Nitten shi
Transcending the Past: Japanese Style Painting,
item17; and the 2009 publication, item16.
the Nihonbashi area.
Nr. 30 Writing Box with the Hundred Kings
shiryō 文展・帝展・新文展・日展全出品目錄: 明治 40
1868 –1968. Saint Louis: The Saint Louis Art Museum
1 See also the 18th century dictionary Wakan
年--昭和 32年: 日展史資料. Tokyo: Nittenshi Hensan
and The Japan Foundation, 1995; and Ōtsu City
sansai zue 和漢三才図絵、which lists the Shishi lion
Iinkai 日展史編纂委員会, 1990, vol. 2, p. 18.
Museum of History 大津市歴史博物館, ed. Shirarezaru
Nr. 23 Tanabe Chikuunsai I
as the »leader of one hundred animals 百獣ノ長.«
See: Terashima Ryōan 寺島良安, Wakan sansai zue
Nihon kaiga 知られざる日本絵画 (English title: Unexplored Avenues of Japanese Painting). Seattle and
1 For four other examples of baskets by Chikuunsai II,
和漢三才図絵. 2 vols. Tokyo: Tokyo Bijutsu 東京美術,
Ōtsu: University of Washington Press, Ōtsu City Mu-
see our 2006 publication, items nr. 14 and nr. 15; the
1970, vol. 1, p. 437.
seum of History 大津市歴史博物館, 2001. See also
2007 publication, item 20; and the 2008 publica-
1 Three Daruma portraits from 1914 and 1917 are
Paul Berry and Michiyo Morioka, Literati Modern:
tion, item19.
Nr. 19 Daruma Portrait
2 See the items by Mikami Jisaburō 三上治三郎 and
depicted in: The National Museum of Modern Art,
Bunjinga from Late Edo to Twentieth-Century Japan:
the studio in the recent important catalogue: Tokyo
Kyoto 京都国立近代美術館 and Chikkyō Art Museum,
The Terry Welch Collection at the Honolulu Academy
National Museum for Modern Art 東京国立近代美術館.
Kasaoka 笠岡市立竹喬美術館, eds. Tsuji Kakō Ex-
of Arts. Honolulu: Honolulu Academy of Arts, 2008,
hibition 都路華香展. Kasaoka 笠岡 and Kyoto 京都:
pp. 265 – 6.
The National Museum of Modern Art, Kyoto 京都
国立近代美術館 and Chikkyō Art Museum, Kasaoka
笠岡市立竹喬美術館, 2006, pp. 96 and 106 – 7
Nr. 20 Hearing Nothing, Seeing Nothing
Nr. 26 Incense Box with Nanten and the Full Moon
Nihon no āru nūvō 1900--1923: kōgei to dezain no
shinjidai (Art Nouveau in Japan 1900--1923: The New
1 For information on the Nadina, see: Terashima
Age of Crafts and Design) 日本のアール・ヌーヴォー
Ryōan 寺島良安, Wakan sansai zue 和漢三才図絵.
1900--1923 工芸とデザインの新時代. Tokyo: Tōkyō
2 vols. Tokyo: Tokyo Bijutsu 東京美術, 1970, vol. 2,
Kokuritsu Kindai Bijutsukan, 2005.
p. 1198.
2 This is a common way to depict the patriarch; see
1 All three seals were used on or around Nantembō’s
for example Daruma paintings by various artists
eighty-fifth year. See Matthew Welch, The Paintings
in: Asai Kyōko 浅井京子, ed. Kyū-Tomioka Bijutiskan
and Calligraphy of the Japanese Zen Priest Tōjū
shozō: Zen shoga mokuroku 旧富岡美術館所蔵・
Zenshū, Alias Nantembō (1839 –1925). PhD disser-
禅書画目録. Tokyo: Waseda University Aizu Yaichi
tation, University of Kansas, 1995, Appendix Two.
Nr. 27 Writing Box with Fans and Autumn Grasses
1 For many fine examples of Genji-related fans, see:
Memorial Museum 早稲田大学會津八一記念博物館,
Murasaki Shikibu. Le dit du Genji: Genji monogatari:
2007
Illustré par la peinture traditionnelle japonaise du
XIIe au XVIIe siècle. 3 vols. Paris: D. de Selliers, 2007.
118
119
Bibliography
Addiss, Stephen and Audrey Seo. The Art of
Brown, Kendall. The Politics of Reclusion: Painting
Hisamatsu Shin’ichi 久松真. »Sengai no zenfū
Twentieth-Century Zen: Painting and Calligraphy by
and Power in Momoyama Japan. Honolulu: University
仙厓の禪風.« Bokubi 墨美 110 (1961)
Japanese Masters. Boston and London: Shambhala,
of Hawaii, 1997.
Kakudo Yoshiko. The Art of Japan: Masterworks in the
Asian Art Museum. San Francisco: Chronicle Books
and Asian Art Museum of San Francisco, 1991.
Hitachi-shi Kyōdo Hakubutsukan 日立市郷土博物館,
1998
Conant, Ellen P., et al. Nihonga, Transcending the
ed. Kindai kachōga kō: Dokugakai, Araki Ichimon
Kakudo Yoshiko. »Later Japanese Art.« Apollo 112,
Addiss, Stephen. The Art of Zen: Paintings and
Past: Japanese Style Painting, 1868 –1968. Saint
no keifu 近代花鳥画考・読画会、荒木一門の系譜.
no. 222 (Aug, 1980), 108 – 16.
Calligraphy by Japanese Monks, 1600 – 1925. New
Louis: The Saint Louis Art Museum and The Japan
Hitachi 日立: Hitachi-shi Kyōdo Hakubutsukan
York: Harry N. Abrams, 1989.
Foundation, 1995
日立市郷土博物館, 2000.
Kameyama, Takurō 亀山卓郎. Hakuin Zenji no ga wo
yomu: sono ikonologii to singanron 白隠禅師の画を
Akiyama Ken and Eiichi Taguchi. Genji monogatari:
Fukushima, Shun’ō and Shōshun Katō 福嶋俊翁
Hosono Masanobu 細野正信, ed. Bunten, Teiten,
読む―そのイコノロジーと真贋論. Kyoto: Zen Bunka
Gōka »Genji-e« no sekai. Tokyo: Gakushū
と加藤正俊. Zenga no sekai 禅画の世界．Kyoto:
Shinbunten, Nitten: Zenshuppin mokuroku 文展・
Kenkyūjō 禅文化研究所, 1985.
Kenkyūsha, 1988.
Tankōsha 淡交社, 1978.
帝展・新文展・日展：全出品目録.
Araki Tadashi 荒木矩. Dai Nihon shoga meika taikan
Furuta Shōkin 古田紹欽. Sengai 仙厓. Tokyo:
大日本書画名家大鑑. 4 vols. Reprinted ed. Tokyo:
Idemitsu Bijutsukan 出光美術館, 1985
Tokyo: Nitten 日展, 1990
Daiichi Shobō 第一書房, 1991.
Kodansha. Kodansha Encyclopedia of Japan.
New York and Tokyo: Kodansha, 1983.
Iida-shi Bijutsu Hakubutsukan 飯田市美術博物館.
Tokubetsuten: Hakuin 特別展―白隠』. Iida,
Kokumin Bijutsu Kyōkai 國民美術協会, ed. Kokumin
Hanazono Daigaku Kokusai Zengaku Kenkyūjo
Nagano Pref.: Iida-shi Bijutsu Hakubutsukan
Bijutsu Kyōkai daiikkai seibu tenrankai kessakushū
Asai Kyōko 浅井京子, ed. Kyū-Tomioka Bijutsukan
花園大学国際禅学研究所, ed. Hakuin zenga bokuseki
飯田市美術博物館, 1994.
國民美術協会第一回西部展覧会傑作集. Tokyo:
shozō: Zen shoga mokuroku 旧富岡美術館所蔵・
白隱禪画墨蹟. 3 vols. Tokyo: Nigensha 二玄社, 2009.
禅書画目録. Tokyo: Waseda University Aizu Yaichi
Kokumin Bijutsu Kyōkai 國民美術協会, 1913
Itō Shiori 伊藤紫織. »Shini-e to gachūga: shōzō to
Memorial Museum 早稲田大学會津八一記念博物館,
Hanazono Daigaku Rekishi Hakubutsukan 花園大学歴
shite no shini-e« 死絵と画中画・肖像としての死絵.
Kuroda Taizō, Melinda Takeuchi, and Yamane Yūzō.
2007.
史博物館, Yoshizawa Katsuhiro 芳澤勝弘, Fukushima
Journal of Development and Systematization of
Worlds Seen and Imagined: Japanese Screens from
Tsunenori 福島恒徳, Satō Makoto 佐藤誠, eds.
Death and Life Studies, Tokyo University 東京大学
the Idemitsu Museum of Arts. New York: The Asia
Berry, Paul and Michiyo Morioka. Literati Modern:
Hakuin Zenji to bokuseki: Shinde Ryūunji Temple
グローバルCOEプログラム「死生学の展開と組織化」
Society Galleries and Abbeville Press Publishers,
Bunjinga from Late Edo to Twentieth-Century
Collection 白隠禅師と墨跡・新出龍雲寺コレクション.
(2009) pp. 173 – 96.
1995.
Japan: The Terry Welch Collection at the Honolulu
Kyoto: Hanazono Daigaku Rekishi Hakubutsukan
Academy of Arts. Honolulu: Honolulu Academy of
花園大学歴史博物館, 2004.
Izumi Takeo 泉武夫and Mizukami Tsutomu 水上勉.
Kuroki Takashi 黒木喬. Edo no kaji 江戸の火事.
Hakuin, Sengai 白隠、仙厓. From series: Suibokuga
Dōseisha 同成社, 1999.
Arts, 2008.
Berry, Paul and Michiyo Morioka. Modern Masters
Hata Ichijirō 畑市次郎. Tōkyō saigai-shi 東京災害史.
no kyoshō 水墨画の巨匠, vol. 7. Tokyo: Kodansha
Tokyo: Tosei tsūshin sha 都政通信社, 1952.
講談社, 1995.
Hickman, Money L. Japan’s Golden Age: Momoyama.
Jacobson, Robert D. The Art of Japanese Screen
Center for Chinese Studies, University of Michigan,
Dallas: Dallas Museum of Art with Yale University
Painting: Selections from the Minneapolis Institute
2002.
Press, 1996.
of Arts. Minneapolis: The Minneapolis Institute of
account of tales of the world. 2nd ed. Ann Arbor:
of Kyoto: The Transformation of Japanese Painting
Traditions. Seattle: Seattle Art Museum, 1999.
Borgen, Robert. Sugawara no Michizane and the
Early Heian Court. Honolulu: University of Hawaii
Press, 1994
Mather, Richard, ed. Shih-shuo Hsin-yü: A new
Arts, 1984.
Imperial Anthology of Japanese Poetry: with Tosa
Hickman, Money L. and Yasuhiro Satō. The Paintings
of Jakuchū. New York: Asia Society Galleries, 1989
Brasch, Kurt. Hakuin und die Zen Malerei. Tokyo:
McCullough, Helen Craig. Kokin wakashū: the First
Jippensha Ikku. Shanks’ Mare: Being a Translation
nikki and Shinsen waka. Stanford, CA: Stanford
of the Tokaido volumes of »Hizakurige«, Japan’s
University Press, 1985
Hiraoka Naoki 平岡直樹 and Sasaki Kunihiro
Great Comic Novel of Travel and Ribaldry by Ikku
佐々木邦博. »Edo meishoki ni miru 17-seiki nakagoro
Jippensha (1765 –1831). Tokyo and Rutland, VT.:
McKelway, Matthew. Capitalscapes: Folding Screens
Brown, Kendall and Sharon Minichiello. Taishō Chic:
no Edo no meisho no tokuchō『江戸名所記』に見る
Charles E. Tuttle Company, 1960
and Political Imagination in Late Medieval Kyoto.
Japanese Modernity, Nostalgia, and Deco.
17世紀中頃の江戸の名所の特徴.« Shinshū Daigaku
Honolulu: Honolulu Academy of Arts, 2003
Nōgakubu Kiyō 信州大学農学部紀要 38,1/2 (2002),
Japanisch-Deutsch Gesellschaft, 1957.
Honolulu: Hawaii University Press, 2006.
pp. 37 – 44
120
121
McRae, John R. Seeing through Zen: Encounter,
Nakamura Gen 中村元, ed. Hakuin Zenji 白隠禅師.
Ōtsu City Museum of History 大津市歴史博物館,
Sasaki Jōhei, Sasaki Masako, Osaka Shiritsu
Transformation, and Genealogy in Chinese Chan
Hara 原: Shōinji Temple 松蔭寺, 2000.
ed. Shirarezaru Nihon kaiga 知られざる日本絵画
Bijutsukan 大阪市立美術館, 佐々木丞平,佐々木正子,
(English title: Unexplored Avenues of Japanese
eds. Maruyama Ōkyo: Shaseiga sōzō e no chōsen
Painting). Seattle and Ōtsu: University of Washington
tokubetsuten 円山応挙: 写生画創造への挑戦特別展.
Tokyo: Mainichi Shinbunsha 每日新聞社, 2003
Buddhism. Berkeley: University of California Press,
2003
Newland, Joseph N., ed. Japanese Bamboo
Baskets: Masterworks of Form & Texture from the
Press, Ōtsu City Museum of History 大津市歴史博物館,
Mochizuki Noboru 望月昇, ed. Hakuin: Zen to shoga
Collection of Lloyd Cotsen. Los Angeles: Cotsen
2001
白隠・禅と書画. Kyoto: ADK, 2004.
Occasional Press, 1999.
Morioka, Michiyo. »A Reexamination of Tsuji Kakō’s
Nichibō shuppansha 日貿出版社, ed. Sengai no
Art and Career« in Berry, Paul and Michiyo Morioka,
zenga: Satori no bi 仙厓の禪画: 悟りの美. Tokyo:
Modern Masters of Kyoto: The Transformation of
Nichibō shuppansha 日貿出版社, 1984
Japanese Painting Traditions, Nihonga from the
Griffith and Patricia Way Collection. Seattle: Seattle
Nihon Keizai Shinbun, Inc., ed. Bamboo Masterworks:
Art Museum, 1999
Japanese Baskets from the Lloyd Cotsen Collection.
Tokyo: Nihon Keizai Shinbun, Inc., 2003.
Morita, Shiryū 森田子龍, ed. Bokubi Tokushū:
Screech, Timon. The Western Scientific Gaze and
Price, Lorna, ed. A Thousand Cranes: Treasures of
Popular Imagery in Later Edo Japan: The Lens with-
Japanese Art. Seattle: Seattle Art Museum, 1987.
in the Heart. Cambridge, New York and Melbourne:
Cambridge University Press, 1996.
Ragué, Beatrix von. A History of Japanese Lacquerwork. Toronto and Buffalo: University of Toronto
Seo, Audrey. Painting-Calligraphy Interactions in the
Press, 1976.
Zen Art of Hakuin Ekaku (1685 –1768). PhD dissertation. University of Kansas, 1997
Rinne, Melissa in collaboration with Koichiro Okada.
Masters of Bamboo: Artistic Lineages in the Lloyd
Sharf, Robert. »Who’s Zen: Zen Nationalism Revis-
Nishimura Nangaku 西村南岳. »Sengai Zenga:
Cotsen Japanese Basket Collection. San Francisco:
ited«, in Rude Awakenings: Zen, the Kyoto School &
edition of the issues of the Bokubi journal numbers
Honmono, nisemono 仙厓禅画・ほんもの、にせもの.«
Asian Art Museum, 2007.
Zen Nationalism, J. W. Heisig & John Maraldo eds.,
77, 78, 79, and 90, illustrating the collected works
Bokubi 墨美 114 (1962)
Hakuin bokuseki 墨美特集―白隠墨蹟．Collected
of Hakuin. Kyoto: Bokubisha 墨美社, 1985.
Nanzen Institute for Religion and Culture. Honolulu:
Rosenfield, John M. in collaboration with Fumiko
University of Hawaii Press, 1995
Nittenshi Hensan Iinkai 日展史編纂委員会. Bunten,
E. Cranston; edited by Naomi Noble Richard.
Moroyama Masanori, Masami Oguchi, and Satomi
Teiten, Shin Bunten, Nitten zen shuppin mokuroku:
Extraordinary Persons: Works by Eccentric, Non-
Shimizu, Yoshiaki and Carolyn Wheelwright, eds.
Suzuki with preface by Lloyd Cotsen. Japanese
Meiji 40-nen--Shōwa 32-nen: Nitten shi shiryō 文展・
conformist Japanese Artists of the Early Modern Era
Japanese Ink Paintings. Princeton: The Art Museum,
Bamboo Baskets: Meiji, Modern, Contemporary.
帝展・新 文展・日展全出品目錄: 明治 40年--昭和 32年:
(1580 – 1868) in the Collection of Kimiko and John
Princeton University, 1976.
Tokyo: Kodansha International, 2007
日展史資料. Tokyo: Nittenshi Hensan Iinkai 日展史編
Powers. 3 vols. Cambridge, MA: Harvard University
纂委員会, 1990, vol. 2, p
Art Museums, 1999.
Shimonaka Kunihiko 下中邦彦, ed. Nihon jinmei
jiten 日本人名辞典. Tokyo: Heibonsha 平凡社, 1979,
Murasaki Shikibu. Le dit du Genji: Genji monogatari:
Illustré par la peinture traditionnelle japonaise du
Nittenshi Hensan Iinkai 日展史編纂委員会, ed.
Rosenfield, John and Elizabeth ten Grotenhuis.
XIIe au XVIIe siècle. 3 vols. Paris: D. de Selliers,
Nittenshi 日展史. Tokyo: Nitten 日展, 1980 –, vol. 8,
Journey of the Three Jewels: Japanese Buddhist
2007
p. 117, nr. 181.
Paintings in Western Collections. New York: Asia
Shōno-Sládek, Masako. The Splendour of Urushi:
Society, 1979.
Lacquer Art Collection of the Museum of East Asian
Murasaki Shikibu. The Tale of Genji. Royall Tyler,
Oguma Hideo 小熊秀雄. Oguma Hideo zenshū
trans. 2 vols. New York: Viking, 2001.
小熊秀雄全集. 5 vols. Tokyo: Sōjusha 創樹社, 1990 –1.
Murase, Miyeko. Masterpieces of Japanese Screen
Okamoto Kanoko 岡本かの子, Ōmori Sōgen 大森曹玄,
Painting: The American Collections. New York:
and Ogisu Jundō 荻須純道. Hakuin no zenga:
George Braziller, 1990.
taishū Zen no bi 白隠の禅画－大衆禅の美. Tokyo:
Sannomaru Shōzōkan 三の丸尚蔵館, ed. Iwai no bi:
Nichibō Shuppansha日貿出版社, 1985.
Taishōki kōshitsu gokeiji no shinajina 祝美大正期皇
vol. 4, 513.
Art, City of Cologne. Cologne: Museum of East
Rosenfield, John, ed. Song of the Brush: Japanese
Asian Art, 1994.
Paintings form the Sansō Collection. Seattle: Seattle
Art Museum, 1979.
Painting 1900 –1940. London: The British Museum,
室御慶事の品々. Tokyo: Kunaichō 宮内庁, 2007
Nagayama Hisao 永山久夫. Tabemono Edo shi
Smith, Lawrence. Nihonga: Traditional Japanese
たべもの江戸史. Tokyo: Shin Jinbutsu Oraisha
Osaka Municipal Museum of Art 大阪市立美術館,
新人物往来社, 1976.
ed. Tokubetsuten: Shōzō gasan, hito no sugata hito
Sano Museum of Art 佐野美術館. Hakuin: seitan
1991.
Stevens, John. Zenga: Brushstrokes of Enlightenment.
New Orleans: New Orleans Museum of Art, 1990.
no kotoba 特別展・肖像画賛＝人のすがた、人のことば.
sanbyakunen kinen 白隠―生誕三百年記念. Mishima
Suzuki, Daisetz T. Sengai: The Zen Master. London:
Nakajima Junshi, et al. Nihon byōbue shūsei
Osaka: Osaka Municipal Museum of Art
三島: Sano Museum of Art 佐野美術館, 1984.
Faber and Faber, 1971
日本屏風絵集成. Tokyo: Kōdansha, 1980.
大阪市立美術館, 2000.
122
123
Suzuki, Daisetz T. Sengai (1750 –1837). Trans. Eva
Thomsen, Erik. Japanese Paintings and Works of Art.
von Hoboken. Vienna: Oesterreichisches Museum
Bensheim, 2006
Tsuji Nobuo 辻惟雄, ed. Fūzokuga: kōbu, fūzoku
Yamane Yūzō, ed. The Shin’enkan Collection of
風俗画公武風俗. Vol. 12, Nihon byōbu-e shūsei
Japanese Painting. Kyoto: Kyoto Shoin, 1984.
日本屏風絵集成. Tokyo: Kōdansha 講談社, 1980.
für Angewandte Kunst, 1964
Yamanouchi, Chōzō 山内長三. Hakuin-san no
Thomsen, Erik. Japanese Paintings and Works of Art.
Tachibana Yoshiaki 立花義彰. »Shizuoka kindai
New York, 2007
bijutsu nenpyō, Taishō hen 静岡近代美術年表 大正編«.
Shizuokaken Hakubutsukan Kyōkai Kenkyū Kiyō 静岡
Thomsen, Erik. Japanese Paintings and Works of Art.
県博物館協会研究紀要 29 (2006), 47 – 68.
2008. New York, 2008
Tsunoda Ryusaku, William Theodore de Bary, and
eseppō 白隠さんの絵説法. Tokyo: Daihō Rinkaku
Donald Keene. Sources of Japanese Tradition.
大法輪閣, 1991.
2 vols. New York: Columbia University Press, 1958
Yamato Bunkakan大和文華館, ed. Yamato Bunkakan
Urushiyama Tendō 漆山天童. Ukiyoe nenpyō
shozōhin zuhan mokuroku 大和文華館所蔵品図版目録.
Nara: Yamato Bunkakan大和文華館, 1978.
Takeda Tsuneo 武田恒夫, et al. Keibutusga: Shiki
Thomsen, Erik. Japanese Paintings and Works of Art.
浮世絵年表. Tokyo: Fūzokuemaki Zuga Kankōkai
keibutsu 景物画・四季景物. Nihon Byōbue shūsei
2009. New York, 2009
風俗絵巻図画刊行会, 1934
日本屏風絵集成, vol. 9. Tokyo: Kōdansha 講談社,
1977.
Takeda Tsuneo 武田恒夫. Kinsei shoki fūzokuga
Yampolsky, Philip B. Ch’an, a Historical Sketch in
Thomsen, Hans Bjarne. »The Other Hiroshige:
Vaporis, Constantine. Breaking Barriers: Travel and
Buddhist Spirituality in Later China, Korea, Japan
Connoisseur of the Good Life«, Impressions 24
the State in Early Modern Japan. Cambridge, Mass.:
and the Modern World, edited by Takeuchi Yoshinori.
(December, 2002)
Council on East Asian Studies, Harvard University,
SCM Press, 1999.
近世初期風俗画. 日本の美術 20 Tokyo: Shibundō
至文堂, 1967.
Takeuchi, Naoji 竹内尚次. Hakuin 白隠. Tokyo:
1994.
Yampolsky, Philip B. The Zen Master Hakuin: Selected
Thomsen, Hans Bjarne. »Food and Art: Hiroshige’s
Restaurant prints in the Elvehjem.« Bulletin of the
Volk, Alicia. »A Unified Rhythm: Past and Present
Elvehjem Museum of Art, Summer 2002 issue
in Japanese Modern Art,« in Christine Guth, et al,
Chikuma Shoten 筑摩書店, 1964.
Japan & Paris: Impressionism, Postimpressionism,
Yokoi Yūhō. The Japanese English Buddhist Dictionary. Tokyo: Sankibō Buddhist Book Store, 1991
Tochigi Prefectural Museum of Fine Arts.
and the Modern Era. Honolulu: Honolulu Academy
Tanahashi, Kazuaki. Penetrating Laughter: Hakuin’s
Iizuka Rōkansai: Master of Modern Bamboo Crafts.
of Arts, 2004.
Zen & Art. Woodstock, NY: The Overlook Press,
Tochigi: Tochigi Prefectural Museum of Fine Arts,
1984.
1989.
Tanahashi, Kazuaki 棚橋一晃. Hakuin no geijutsu
Toda Teisuke and Hiromitsu Ogawa. Chūgoku no
白隠の芸術．Tokyo: Geiritsu Shuppan 芸立出版, 1980.
Kachōga to Nihon. Tokyo: Gakushū Kenkyūsha, 1983
Tōji Genzai Kōeki Shoka Jinmeiroku. 1836 and 1842.
Tanaka Daisaburō 田中大三郎, ed. Hakuin zenshi
bokusekishu 白隠禅師墨蹟集. Tokyo: Rokugei
Tokyo National Museum for Modern Art 東京国立
Shobō 六芸書房, 2006.
近代美術館. Nihon no āru nūvō 1900--1923: kōgei
Writings. New York: Columbia University Press, 1971.
Yoshida Yūji 吉田友之. Tosa Mitsunobu 土佐光信.
Waddell, Norman. The Essential Teachings of Zen
Nihon bijutsu kaiga zenshū 日本美術絵画全集, vol. 5.
Master Hakuin. Boston and London: Shambhala
Tokyo: Shūeisha 集英社, 1979.
Publications, Inc., 1994.
Yoshizawa Katsuhiro 芳澤勝弘. Hakuin no mojie:
Wakisaka Atsushi. Momoyama kōki no kachō:
Hitomaro-zō to Totō Tenjin-zō 白隠の文字絵―人丸像
Kenrantaru taiga II. Series: Kachōga no sekai, vol. 4.
と渡唐天神像―. Zen Bunka 禅文化 188, 2003.
Tokyo: Gakken, 1982
Yui Kazuto 油井一人. Nijusseiki bukko nihongaka
to dezain no shinjidai 日本のアール・ヌーヴォー
Welch, Matthew. The Paintings and Calligraphy
jiten 20世紀物故日本画家事典. Tokyo: Bijutsu Nenk-
Terashima Ryōan 寺島良安. Wakan sansai zue
1900 –1923 工芸とデザインの新時代. (English title:
of the Japanese Zen Priest Tōjū Zenshū, Alias
ansha 美術年鑑社, 1998.
和漢三才図絵. 2 vols. Tokyo: Tokyo Bijutsu
Art Nouveau in Japan 1900--1923: The New Age of
Nantembō (1839 –1925). PhD dissertation, University
東京美術, 1970.
Crafts and Design). Tokyo: Tōkyō Kokuritsu Kindai
of Kansas, 1995
Bijutsukan, 2005.
Yamada, Mumon 山田無文. Hakuin Zenji: zazen
The National Museum of Modern Art, Kyoto
京都国近代美術館 and Chikkyō Art Museum, Kasaoka
Tomioka Bijutsukan 富岡美術館. Tomioka Bijutuskan
wasan kōwa 白隠禅師―坐禅和讃講話. Tokyo:
笠市立竹喬美術館, eds. Tsuji Kakō Exhibition
zōhinshō 富岡美術館蔵品抄. Tokyo: Tomioka Bijut-
Shunshūsha 春秋社, 1970.
都路華香展. Kasaoka 笠岡and Kyoto 京都: The Na-
sukan 富岡美術館, 1982.
Yamamoto Kenkichi 山本健吉, et al., eds. Nihon
tional Museum of Modern Art, Kyoto 京都国立近代
美術館 and Chikkyō Art Museum, Kasaoka 笠岡市立
Tomioka Museum of Art 富岡美術館. Kinsei no zenga
daisaijiki 日本大歳時記 Tokyo: Kōdansha 講談社,
竹喬美術館, 2006.
近世の禅画. Tokyo: Tomioka Museum 富岡美術館,
1983.
1983.
124
125
Index
Nr.
Page
Artist
Title
Description
Date
Size
Nr.
Page
Kano School
Roosters and Chicken
Pair of six-panel folding screens. Ink, colors,
Edo Period
H 64 ¾" × W 133 ½"
18
72
Artist
Title
Description
Date
Size
Sano Kōsui
A Cat in a Melon Patch
Hanging scroll. Ink, colors and gold on silk.
Taishō Period
H 85" × 26"
circa 1925
(216 cm × 65.8 cm)
Taishō Period
H 84 ¾" × 23"
circa 1915
(215 cm × 58.2 cm)
Taishō Period
H 80" × 26 ½"
dated 1923
(203 cm × 67 cm)
Screens
1
2
3
4
6
12
16
22
狩野派
in a Bamboo Grove
gofun, gold and gold leaf on paper.
early 17th C
(164.5 cm × 339 cm) each
Tosa Mitsuyoshi
Scenes from the Tales
Six-panel folding screen. Ink, mineral colors,
Momoyama Period
H 63 ½" × W 146 ½"
土佐光吉
of Genji
gofun, silver, gold and gold leaf on paper.
early 17th C
(161.3 cm × 372.3 cm)
Unknown artist
Scenes from the Great
Pair of six-panel folidng screens. Ink, mineral
Edo Period
H 49 ¾" × W 117 ½"
Eastern Road
colors, gofun, gold flakes and gold leaf on paper.
circa 1800
(126.5 cm × 298.5 cm) each
Peacock Pair by Cliffs
Two-panel folding screen. Ink, colors, gold and
Meiji Period
H 76 ¾" × W 75 ¾"
gold-leaf on silk.
dated 1907
(195 cm × 192.4 cm)
Pair of six-panel folidng screens. Ink, mineral
Taishō Period
H 69" × W 136 ¼"
Araki Kampo
荒木寛畆
5
26
Usumi Kihō
内海輝邦
The Raven and the
Peacock
colors, gofun, gold, silver, lacquer and silver leaf
circa 1920
7
32
36
8
40
Chinese Landscape
Two-panel folding screen. Ink and colors on
Taishō Period
H 68" × W 74 ¾"
平井 楳仙
with Pagoda
paper.
1925
(173 cm × 189.7 cm)
Nakatsuka Issan
Morning Quiet
Two-panel folding screen. Ink, colors and gofun
Shōwa Period
H 70 ½" × W 90"
on silk.
1927
(179.3 cm × 228.6 cm)
Nakatsuka Issan
Flowering Yamabuki
中塚一杉
9
44
74
Two-panel folding screen. Ink, colors and gofun
Shōwa Period
H 78 ¼" × W 82"
on silk.
circa 1930
(199 cm × 208 cm)
Sōju
Sea Gulls by the
Two-panel folding screen. Ink, colors, gofun and
Taishō Period
H 69 ¼" × W 68 ¾"
双樹
Seashore
silver on paper.
1920s
(175.8 cm × 174.8 cm)
Tsuji Kakō
Daruma Portrait
Hanging scroll. Ink and colors on paper.
都路華杳
20
76
Nakahara Nantembō
Hearing Nothing,
中原南天榛
Seeing Nothing
Hanging scroll. Ink on satin.
Bamboo Baskets
21
22
Hirai Baisen
中塚一杉
19
80
(175 cm × 346 cm) each
on paper.
6
佐野光穂
23
82
84
Yamamoto Chikuryūsai
Boat-Shaped Wide
Ikebana flower basket. Madake bamboo,
Taishō Period
H 15 ¼" × L 20 ¾" × W 11¼"
山本竹龍斎
Basket
Hōbichiku bamboo and rattan.
dated 1916
(38.5 cm × 52.5 cm × 28.5 cm)
Maeda Chikubōsai I
Wide-Mouthed Flower
Ikebana flower basket.Madake bamboo,
Shōwa Period
H 19 ½", D 10"
前田竹房斎 初代
Basket
Hōbichiku bamboo and rattan.
dated 1942
(49.5 cm, 25.5 cm)
Tanabe Chikuunsai I
Crouching Tiger
Ikebana flower basket. Kinmeichiku bamboo,
Shōwa Period
H 17 ¾", D 10 ¾"
Hōbichiku bamboo and Madake bamboo.
1920s
(45 cm, 27cm)
Ikebana flower basket. Hōbichiku smoked
Shōwa Period
H 19", D 10 ¼"
bamboo and rattan.
1930s
(48.5 cm, 26 cm)
Ikebana flower basket. Susudake bamboo and
Shōwa Period
H 17" × L 9 ¼" × W 7"
rattan.
dated 1937
(43.3 cm × 23.5 cm × 18 cm)
Lacquer box
Edo Period
H 1" × L 2 ¾" × W 2 ¾"
18th C
(2.3 cm × 6.8 cm × 6.7 cm)
Meiji Period
H 1½" × L 8" × W 7 ¼"
circa1900
(4 cm × 20.4 cm × 18.4 cm)
Edo Period
H 2" × L 9" × W 8 ¼"
early 19th C
(4.9cm × 22.8 cm × 21 cm)
Meiji Period
H 4 ¼" × L 8 ¾" × W 7 ¼"
circa1900
(11 cm × 22 cm × 18.5 cm)
Taishō-Shōwa Periods
H 4 ½" × L 10 ¾" × W 8 ¼"
1920s – 30s
(11.5 cm × 27.5 cm × 21.2 cm)
田辺竹雲斎 初代
24
86
Morita Chikuami
Flared Flower Basket
森田竹阿弥
25
88
Kyokusai
Flower Basket
旭斎
Lacquers
Paintings
10
11
12
13
50
54
58
60
26
Hakuin Ekaku
The Second Patriarch
白隠慧鶴
Standing in the Snow
Hakuin Ekaku
Tenjin Traveling to
白隠慧鶴
China
Sengai Gibon
The Hakata Top
仙厓義梵
Crossing a String
Kishi Chōzen
Fire in Edo
Hanging scroll. Ink on paper.
Hanging scroll. Ink on paper.
Hanging scroll. Ink on silk.
Hanging scroll. Ink and light colors on paper.
岸長善
14
64
Mochizuki Gyokusen
Waterfall
Hanging scroll. Ink and silver on silk.
望月玉泉
15
16
66
68
Hirai Baisen
The Snow of
平井 楳仙
Kamogawa River
Watanabe Shōtei
New Year with Small
渡辺省亭
Pines and a Pair of
Hanging scroll. Ink, colors and gofun on silk.
Hanging scroll. Ink, color and lacquer on silk.
Edo Period
H 65" × W 15 ¾"
circa 1725
(165 cm × 40 cm)
Edo Period
H 41¼" × 8 ¼"
circa 1760
(104.5 cm × 21.1 cm)
Edo Period
H 49 ½" × 24 ¾"
circa 1820
(126 cm × 62.6 cm)
Edo Period
H 89 ¼" × 29"
circa 1845
(227 cm × 73.7 cm)
Meiji Period
H 92 ¾" × 28 ¼"
circa1900
(235.5 cm × 71.8 cm)
Taishō Period
H 85" × 22"
dated 1917
(216 cm × 55.8 cm)
Meiji Period
H 75 ½" × 20 ¾"
circa1910
(192 cm × 52.6 cm)
92
Anonymous
Incense Box with the
Full Moon and Nanten
27
94
Anonymous
Writing Box with Fans
Maki-e lacquer box
and Autumn Grasses
28
96
Anonymous
Writing Box with
Maki-e lacquer box
Books
29
30
98
100
Zōhiko Studio
Tales of Genji Tebako
象彦
Box
Mikami Yōkōdō
Writing Box with the
三上楊光堂
Hundred Kings
Maki-e lacquer box
Maki-e lacquer box
Cranes
17
126
70
Tojima Mitsuzane
Set of Three Lacquer
Set of 3 hanging scrolls. Lacquer, light color and
Shōwa Period
H 83 ¼" × 21 ¾"
戸島光孚
Paintings with Carps
ink on silk.
dated 1929
(211.5 cm × 55.2 cm) each
127
Cover:
Scenes from the Great Eastern Road
Detail, pair of six-panel folding screens (item 3)
Edo Period (1615 –1868), circa 1800
Erik Thomsen 2010
Japanese Paintings and Works of Art
© 2010 Erik Thomsen
Text based on research by Prof. Hans Bjarne Thomsen (item 1– 20, 26 – 30)
Photography: Cem Yücetas
Design and Production: Valentin Beinroth
Printing: Henrich Druck + Medien GmbH, Frankfurt am Main
Printed in Germany
131

油彩画の魅惑―17～19 世紀 日本における聖画の制作と風景の再現 岡

基礎力チェック 和文英訳問題（対象：中 3） その1

RML Example 32: Japanese

ポスター - 一橋大学

林家 花 - TOKYO PAPER for Culture トーキョーペーパー フォー カルチャー

英単語ターゲット1900（第5版） 501～1000 1 501、I cannot (c ) on

こちら - 東京大学 工学部物理工学科・大学院工学系研究科物理工学専攻

翻訳に関する申請者宣誓書 （英文ヒナ型） (Letterhead) (Letterhead

はしがき

guide