DOI Heft:
No. 218 (May, 1911)
DOI Artikel:Harada, Jirō: The present condition of art in Japan
DOI Artikel:Spielmann, Marion H.: An Indian portrait painter, S. Rahamim Samuel
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20972#0324
6". Rahamim Samuel
" NINOMIYA SOUTOKU " (BRONZE)
BY OGURA UICHIRO
among whom mention should be made of Nakagawa
Hachiro, Yamashita Shintaro, Nakamura, Aoyama
Kumaji, and Watanabe Yohei.
A marked change was shown in sculpture com-
pared with previous exhibitions. Almost all the
figures were in either a recumbent or crouching
posture, whereas hitherto most of the pieces have
been upright figures, more stress being laid upon
the technique, grace of form and beauty of line.
Among the few upright figures exhibited was that
in wood by Yonehara Unkai here reproduced.
The sculptors seem to have striven to convey
ideals rather than to exhibit beauty of technique.
All the artists tried earnestly to express something
more than the outer forms suggested, although there
is no apparent cause for this change. The preva-
lence of pessimistic spirit in the subjects was notice-
able, nearly all the pieces bearing a touch of inward
sadness or suggestion of mental suffering. This no
doubt was due to the power of the literature of the
present day, and especially to the influence of the
great French sculptor Rodin, whose works are very
much admired by our sculptors.
The exhibition on the whole showed a marked
progress in the department of sculpture. There
is more than one thing which is accountable for
this progress. The patronage of the Imperial
Household Department has had a very strong
effect. But perhaps nothing has done so much as
the encouragement given to clay modelling, which
has so long been quite neglected outside the
Tokyo School of Fine Art. This institution has
encouraged clay modelling and thus given a great
impetus to the progress of sculpture.
It is maintained by our energetic sculptors that
302
their work must show their own interpretation, and
that since the ideals prevailing in one country are
unlike those found in others, their work should
possess qualities peculiarly Japanese, and should
express something great and noble, fitting and
becoming the art of the great Empire of the East.
They claim that the expression of such ideals
should not be restricted by material or method, but
that they should have in every respect a free scope.
Such feeling exists to-day not only among our
sculptors, but among other artists as well. J. H.
AN INDIAN PORTRAIT PAINTER
S. RAHAMIM SAMUEL. BY
M. H. SPIELMANN
About ten years ago a young Indian—whose
recent forbears had assumed the surname which
now is his—was consumed with a passion for
WOOD CARVING BY YONEHARA UNKAI
" NINOMIYA SOUTOKU " (BRONZE)
BY OGURA UICHIRO
among whom mention should be made of Nakagawa
Hachiro, Yamashita Shintaro, Nakamura, Aoyama
Kumaji, and Watanabe Yohei.
A marked change was shown in sculpture com-
pared with previous exhibitions. Almost all the
figures were in either a recumbent or crouching
posture, whereas hitherto most of the pieces have
been upright figures, more stress being laid upon
the technique, grace of form and beauty of line.
Among the few upright figures exhibited was that
in wood by Yonehara Unkai here reproduced.
The sculptors seem to have striven to convey
ideals rather than to exhibit beauty of technique.
All the artists tried earnestly to express something
more than the outer forms suggested, although there
is no apparent cause for this change. The preva-
lence of pessimistic spirit in the subjects was notice-
able, nearly all the pieces bearing a touch of inward
sadness or suggestion of mental suffering. This no
doubt was due to the power of the literature of the
present day, and especially to the influence of the
great French sculptor Rodin, whose works are very
much admired by our sculptors.
The exhibition on the whole showed a marked
progress in the department of sculpture. There
is more than one thing which is accountable for
this progress. The patronage of the Imperial
Household Department has had a very strong
effect. But perhaps nothing has done so much as
the encouragement given to clay modelling, which
has so long been quite neglected outside the
Tokyo School of Fine Art. This institution has
encouraged clay modelling and thus given a great
impetus to the progress of sculpture.
It is maintained by our energetic sculptors that
302
their work must show their own interpretation, and
that since the ideals prevailing in one country are
unlike those found in others, their work should
possess qualities peculiarly Japanese, and should
express something great and noble, fitting and
becoming the art of the great Empire of the East.
They claim that the expression of such ideals
should not be restricted by material or method, but
that they should have in every respect a free scope.
Such feeling exists to-day not only among our
sculptors, but among other artists as well. J. H.
AN INDIAN PORTRAIT PAINTER
S. RAHAMIM SAMUEL. BY
M. H. SPIELMANN
About ten years ago a young Indian—whose
recent forbears had assumed the surname which
now is his—was consumed with a passion for
WOOD CARVING BY YONEHARA UNKAI