DOI issue:
Nr. 158 (April 1910)
DOI article:Taki, Seiichi: Contemporary Japanese painting
DOI Page / Citation link:https://doi.org/10.11588/diglit.19866#0151
Contemporary Japanese Painting
Girl, by Mr. Seiho Takenouchi. Kyoto has a
proverbial reputation for fair maiden dancers. In
his present picture Mr. Takenouchi has copied, as
it were by a snap-shot, the most important move-
ment of the dance. While rendered with com-
paratively few strokes, the attitude of the figure is
as natural as it can be, and Japanese painting is
singularly happy in this kind of rendering. Mr.
Seiho Takenouchi was born in Kyoto in 1861.
He began his artistic studies about 1881 in the
atelier of Bairei Kono. At first, therefore, he tried
a style which was related to that of the Maruyama
or the Shijo School. He is naturally very clever
in the manipulation of the brush, and fond of
delineating the light, simple features of nature.
He has paid one visit to France in quest of artistic
inspiration, but he is not one of those that blindly
imitate foreign ways. In truth he is one who con-
scientiously studies the means by which Japanese
painting can be brought in closer touch with nature
—an object so successfully achieved by our masters
of bygone ages. And he has succeeded fairly well
in his laudable attempt. His mode of treatment
is, however, of purely classic origin. It must be
owned that this picture seems to have been more a
work of momentary inspiration than the result of
deliberate conscientious study. One might almost
wish that he had exhibited a work of a weightier
character. One thing is certain, that in the present
day Mr. Takenouchi is probably the only Kyoto
painter who can hold his own against Mr. Terasaki,
when it comes to facility with the brush. Mr. Take-
nouchi is Professor at an Art School in Kyoto, and
was also one of the judges in the exhibition.
Another Kyoto painter, who like Mr. Takenouchi,
has recently risen to eminence, is Mr. Shunkyo
Yamamoto, whose Snow-clad Pines in the exhibi-
tion two years ago brought him well-merited
distinction. His last exhibit was not so good as
the previous one, but none the less it tellingly
brought out his characteristic excellences. The
work referred to represents scenes in Shiobara,
a district noted for romantic scenery. The scenes
were presented according to four seasons, the one
here shown illustrating a summer landscape. Mr.
Yamamoto excels in minute finish, as Mr. Taken-
ouchi does in economy of strokes. Also his
manner of treatment, though it does not display
the same skilful combination of classic traits that
was so successfully attempted by Mr. Terasaki,
yet gives ample proof of a powerful hand. The
accompanying painting won no small applause
from appreciative spectators, who were especially
impressed with the striking rendering of water
rushing over rocks. Mr. Yamamoto is forty years
old, and in his earlier years had the advantage of
personal instruction from Bunkyo Nomura and
Kansai Mori. Like Mr. Takenouchi, he has taken
a trip to Europe, and is likewise Professor in an
Art School in Kyoto, and was a judge in the last
exhibition.
We now come to a younger painter—younger,
that is, than any of the three artists already noted.
We mean Mr. Kokkwan Otake, who showed in
the last exhibition a painting entitled Taken by
Surprise, painted on a pair of folding-screens.
The subject portrays old-time warriors about to go
forth to meet an enemy who had assaulted them
"taken by surprise" (screen painting)
102
by kokkwan otake
Girl, by Mr. Seiho Takenouchi. Kyoto has a
proverbial reputation for fair maiden dancers. In
his present picture Mr. Takenouchi has copied, as
it were by a snap-shot, the most important move-
ment of the dance. While rendered with com-
paratively few strokes, the attitude of the figure is
as natural as it can be, and Japanese painting is
singularly happy in this kind of rendering. Mr.
Seiho Takenouchi was born in Kyoto in 1861.
He began his artistic studies about 1881 in the
atelier of Bairei Kono. At first, therefore, he tried
a style which was related to that of the Maruyama
or the Shijo School. He is naturally very clever
in the manipulation of the brush, and fond of
delineating the light, simple features of nature.
He has paid one visit to France in quest of artistic
inspiration, but he is not one of those that blindly
imitate foreign ways. In truth he is one who con-
scientiously studies the means by which Japanese
painting can be brought in closer touch with nature
—an object so successfully achieved by our masters
of bygone ages. And he has succeeded fairly well
in his laudable attempt. His mode of treatment
is, however, of purely classic origin. It must be
owned that this picture seems to have been more a
work of momentary inspiration than the result of
deliberate conscientious study. One might almost
wish that he had exhibited a work of a weightier
character. One thing is certain, that in the present
day Mr. Takenouchi is probably the only Kyoto
painter who can hold his own against Mr. Terasaki,
when it comes to facility with the brush. Mr. Take-
nouchi is Professor at an Art School in Kyoto, and
was also one of the judges in the exhibition.
Another Kyoto painter, who like Mr. Takenouchi,
has recently risen to eminence, is Mr. Shunkyo
Yamamoto, whose Snow-clad Pines in the exhibi-
tion two years ago brought him well-merited
distinction. His last exhibit was not so good as
the previous one, but none the less it tellingly
brought out his characteristic excellences. The
work referred to represents scenes in Shiobara,
a district noted for romantic scenery. The scenes
were presented according to four seasons, the one
here shown illustrating a summer landscape. Mr.
Yamamoto excels in minute finish, as Mr. Taken-
ouchi does in economy of strokes. Also his
manner of treatment, though it does not display
the same skilful combination of classic traits that
was so successfully attempted by Mr. Terasaki,
yet gives ample proof of a powerful hand. The
accompanying painting won no small applause
from appreciative spectators, who were especially
impressed with the striking rendering of water
rushing over rocks. Mr. Yamamoto is forty years
old, and in his earlier years had the advantage of
personal instruction from Bunkyo Nomura and
Kansai Mori. Like Mr. Takenouchi, he has taken
a trip to Europe, and is likewise Professor in an
Art School in Kyoto, and was a judge in the last
exhibition.
We now come to a younger painter—younger,
that is, than any of the three artists already noted.
We mean Mr. Kokkwan Otake, who showed in
the last exhibition a painting entitled Taken by
Surprise, painted on a pair of folding-screens.
The subject portrays old-time warriors about to go
forth to meet an enemy who had assaulted them
"taken by surprise" (screen painting)
102
by kokkwan otake