International studio (42.1910)

Japanese Art and Artists of To-day.—IV. Wood and Ivory Carving

public was somewhat startled when he exhibited whom he studied carving for three years. His
at the third exhibition of the Fine Arts Associa- progress was rapid, while his work was undoubtedly
tion a wooden figure, ten feet high, of the of a high order. His first product, armoured men
Emperor Jimmu, standing with bow in hand on horseback, in relief, won high praise,
on a centrepiece geographically shaped like Japan. Unkai learned from Takamura Koun the art of
Yonehara Unkai is the son of a fisherman. modelling in clay. We get an idea of his ambition
He became a carpenter, but being ambitious when we remember that as a pupil of Hashi-
and possessing a decided artistic taste, soon won mato Gaho he also learnt how to paint. Gaho
notice as a carver. In order to perfect his skill was one of the most idealistic painters Japan has
he went to Kyoto, where he met Unno Bisei had in modern times, and that Unkai was greatly
and Ogura Sanjiro, who saw his carving of the influenced by this master is shown in his work
badger, entitled Bmibuku Chagama. The subject after he had studied painting. It was this artist
is rather a strange one. It depicts a kettle turning who chiselled the life-size figure of Jenner which
into a badger, with a startled monk looking on. now stands in the garden of the museum. Among
The two artists to whom this piece of carving was his statues one of the best is undoubtedly that of
shown at once recognised it as the work of a Gaho. It depicts the great painter life-size, and is
talented individual, and one with a future before in wood. As a glyptic artist Unkai has a very
him. They sent him to Takamura Koun, under wide reputation, and there is no doubt that in the

near future, if he has not already
done so, he will attain the fore-
most position among the artist-
carvers of Japan.

Several of this artist's recent
works in wood are included in
our illustrations. His Boku-
doji (p. 114) shows his won-
derful mastery of the chisel,
although the motion of the ox
may be said to be too "hustled"
to be in keeping with the calm
boy playing the flute upon its
back. The one showing Suga-
wara Michizane in his boyhood
(p. 109) certainly bespeaks the
artist's extreme cleverness with
his chisel. We have already
referred to this master's Moon,
suggested by an old man,
attired in the dress of the Fuji-
wara period, gazing at the
satellite. This latter work was
executed a year ago last autumn,
and shows the carver's change
in mode of treatment after
taking lessons in painting from
Gaho. His Ka?ida,7iii (p. 109),
a hermit poet in Chinese litera-
ture, is a work of the same
year as The Moon. The whole
attitude of the hermit is excel-
lently portrayed in bold chisel
touches. His Suiko (p. 113)
depicts a certain Chinese poet

WOOD CARVING : "COURT NIGHT WATCHMEN" BY YAMAZAKI CHOUN who Was in the habit Of COm-

III