International studio (50.1913)

Modern Tendencies in Japanese Sculpture


use of sculpture as an
ornament on the tokonoma
is by no means waning,
In fact, the latter has de¬
veloped vigorously in
recent years, largely
through the stimulus of
the former. Its adoption
for architectural decora¬
tion being scarcely notice-
able as yet, there are thus
two classes in our sculp-
ture : one for the toko¬
noma, and the other for
the open air. The latter
shows strong European
influence, while the former retains the Japanese
feeling. Naturally, clay, bronze, and marble are
employed for open-air sculpture, but for indoor
objects wood and ivory are still the chief materials.
These differences were most conspicuously
shown by the exhibits at the last Mombusho Art
Exhibition, regarding which a few observations
may be made. Out of thirty-five pieces of
sculpture chosen ten were in wood, four in marble,
and two or three in bronze, the remainder being
in clay.
There was some admirable work in wood.
Indeed, we can still maintain the high position



“ON THE VERGE OF AGE ” BY OGURA UICHIR.O

BY IKEDA YUHACHI
accorded to our wood-carvings by critics and
connoisseurs everywhere. These works seem to
possess a charm of quality peculiar to the genuine
product of our people. Take Serenity, by Yonehara
Unkai. This was the artist’s response to a request
to create something which, when beheld, would
help to calm the mind of the observer and inspire
the soul with serenity, and although some harsh
criticism was bestowed on the general attitude of
the figure, it does not fail to express calm and
tranquillity. There is originality in the use of the tree
in the background, and the exquisite workmanship
cannot fail to command admiration. Clever work-
manship and other excellent qualities were shown
in pieces by Yamazaki Choun, whose Chikubushima,
with its exquisite finish and delicate touch, and
its idealistic conception of the goddess looming out
of the water issuing from the mouth of the dragon,
which she holds in a receptacle in her hand, is
entirely praiseworthy. In The Sacred Cow (the
animal which furnished milk for the Buddha when
fasting) the modelling, the tone of the old Indian
teak in which it is carved, the expression and
the attitude of the animal, all reveal the efforts of
the sculptor to invest the subject with that dignity
which belongs to all things that are sacred. A
Coot Breeze, by Ota Nankai, is characteristically
Japanese with all its tradition behind it. The
figure of Kasho (a disciple of the Buddha) by
Yoshida Homei, with its almost imperceptible
smile, shows the strong tendency of recent
years to place the prime importance on the
expression of inner feelings, while trying to retain
the delicacy and grace of lines and forms. Naito
Shin’s A Girl of the Fujiwara Period, a delicate
sketch in wood, does indeed suggest the sedate,
calm, and easy manner of life of that period.
We are often charmed by the originality of Shinkai
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