DOI issue:
Studio-Talk
DOI issue:Art School Notes
DOI Page / Citation link: https://doi.org/10.11588/diglit.43455#0098
Art School Notes
“noble purity’
WOOD SCULPTURE BY SHIMOMURA KIYOTOKI
was so vile and mean as
such a suggestion and
went to the hills to wash
his polluted ears with clean
water from a waterfall.
The story goes that while
he was doing so there came
along a farmer to water his
ox, but upon learning what
the sage was about, he
muttered, “ I will notallow
my precious ox to drink
such impure water,” and
he led the reluctant crea-
Another interesting group was
that of Shimomura Kiyotoki (Seiji),
bearing the title Koketsu (Noble
Purity) and illustrating a story of
a Chinese sage named Kyoyu. He
was respected and loved so much
by his people that one day he was
approached by a person who tried
to induce him to take the throne.
The philosopher thought nothing
“ tiger ”
WOOD SCULPTURE BY MORI HOSEI
83
ture away.
ART SCHOOL NOTES.
Extremely interesting also in execution was Naito
Shin’s A Butcher's Knife, a man brandishing a
large knife over a little chicken in illustration of a
passage in the Chinese ciassies where it says, “ What
need to employ an engine to crack a nut?” Other
works of interest were a Goat by Tagima Ikka and
Ishimoto Gyokai’s At Dusk. Harada Jiro.
LONDON.—When the Birkbeck School of Art
ceased to exist at the close of last session
efforts were made to induce the Corporation
—of London to revive it, but the negotia-
tions proved abortive. The many hundreds of old
students who owe their training to the Birkbeck
School will, however, be glad to learn that though it
has ceased as a name, its traditions are to be carried
on in a new school which has just been started at
21 Queen Square, Bloomsbury, under the direction
a visit from the Imperial Household Department,
which invariably makes purchases in order to
encourage art whenever such a visit is paid. The
results showed that the sculptors were not fettered
by the restrictions of tokonoma—the post of honour
in the Japanese house—but had exercised freedom
in the choice of subjects and adopted sizes and
kinds of wood to suit their own purpose. The
visitor could look upon the bulk of the work with
the feeling that it was the genuine production of
our own artists, each piece reflecting some phase
of the old Oriental life in the light of modernism.
Yamazaki Choun had three excellent pieces : a
Kwannon carved in sandalwood, and At Leisure,
a boy on a buffalo left to roam at its will, and
Hashibe, a potter rubbing his perspiring face
against his naked shoulder, suggesting thereby
his soiled hands. Hiragushi Denchu’s After the
Ox possessed some excellent qualities, and good
technique was shown in Yonehara Unkai’s Gold
Dust and Furuzawa Kugyo’s Fudo.
The inner feelings were well ex¬
pressed in Tranquillity by Yoshida
Hakurei. As a group subject,
there was A Corner of the Pasture
by Mori Hosei, who also exhibited
the Tiger here reproduced.
“noble purity’
WOOD SCULPTURE BY SHIMOMURA KIYOTOKI
was so vile and mean as
such a suggestion and
went to the hills to wash
his polluted ears with clean
water from a waterfall.
The story goes that while
he was doing so there came
along a farmer to water his
ox, but upon learning what
the sage was about, he
muttered, “ I will notallow
my precious ox to drink
such impure water,” and
he led the reluctant crea-
Another interesting group was
that of Shimomura Kiyotoki (Seiji),
bearing the title Koketsu (Noble
Purity) and illustrating a story of
a Chinese sage named Kyoyu. He
was respected and loved so much
by his people that one day he was
approached by a person who tried
to induce him to take the throne.
The philosopher thought nothing
“ tiger ”
WOOD SCULPTURE BY MORI HOSEI
83
ture away.
ART SCHOOL NOTES.
Extremely interesting also in execution was Naito
Shin’s A Butcher's Knife, a man brandishing a
large knife over a little chicken in illustration of a
passage in the Chinese ciassies where it says, “ What
need to employ an engine to crack a nut?” Other
works of interest were a Goat by Tagima Ikka and
Ishimoto Gyokai’s At Dusk. Harada Jiro.
LONDON.—When the Birkbeck School of Art
ceased to exist at the close of last session
efforts were made to induce the Corporation
—of London to revive it, but the negotia-
tions proved abortive. The many hundreds of old
students who owe their training to the Birkbeck
School will, however, be glad to learn that though it
has ceased as a name, its traditions are to be carried
on in a new school which has just been started at
21 Queen Square, Bloomsbury, under the direction
a visit from the Imperial Household Department,
which invariably makes purchases in order to
encourage art whenever such a visit is paid. The
results showed that the sculptors were not fettered
by the restrictions of tokonoma—the post of honour
in the Japanese house—but had exercised freedom
in the choice of subjects and adopted sizes and
kinds of wood to suit their own purpose. The
visitor could look upon the bulk of the work with
the feeling that it was the genuine production of
our own artists, each piece reflecting some phase
of the old Oriental life in the light of modernism.
Yamazaki Choun had three excellent pieces : a
Kwannon carved in sandalwood, and At Leisure,
a boy on a buffalo left to roam at its will, and
Hashibe, a potter rubbing his perspiring face
against his naked shoulder, suggesting thereby
his soiled hands. Hiragushi Denchu’s After the
Ox possessed some excellent qualities, and good
technique was shown in Yonehara Unkai’s Gold
Dust and Furuzawa Kugyo’s Fudo.
The inner feelings were well ex¬
pressed in Tranquillity by Yoshida
Hakurei. As a group subject,
there was A Corner of the Pasture
by Mori Hosei, who also exhibited
the Tiger here reproduced.