DOI issue:
No. 204 (March, 1910)
DOI article:Taki, Seiichi: Contemporary japanese painting
DOI Page / Citation link:https://doi.org/10.11588/diglit.20969#0124
Contemporary Japanese Painting
ing some distinct traits of the Tosa and
Chinese Schools, though in treatment
distinctively individualistic. The fine
qualities of the classic methods are here
adequately and harmoniously combined
and blended. The forms of the natural
objects and the scenes chosen are delight-
fully natural, there being nothing conven-
tional about them. The scenes treated
in these paintings are such as may be
frequently found in the eastern part of
Japan. As regards perspective, the pre-
sent work shows a distinctively new
feature—new, that is, when compared
with contemporary pictures of the Old
Schools. The style of treatment is
eclectic, appropriately mixing together
and blending the methods of both
schools. Mr. KOgyd Terasaki is at
present Professor at the Tokyo Fine
Art School, and was one of the judges
of the exhibition. He was bom in 1886.
He first studied the Kano style, later
the Chinese methods under Sui-an Hira-
fuku and Hakuryu Sugawara; but, in
the end, set himself to work out a style
of his own by a close study of ancient
Chinese and Japanese masterpieces. At
the time when the late Mr. GahO Hashi-
moto stood at the bead of the New
School, Professor Terasaki worked with
him for the promotion of the same
cause. Gifted with remarkably clever
hands, Professor Terasaki excels in such
paintings as require a vigorous touch.
Moreover, as the styles he originally
learned were of the Kano and Chinese
Schools, both of which lay so much
stress on vigour and precision of stroke,
he stood in this respect far above most
disciples of the New School, who were
indifferent to the proper delineation of
form and aimed only at colour effect.
Some people seem to think that after the
death of Gaho there have been no land-
scape painters worthy of notice, but in
our opinion the landscapes by KOgyo
Terasaki in the last exhibition cannot
only hold their own with similar pro-
ductions by Gaho, but in grace of tone
are even superior.
As a typical native painting, which also
represents the Kyoto painters of the New
“a snowy landscape” by suiun komuro School, may be mentioned A Dancing
roi
ing some distinct traits of the Tosa and
Chinese Schools, though in treatment
distinctively individualistic. The fine
qualities of the classic methods are here
adequately and harmoniously combined
and blended. The forms of the natural
objects and the scenes chosen are delight-
fully natural, there being nothing conven-
tional about them. The scenes treated
in these paintings are such as may be
frequently found in the eastern part of
Japan. As regards perspective, the pre-
sent work shows a distinctively new
feature—new, that is, when compared
with contemporary pictures of the Old
Schools. The style of treatment is
eclectic, appropriately mixing together
and blending the methods of both
schools. Mr. KOgyd Terasaki is at
present Professor at the Tokyo Fine
Art School, and was one of the judges
of the exhibition. He was bom in 1886.
He first studied the Kano style, later
the Chinese methods under Sui-an Hira-
fuku and Hakuryu Sugawara; but, in
the end, set himself to work out a style
of his own by a close study of ancient
Chinese and Japanese masterpieces. At
the time when the late Mr. GahO Hashi-
moto stood at the bead of the New
School, Professor Terasaki worked with
him for the promotion of the same
cause. Gifted with remarkably clever
hands, Professor Terasaki excels in such
paintings as require a vigorous touch.
Moreover, as the styles he originally
learned were of the Kano and Chinese
Schools, both of which lay so much
stress on vigour and precision of stroke,
he stood in this respect far above most
disciples of the New School, who were
indifferent to the proper delineation of
form and aimed only at colour effect.
Some people seem to think that after the
death of Gaho there have been no land-
scape painters worthy of notice, but in
our opinion the landscapes by KOgyo
Terasaki in the last exhibition cannot
only hold their own with similar pro-
ductions by Gaho, but in grace of tone
are even superior.
As a typical native painting, which also
represents the Kyoto painters of the New
“a snowy landscape” by suiun komuro School, may be mentioned A Dancing
roi