DOI issue:
Nr. 212 (November 1910)
DOI article:Harada, Jirō: Japanese art and artists of to-day, [4]: wood and ivory carving
DOI Page / Citation link:https://doi.org/10.11588/diglit.20971#0132
Japanese Art and Artists of To-day.—IV. Wood and Ivory Carving
public was somewhat startled when he exhibited
at the third exhibition of the Fine Arts Associa-
tion a wooden figure, ten feet high, of the
Emperor Jimmu, standing with bow in hand
on a centrepiece geographically shaped like Japan.
Yonehara Unkai is the son of a fisherman.
He became a carpenter, but being ambitious
and possessing a decided artistic taste, soon won
notice as a carver. In order to perfect his skill
he went to Kyoto, where he met Unno Bisei
and Ogura Sanjiro, who saw his carving of the
badger, entitled Bunbuku Chagama. The subject
is rather a strange one. It depicts a kettle turning
into a badger, with a startled monk looking on.
The two artists to whom this piece of carving was
shown at once recognised it as the work of a
talented individual, and one with a future before
him. They sent him to Takamura Koun, under
whom he studied carving for three years. His
progress was rapid, while his work was undoubtedly
of a high order. His first product, armoured men
on horseback, in relief, won high praise.
Unkai learned from Takamura Koun the art of
modelling in clay. We get an idea of his ambition
when we remember that as a pupil of Hashi-
mato Gaho he also learnt how to paint. Gaho
was one of the most idealistic painters Japan has
had in modern times, and that Unkai was greatly
influenced by this master is shown in his work
after he had studied painting. It was this artist
who chiselled the life-size figure of Jenner which
now stands in the garden of the museum. Among
his statues one of the best is undoubtedly that of
Gaho. It depicts the great painter life-size, and is
in wood. As a glyptic artist Unkai has a very
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 Kandanii (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
who was in the habit of com-
WOOD CARVJNG : “COURT NIGHT WATCHMEN” BY YAMAZAKI CHOUN
III
public was somewhat startled when he exhibited
at the third exhibition of the Fine Arts Associa-
tion a wooden figure, ten feet high, of the
Emperor Jimmu, standing with bow in hand
on a centrepiece geographically shaped like Japan.
Yonehara Unkai is the son of a fisherman.
He became a carpenter, but being ambitious
and possessing a decided artistic taste, soon won
notice as a carver. In order to perfect his skill
he went to Kyoto, where he met Unno Bisei
and Ogura Sanjiro, who saw his carving of the
badger, entitled Bunbuku Chagama. The subject
is rather a strange one. It depicts a kettle turning
into a badger, with a startled monk looking on.
The two artists to whom this piece of carving was
shown at once recognised it as the work of a
talented individual, and one with a future before
him. They sent him to Takamura Koun, under
whom he studied carving for three years. His
progress was rapid, while his work was undoubtedly
of a high order. His first product, armoured men
on horseback, in relief, won high praise.
Unkai learned from Takamura Koun the art of
modelling in clay. We get an idea of his ambition
when we remember that as a pupil of Hashi-
mato Gaho he also learnt how to paint. Gaho
was one of the most idealistic painters Japan has
had in modern times, and that Unkai was greatly
influenced by this master is shown in his work
after he had studied painting. It was this artist
who chiselled the life-size figure of Jenner which
now stands in the garden of the museum. Among
his statues one of the best is undoubtedly that of
Gaho. It depicts the great painter life-size, and is
in wood. As a glyptic artist Unkai has a very
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 Kandanii (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
who was in the habit of com-
WOOD CARVJNG : “COURT NIGHT WATCHMEN” BY YAMAZAKI CHOUN
III