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#0133
Japanese Art and Artists of To-day.—IV. IVood and Ivory Carving
posing his poems whilst riding upon a donkey.
The piece was exhibited at the Fine Arts Associa-
tion in Tokyo in the spring of 1908, and awarded
a prize for the success and clever manner in which
the artist had shown the poet lost in thought.
Yamazaki Choun is another of the most promising
artists who learned from Koun. It is acknow-
ledged that he and Unkai are both arms of Koun.
All his works exhibited at the Tokyo Salon have
been purchased by the Imperial Household. He
WOOD CARVING: “A FENCER”
BY HIRAKUSHI DENCHU
makes a speciality of human subjects. Among his
larger works may be mentioned that which he
chiselled of the Emperor Kameyama, fifteen feet
high, in wood. In hjs recent productions his
work, like that of Unkai, reflects idealism more
than the realism of his former creation. His
wooden statue of a Tramp (p. 108) may be taken
as a striking example of his skill. Choun also
learned clay modelling from his teacher, and
adopts the European method of making a model
in clay before proceeding with the actual pro-
duction in wood. The Court Night Watchmen
(p. in) shows the artist’s masterly touches and
bold chisel work. The subject represents the
night watchmen of mediaeval times in winter.
Another of this
artist’s works
here illustrated
(p. 115) depicts
an incident in a
Samurai family.
A boy is seen
teaching his
younger brother
on a hobby horse
how to use the
bridle. The
movement of the
figures and ex-
pression upon
the boys’ faces are
in striking con-
trast to the in-
animate wooden
horse. This is
most excellently
brought out.
Sinkai Takejiro
is known as the
IVORY CARVING: “OLD MAN
SMOKING.” BY KANEDA K1NJIRO
soldier carver. He went to
WOOD CARVING: “THE MOON.” BY YONEHARA UNKAI
I 12
posing his poems whilst riding upon a donkey.
The piece was exhibited at the Fine Arts Associa-
tion in Tokyo in the spring of 1908, and awarded
a prize for the success and clever manner in which
the artist had shown the poet lost in thought.
Yamazaki Choun is another of the most promising
artists who learned from Koun. It is acknow-
ledged that he and Unkai are both arms of Koun.
All his works exhibited at the Tokyo Salon have
been purchased by the Imperial Household. He
WOOD CARVING: “A FENCER”
BY HIRAKUSHI DENCHU
makes a speciality of human subjects. Among his
larger works may be mentioned that which he
chiselled of the Emperor Kameyama, fifteen feet
high, in wood. In hjs recent productions his
work, like that of Unkai, reflects idealism more
than the realism of his former creation. His
wooden statue of a Tramp (p. 108) may be taken
as a striking example of his skill. Choun also
learned clay modelling from his teacher, and
adopts the European method of making a model
in clay before proceeding with the actual pro-
duction in wood. The Court Night Watchmen
(p. in) shows the artist’s masterly touches and
bold chisel work. The subject represents the
night watchmen of mediaeval times in winter.
Another of this
artist’s works
here illustrated
(p. 115) depicts
an incident in a
Samurai family.
A boy is seen
teaching his
younger brother
on a hobby horse
how to use the
bridle. The
movement of the
figures and ex-
pression upon
the boys’ faces are
in striking con-
trast to the in-
animate wooden
horse. This is
most excellently
brought out.
Sinkai Takejiro
is known as the
IVORY CARVING: “OLD MAN
SMOKING.” BY KANEDA K1NJIRO
soldier carver. He went to
WOOD CARVING: “THE MOON.” BY YONEHARA UNKAI
I 12