Studio: international art (59.1913)

Studio-Talk

“ THE COLD MOON ” (A PAIR OF SCREENS)

seemed too anxious to produce something new.
The dominating tendency among them was towards
realism and enhancing the decorative function of
the picture. They believe—and in this they are
right—that the saving quality of Japanese painting
consists in the harmonious blending of the represen-
tative and decorative functions of art. In many cases
they succeeded in that aim, but at the sacrifice of
dignity and profundity of ideas.

In the first section a few works possessed some
admirable qualities. There was a certain dignity in
the Chinese Scholar Sotoba at Sekiheki by Imura
Kwanichi, Cormorant Fishing by Tornida Keisen,
Snowy Peaks by Hata Kinseki, Summer Landscape
by Yamaoka Beikwa, and the same subject by
Yamamoto Baiso. Highly decorative were The

BY KONOSHIMA 5KOKU

Bamboo in Kishu by Tanami Gakusho and The
Floivers by Yamamoto Shoun. The texture of
snow was admirably brought out in the Snow in the
Valley by Hirose Taho. Movement was well
depicted in the Sanno Festival by Ogata Gekko
and in the Fire-bearing Oxen (a Battle Ruse)
by Tsubata Michihiko, both of which received
high awards. A peculiar feeling of peace and
tranquillity was well portrayed in the Spring Land-
scape by Tanaka Raisho and Autumn on Tree-tops
by Ikegami Shuho. The threatening effect of
low-hanging dark clouds was admirably shown by
Masuzu Shunnan ; the cold solitude of a winter
night was excellently depicted in A Cold Blast
by Kato Kunrpo, and the peaceful quietude of
a pasture-land was cleverly suggested by A Group oj
Deer by Mochizuki Seiho. Qualities of brushwork

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