DOI issue:
No. 253 (May 1914)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21209#0342
Studio- Talk
European style, and sculpture, the first being
divided into two groups representing what are
commonly known as the old and new styles of
Japanese painting.___
The first division of Japanese paintings was com-
posed mainly of works after the style ofTani Buncho,
showing a mixture of the Northern and Southern
schools. There were surprisingly few in pure Nanga
(Southern school) style. Among these few ATowerin
Thick Greenery by Yamada Kaido had appealing
qualities; it showed excellent bokttshokti, or the colour
of the black ink, suggesting the verdant vesture of the
hills. There was a certain charm in its impres-
sionistic treatment. Sudden Rain and Sudden Clearing
by Tajika Chikuson, also of Kyoto, showed somegood
qualities in the Nanga style ; but the most popular
painting in this division was the painting called
Tranquillity in the Winter Forest by Komuro Suiun,
whose wonderful facility with the brush was revealed
in it. It is a moonlight effect, and the tranquillity of
the forest, emphasised by the gentle murmur of the
brook, accords well with the mood of the man reading
at his desk. This painting and Koshiba Shiden's
Sylvan Solitude on a ten-panelled screen received
the highest prizes awarded in this division. There
were also historical subjects invariably treated after
the manner of the Tosa school. Among them
Prince Nakano-oye and his Friend Kamatari by
Takatori Chisei, though not without some of the
shortcomings commonly encountered in similar
paintings, seemed to be filled with a proper atmo-
sphere for the subject. As had been the case with
previous exhibitions, there were very few Buddhistic
paintings. Tsubata Michihiko's Shinnyo (Truth),
though marked by conventionality, showed some
good qualities. Among other works worthy of
: vista through the pine trees " mention were : Remaining Snow in Kisohykanaka
by yokoyama taikwan _ . , , _ , , lf , ■ , . „ ., , „ .
(Seventh Mombushc Art Exhibition) Raisho, Monkeys by Mochizuki Seiho, and Sound
visited it. Whilst it was
open in Tokyo the Em- •
peror too paid a visit and
purchased, for the en-
couragement of art, six
paintings in the Japanese
style, two in oil and two
pieces of sculpture. The
exhibition, as was the case
with the preceding one,
was arranged in three sec-
tions, viz., one for paint-
ings in the Japanese style,
c X i "a young mother" (wood sculpture) by yamazaki choun
another tor those in the (Seventh Momtusho Art Exhibition)
335
European style, and sculpture, the first being
divided into two groups representing what are
commonly known as the old and new styles of
Japanese painting.___
The first division of Japanese paintings was com-
posed mainly of works after the style ofTani Buncho,
showing a mixture of the Northern and Southern
schools. There were surprisingly few in pure Nanga
(Southern school) style. Among these few ATowerin
Thick Greenery by Yamada Kaido had appealing
qualities; it showed excellent bokttshokti, or the colour
of the black ink, suggesting the verdant vesture of the
hills. There was a certain charm in its impres-
sionistic treatment. Sudden Rain and Sudden Clearing
by Tajika Chikuson, also of Kyoto, showed somegood
qualities in the Nanga style ; but the most popular
painting in this division was the painting called
Tranquillity in the Winter Forest by Komuro Suiun,
whose wonderful facility with the brush was revealed
in it. It is a moonlight effect, and the tranquillity of
the forest, emphasised by the gentle murmur of the
brook, accords well with the mood of the man reading
at his desk. This painting and Koshiba Shiden's
Sylvan Solitude on a ten-panelled screen received
the highest prizes awarded in this division. There
were also historical subjects invariably treated after
the manner of the Tosa school. Among them
Prince Nakano-oye and his Friend Kamatari by
Takatori Chisei, though not without some of the
shortcomings commonly encountered in similar
paintings, seemed to be filled with a proper atmo-
sphere for the subject. As had been the case with
previous exhibitions, there were very few Buddhistic
paintings. Tsubata Michihiko's Shinnyo (Truth),
though marked by conventionality, showed some
good qualities. Among other works worthy of
: vista through the pine trees " mention were : Remaining Snow in Kisohykanaka
by yokoyama taikwan _ . , , _ , , lf , ■ , . „ ., , „ .
(Seventh Mombushc Art Exhibition) Raisho, Monkeys by Mochizuki Seiho, and Sound
visited it. Whilst it was
open in Tokyo the Em- •
peror too paid a visit and
purchased, for the en-
couragement of art, six
paintings in the Japanese
style, two in oil and two
pieces of sculpture. The
exhibition, as was the case
with the preceding one,
was arranged in three sec-
tions, viz., one for paint-
ings in the Japanese style,
c X i "a young mother" (wood sculpture) by yamazaki choun
another tor those in the (Seventh Momtusho Art Exhibition)
335