DOI Heft:
No. 260 (November 1914)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21211#0158
Studio-Talk
a silk brocade, which shows a triumph of man's depicts a scene in late spring and early summer
artistic efforts in attaining that which was considered on the bank of Lake Biwa. Extreme care is
by many, a few years ago, an impossibility. shown in. the composition and execution. The
- design represents a peaceful scene and is so com-
When the Court of Arbitration at The Hague posed as to fit into a single picture when the
was to be provided with an appropriate building, nine pieces are properly placed. Trees, flowers, and
the late Emperor of Japan, in hearty approval of birds characteristic of Japan are introduced into
the spirit and purpose of the institution, proposed the picture. The whole work was not left merely
to furnish the wall decoration for one of the rooms as a design, but was made into a finished painting
of the Palace. Accordingly, in April 1909, an of great merit. It has taken Kikuchi Hobun and
Imperial order was given to the late Kawashima several of his monjin over three years to complete.
Jimbei, of Nishijin, Kyoto, a court artist, whose -
family has long been known for artistic weaving, The tapestry covers the walls of three sides of
and who in his lifetime, by consistent efforts and the room and consists of nine pieces ; two pieces of
almost incredible patience, devised new methods, fifteen feet by sixteen feet, four pieces measuring
improved looms and achieved wonders in the art fifteen feet by nine feet and three pieces to cover
of weaving. It has been a marvel to
many how he was able to put harmoni-
ously together colours that were con-
sidered inconsistent and contradictory in
themselves. He was a master who played
with colours, creating rhythm out of
colour, discord out of chaos. Some of
the best examples of his work adorn
foreign courts and palaces, whither they
have been sent as Imperial gifts from
Japan. _
The design was entrusted to Kikuchi
Hobun of Kyoto, who to-day occupies a
prominent position as an able painter in
kacho subjects (flowers and birds). He
was born in Osaka on September 17,
1862, and when fifteen years of age he
took his first lessons in painting from
Shino Hoen. Two years later he went
to Kyoto and became Kono Bairei's
monjin. In 1895 he was appointed to
teach painting at the Kyoto Bijutsu Gakko
(art school) and also at the Kyoto In-
dustrial Art School when it was estab-
lished in 1900. Since 1910 he has been
teaching Japanese painting at the Kyoto
Kaiga Semmon Gakko (Kyoto Special
School of Painting). He has been a
member of the judging committee on
the Annual Exhibition of Art held under
the auspices of the Department of Edu-
cation. _
The design in the actual size of the
brocade was painted on silk in costly tsuzure nishiki (silk brocade), presented by the emperor
colours, gold, tansha, gunjo, and rokusho, or japan to the peace ''alace at the hague. designed
by kikuchi hobun and woven by kawashima jimbei of
(lapis lazuli) being freely used. It kyoto
iS4
a silk brocade, which shows a triumph of man's depicts a scene in late spring and early summer
artistic efforts in attaining that which was considered on the bank of Lake Biwa. Extreme care is
by many, a few years ago, an impossibility. shown in. the composition and execution. The
- design represents a peaceful scene and is so com-
When the Court of Arbitration at The Hague posed as to fit into a single picture when the
was to be provided with an appropriate building, nine pieces are properly placed. Trees, flowers, and
the late Emperor of Japan, in hearty approval of birds characteristic of Japan are introduced into
the spirit and purpose of the institution, proposed the picture. The whole work was not left merely
to furnish the wall decoration for one of the rooms as a design, but was made into a finished painting
of the Palace. Accordingly, in April 1909, an of great merit. It has taken Kikuchi Hobun and
Imperial order was given to the late Kawashima several of his monjin over three years to complete.
Jimbei, of Nishijin, Kyoto, a court artist, whose -
family has long been known for artistic weaving, The tapestry covers the walls of three sides of
and who in his lifetime, by consistent efforts and the room and consists of nine pieces ; two pieces of
almost incredible patience, devised new methods, fifteen feet by sixteen feet, four pieces measuring
improved looms and achieved wonders in the art fifteen feet by nine feet and three pieces to cover
of weaving. It has been a marvel to
many how he was able to put harmoni-
ously together colours that were con-
sidered inconsistent and contradictory in
themselves. He was a master who played
with colours, creating rhythm out of
colour, discord out of chaos. Some of
the best examples of his work adorn
foreign courts and palaces, whither they
have been sent as Imperial gifts from
Japan. _
The design was entrusted to Kikuchi
Hobun of Kyoto, who to-day occupies a
prominent position as an able painter in
kacho subjects (flowers and birds). He
was born in Osaka on September 17,
1862, and when fifteen years of age he
took his first lessons in painting from
Shino Hoen. Two years later he went
to Kyoto and became Kono Bairei's
monjin. In 1895 he was appointed to
teach painting at the Kyoto Bijutsu Gakko
(art school) and also at the Kyoto In-
dustrial Art School when it was estab-
lished in 1900. Since 1910 he has been
teaching Japanese painting at the Kyoto
Kaiga Semmon Gakko (Kyoto Special
School of Painting). He has been a
member of the judging committee on
the Annual Exhibition of Art held under
the auspices of the Department of Edu-
cation. _
The design in the actual size of the
brocade was painted on silk in costly tsuzure nishiki (silk brocade), presented by the emperor
colours, gold, tansha, gunjo, and rokusho, or japan to the peace ''alace at the hague. designed
by kikuchi hobun and woven by kawashima jimbei of
(lapis lazuli) being freely used. It kyoto
iS4