DOI Heft:
No. 261 (December 1914)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21211#0234
Studio- Talk
fessor in the Imperial School of Fine Arts, Tokyo, a reaction has set in. Some have gone so far as
one of the foremost artists of the day, skilled in to pull down their European buildings and re-erect
drawing human figures and landscapes; Kawai the traditional Japanese edifice. There are now
Gyokudo; Kobori Tomone, professor in the Im- being built fine palatial mansions in the traditional
perial School of Fine Arts, Tokyo, who is one of style, with beautiful carvings of ramma, decorative
the greatest authorities on historical subjects; gold fusuma, and painted sugi-to of aristocratic
Masuzu Shunnan, a talented Tokyo artist, who aspect. One of these mansions is that of Baron
advocates the so-called old school of Japanese Fujita, just completed at Osaka. The accompany-
painting; Imao Keinen (Kyoto), one of the ing illustrations show the cedar doors which have
greatest living masters in flower and bird subjects ; been installed in this mansion. The paintings are
Takenouchi Seiho, professor in the Kyoto Special by Mochizuki Gyokkei, of Kyoto, son of Gyokusen,
School of Painting, who is considered by many a Court artist who passed away recently,
to be the greatest Japanese painter now living ; Harada Jiro.
Yamamoto Shunkyo, one of the leading Kyoto [Our correspondent, Prof. Harada, has been
artists ; Kikuchi Hobun, who designed the wonder- appointed a Commissioner to represent the Japanese
ful silk brocade for the Peace Palace at the Hague, Government at the forthcoming Panama-Pacific
of which some illustrations were recently given in International Exposition, San Francisco.]
this magazine; Taniguchi
Koko, Kyoto's great specialist
in historical subjects; and
Tsubata Michihiko, a talented
Tokyo artist of the Tosa
School.
Unfortunately, there has
been a period in modern
Japanese history when it was
the cry of the age to tear
down everything old and do
away with every institution
which had no counterpart in
the civilised West, when
temples and shrines, with
their rich paintings, wonderful
carvings and sculpture were
mercilessly destroyed. That
was the time of the great
exodus of works of art from
Japan, when foreigners took
away by the shipload the
art treasures bequeathed by
old Japan. It was the time
when there was a wild rush
for things Western, and the
mansions of princes and the
villas of the wealthy were
built in the European style.
There were some who
destroyed part of their dwel-
lings to make room for an
apartment constructed ac-
cording to European ideas.
But now things have changed;
CEDAR DOOKS AT KARON FUJITA S MANSION WITH PAINTING BY MOCHIZUKI
GYOKKEI
231
fessor in the Imperial School of Fine Arts, Tokyo, a reaction has set in. Some have gone so far as
one of the foremost artists of the day, skilled in to pull down their European buildings and re-erect
drawing human figures and landscapes; Kawai the traditional Japanese edifice. There are now
Gyokudo; Kobori Tomone, professor in the Im- being built fine palatial mansions in the traditional
perial School of Fine Arts, Tokyo, who is one of style, with beautiful carvings of ramma, decorative
the greatest authorities on historical subjects; gold fusuma, and painted sugi-to of aristocratic
Masuzu Shunnan, a talented Tokyo artist, who aspect. One of these mansions is that of Baron
advocates the so-called old school of Japanese Fujita, just completed at Osaka. The accompany-
painting; Imao Keinen (Kyoto), one of the ing illustrations show the cedar doors which have
greatest living masters in flower and bird subjects ; been installed in this mansion. The paintings are
Takenouchi Seiho, professor in the Kyoto Special by Mochizuki Gyokkei, of Kyoto, son of Gyokusen,
School of Painting, who is considered by many a Court artist who passed away recently,
to be the greatest Japanese painter now living ; Harada Jiro.
Yamamoto Shunkyo, one of the leading Kyoto [Our correspondent, Prof. Harada, has been
artists ; Kikuchi Hobun, who designed the wonder- appointed a Commissioner to represent the Japanese
ful silk brocade for the Peace Palace at the Hague, Government at the forthcoming Panama-Pacific
of which some illustrations were recently given in International Exposition, San Francisco.]
this magazine; Taniguchi
Koko, Kyoto's great specialist
in historical subjects; and
Tsubata Michihiko, a talented
Tokyo artist of the Tosa
School.
Unfortunately, there has
been a period in modern
Japanese history when it was
the cry of the age to tear
down everything old and do
away with every institution
which had no counterpart in
the civilised West, when
temples and shrines, with
their rich paintings, wonderful
carvings and sculpture were
mercilessly destroyed. That
was the time of the great
exodus of works of art from
Japan, when foreigners took
away by the shipload the
art treasures bequeathed by
old Japan. It was the time
when there was a wild rush
for things Western, and the
mansions of princes and the
villas of the wealthy were
built in the European style.
There were some who
destroyed part of their dwel-
lings to make room for an
apartment constructed ac-
cording to European ideas.
But now things have changed;
CEDAR DOOKS AT KARON FUJITA S MANSION WITH PAINTING BY MOCHIZUKI
GYOKKEI
231