DOI article:
Harada, Jirō: Japanese art at the Panama-Pacific exposition
DOI Page / Citation link:https://doi.org/10.11588/diglit.21214#0180
Japanese Art at the Panama-Pacific Exposition
One of the many splendid examples of sculpture
in wood furnished an illustration of another charac-
teristic of the Japanese nation, the ability to see
the humorous side of a serious subject. Yonehara-
Unkai exhibited a wood-carving called Sowing.
It shows a primitive farmer carrying a bag of seed.
There is a crow at his feet eager to dig up
the seed as soon as it is sown. The crow is
emphasised by giving to it a disproportionately
large size. The eagerness of the crow, listening,
with its head slightly inclined, to the rustling
of the j seeds in the bag, is charming in itself.
The farmer has an extremely happy face, being
apparently in the best of moods. It is an illus-
tration of an old Japanese ballad, which says, “ The
farmer sows and crows dig, and once in three
times he must chase them. ...” How symbolic
this is of much human
effort and the futility of it 1
When we do a thing, some
one or something else is
watching closely for a
chance to undo what we
have done. Perhaps con-
scious of the futility of his
effort, but still finding joy
in the satisfaction of
having done his work, the
farmer sows on in that
jocund frame of mind.
Thus is a most serious
effort of life represented
in a humorous manner.
One of the rooms was
set apart for paintings
executed in the European
style, and some of them
possessed interesting quali-
ties. There was also a
retrospective section, in
which were brought
together excellent examples
of work done by our old
masters, and a room filled
with art objects loaned
from the Imperial House-
hold Department, consist-
ing of lacquer, paintings,
porcelain and cloisonne
ware, carvings and sword
furniture.
In another room were
displayed painted screens
and scrolls, lacquer boxes “on strike”
174
and inro (tiny medicine cases), masks and dressers
for the “No ” performance. Among those that at-
tracted attention may be mentioned a two-fold
screen with a genre painting of remarkable com-
position attributed to “Stammering” Matabei, a
pair of kakemono of palm and bamboo, painted in
a forceful yet impressionistic style by Tawaraya-
Sotatsu, a set of three kakemono with a Buddha
in the centre and birds and flowers on either side,
painted by Motonobu in the classical style of the
Kano school, and several original paintings by
ukiyoye masters.
Everything considered, the Japanese section in
the Fine Arts Palace was a fair representation of
the artistic productions of the nation, and has
performed admirably the function of giving an in-
sight into the life and ideals of our people.
PLASTER GROUP BY WATANABE NAGAO
One of the many splendid examples of sculpture
in wood furnished an illustration of another charac-
teristic of the Japanese nation, the ability to see
the humorous side of a serious subject. Yonehara-
Unkai exhibited a wood-carving called Sowing.
It shows a primitive farmer carrying a bag of seed.
There is a crow at his feet eager to dig up
the seed as soon as it is sown. The crow is
emphasised by giving to it a disproportionately
large size. The eagerness of the crow, listening,
with its head slightly inclined, to the rustling
of the j seeds in the bag, is charming in itself.
The farmer has an extremely happy face, being
apparently in the best of moods. It is an illus-
tration of an old Japanese ballad, which says, “ The
farmer sows and crows dig, and once in three
times he must chase them. ...” How symbolic
this is of much human
effort and the futility of it 1
When we do a thing, some
one or something else is
watching closely for a
chance to undo what we
have done. Perhaps con-
scious of the futility of his
effort, but still finding joy
in the satisfaction of
having done his work, the
farmer sows on in that
jocund frame of mind.
Thus is a most serious
effort of life represented
in a humorous manner.
One of the rooms was
set apart for paintings
executed in the European
style, and some of them
possessed interesting quali-
ties. There was also a
retrospective section, in
which were brought
together excellent examples
of work done by our old
masters, and a room filled
with art objects loaned
from the Imperial House-
hold Department, consist-
ing of lacquer, paintings,
porcelain and cloisonne
ware, carvings and sword
furniture.
In another room were
displayed painted screens
and scrolls, lacquer boxes “on strike”
174
and inro (tiny medicine cases), masks and dressers
for the “No ” performance. Among those that at-
tracted attention may be mentioned a two-fold
screen with a genre painting of remarkable com-
position attributed to “Stammering” Matabei, a
pair of kakemono of palm and bamboo, painted in
a forceful yet impressionistic style by Tawaraya-
Sotatsu, a set of three kakemono with a Buddha
in the centre and birds and flowers on either side,
painted by Motonobu in the classical style of the
Kano school, and several original paintings by
ukiyoye masters.
Everything considered, the Japanese section in
the Fine Arts Palace was a fair representation of
the artistic productions of the nation, and has
performed admirably the function of giving an in-
sight into the life and ideals of our people.
PLASTER GROUP BY WATANABE NAGAO