DOI Heft:
No. 288 (March 1917)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.24576#0106
Studio-Talk
“ KOU" PAINTED BY YASUDA-YUKIHIKO
attaining it ? It has been said that if
a brush made of bamboo fibres may
properly replace those made of animal
hair for producing certain effects, should
not the silk and paper receive treat-
ment prior to painting in order to pro-
duce a desired effect ? Maeda-Seison,
for instance, in his bird's-eye views.
Eight Scenes of Kyoto, made clever use
of a special kind of soft paper to get
a blurred effect, and these drawings
were attractive, not only technically,
but also from their composition.
Such compositions are not at all
uncommon in the Japanese painting
of the present day. Another example
at the Bijutsu-in Exhibition was fur-
98
nished^by Tomida-Keisen, of Kyoto, in his Glimpses of
Okinawa, bold alike in composition and execution.
Regarding originality in execution, we owe much to
the efforts of Yokovama-Taikwan, whose Farmer’s Home
showed a great effort to assimilate the best in the old
Chinese paintings in bringing out the characteristics of
different trees. The pleasure that comes from sincerity
of purpose could also be felt in Yasuda-Yukihiko's Kou,
an ancient Chinese hero, standing in arms with a drawn
sword. Upon his breast is leaning the slender form of
the lady he loves, while in the background looms the
Long Wall. The work shows the result of long study
and labour, and touches the keynote of the Bijutsu-in,
in that the artist has relied upon his own resources for
expression of an intense inward feeling.
The tendency to set great value on the " thought ”
of the painting has naturally led some of the artists
of the Bijutsu-in to extract motives from religious and
philosophical sources. As the influence of Rodin’s art
encouraged our sculptors to express inward feelings, so
" THE WEAVERS
BY HASHIMOTO-SEISUI
“ KOU" PAINTED BY YASUDA-YUKIHIKO
attaining it ? It has been said that if
a brush made of bamboo fibres may
properly replace those made of animal
hair for producing certain effects, should
not the silk and paper receive treat-
ment prior to painting in order to pro-
duce a desired effect ? Maeda-Seison,
for instance, in his bird's-eye views.
Eight Scenes of Kyoto, made clever use
of a special kind of soft paper to get
a blurred effect, and these drawings
were attractive, not only technically,
but also from their composition.
Such compositions are not at all
uncommon in the Japanese painting
of the present day. Another example
at the Bijutsu-in Exhibition was fur-
98
nished^by Tomida-Keisen, of Kyoto, in his Glimpses of
Okinawa, bold alike in composition and execution.
Regarding originality in execution, we owe much to
the efforts of Yokovama-Taikwan, whose Farmer’s Home
showed a great effort to assimilate the best in the old
Chinese paintings in bringing out the characteristics of
different trees. The pleasure that comes from sincerity
of purpose could also be felt in Yasuda-Yukihiko's Kou,
an ancient Chinese hero, standing in arms with a drawn
sword. Upon his breast is leaning the slender form of
the lady he loves, while in the background looms the
Long Wall. The work shows the result of long study
and labour, and touches the keynote of the Bijutsu-in,
in that the artist has relied upon his own resources for
expression of an intense inward feeling.
The tendency to set great value on the " thought ”
of the painting has naturally led some of the artists
of the Bijutsu-in to extract motives from religious and
philosophical sources. As the influence of Rodin’s art
encouraged our sculptors to express inward feelings, so
" THE WEAVERS
BY HASHIMOTO-SEISUI