DOI issue:
No. 322 (January 1920)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21359#0173
STUDIO-TALK
the integrity of Oriental art, has become
alive to its peculiarly important position in
the art world of modern Japan, and it has
resolved to be more active and better
equipped for the mission. It is to have
a new building, more spacious and better
equipped in every way for exhibitions.
The contributions towards the new edifice
already reach nearly half a million yen.
The present structure is old and not well
lighted, and is to be pulled down at the
end of this year (1919). The new building
is to be erected immediately after on the
same site in Uyeno Park, which will be the
art centre of Tokyo, with the Imperial
Museum, the Art School, the Music
School, the Art Exhibition Gallery, and
the proposed National Art Museum, to be
built in the present compound of the
Tokyo School of Fine Arts in the Park. 0
Gejo-Keikoku, who has long been the
acknowledged leader of the Association,
showed in his drawing of a goose struggling
to keep its balance against the wind the
effective use of the brush, with the power
to suggest gradation of colours and texture
in black monochrome. In fidelity to the
canons of art as upheld by the Kano school,
he is strongly supported by Kano-Tanrei,
who, working in the haboku style, in which
the ink is applied in masses with a broad
brush, has often risen much higher than
the common level. In the same style of
drawing, though more finished in detail, a
black monochrome landscape by Sakuma-
Tetsuyen stood out prominent at the ex-
hibition. Though somewhat severe, the
landscape is full of strength and poetry,
as may be seen from our reproduction.
His drawing, as evinced in this and other
examples, has a depth and character with-
out which this style of art is worse than
worthless. The present drawing received
the highest award given. 000
Equally commendable, though in a dif-
ferent style of treatment, is Dan-Ranshyu's
Mountain Retreat among Plum Blossoms,
on a pair of six-panelled screens. In this
work he shows his rare talent in composi-
tion, as may be seen from the reproduction,
in,; the sense of balance and harmony
created by the directions and curves of the
plum branches, and by the contours of
rocks and mountains. He has succeeded
in conveying the crispness of the morning
“LANDSCAPE IN MOON-
LIGHT.” BY SAKUMA
TETSUYEN
air, and a certain fragrance of the atmo-
sphere. His greatest achievement is in
expressing the charm of mist—the enchant-
ing effect of light upon the mountain-side
seen through the veil of mist—and though
167
the integrity of Oriental art, has become
alive to its peculiarly important position in
the art world of modern Japan, and it has
resolved to be more active and better
equipped for the mission. It is to have
a new building, more spacious and better
equipped in every way for exhibitions.
The contributions towards the new edifice
already reach nearly half a million yen.
The present structure is old and not well
lighted, and is to be pulled down at the
end of this year (1919). The new building
is to be erected immediately after on the
same site in Uyeno Park, which will be the
art centre of Tokyo, with the Imperial
Museum, the Art School, the Music
School, the Art Exhibition Gallery, and
the proposed National Art Museum, to be
built in the present compound of the
Tokyo School of Fine Arts in the Park. 0
Gejo-Keikoku, who has long been the
acknowledged leader of the Association,
showed in his drawing of a goose struggling
to keep its balance against the wind the
effective use of the brush, with the power
to suggest gradation of colours and texture
in black monochrome. In fidelity to the
canons of art as upheld by the Kano school,
he is strongly supported by Kano-Tanrei,
who, working in the haboku style, in which
the ink is applied in masses with a broad
brush, has often risen much higher than
the common level. In the same style of
drawing, though more finished in detail, a
black monochrome landscape by Sakuma-
Tetsuyen stood out prominent at the ex-
hibition. Though somewhat severe, the
landscape is full of strength and poetry,
as may be seen from our reproduction.
His drawing, as evinced in this and other
examples, has a depth and character with-
out which this style of art is worse than
worthless. The present drawing received
the highest award given. 000
Equally commendable, though in a dif-
ferent style of treatment, is Dan-Ranshyu's
Mountain Retreat among Plum Blossoms,
on a pair of six-panelled screens. In this
work he shows his rare talent in composi-
tion, as may be seen from the reproduction,
in,; the sense of balance and harmony
created by the directions and curves of the
plum branches, and by the contours of
rocks and mountains. He has succeeded
in conveying the crispness of the morning
“LANDSCAPE IN MOON-
LIGHT.” BY SAKUMA
TETSUYEN
air, and a certain fragrance of the atmo-
sphere. His greatest achievement is in
expressing the charm of mist—the enchant-
ing effect of light upon the mountain-side
seen through the veil of mist—and though
167