３２

LAND OF TAOISTIC IMMORTALS IN FULL SPRING

Tomita Keisen (1879–1936)
 
On the oblong screen Keisen deftly produced in a literati-style, a land of Taoistic immortals’ Shangri-La in full spring. The ideal land sits among the far and steep mountains painted in faint pale pigments. Tints of flowering cherry blossoms among blurred shades of pine trees are beautiful.

３３

A RAT

Hayami Gyoshū (1894–1935)
Dated 1928
 
In this piece, a rat biting on a cucumber occupies the left half of the screen leaving the rest in blank. The fine brush work depicting rat’s fur and its twisted body is extremely real. It is the product of Gyoshū’s attentive observation.

３４

MOUNTAIN TORRENT

Hayami Gyoshū (1894–1935)
Dated 1919
 
Inspired by Imamura Shikō (1880–1916), Hayami Gyoshū sought to modernize Japanese paintings till the end of his short life of 41 years. He painted this work in a thermal spa village of Shiobara. It depicts the banks of the Hōki River in intimate contrast with the winding torrent.

３５

BARLEY FIELD

Hayami Gyoshū (1894–1935)
Dated 1925
 
This painting depicts a vigilant lark keeping a cautious eye as it lands on green barley fields in the early summer breeze. The composition of the blank upper half of the picture suggesting vast fields and the advent of a tiny creature at the bottom of the scene shows the refreshing expertise of Gyoshū.

３６

SPRING RAIN IN VALLY

Hasimoto Kansetsu (1883–1945)　ca. 1940
 
This work shows a steep ravine shrouded in misty rain, pines on the cliffs in haze and cherry blossoms in subtle tints. A tiny figure handling rafts is an eye-catcher adding flavor to the scene.

３７

ITSUKUSHIMA SHRINE

Maeda Seison (1885–1977)
 
This picture shows in beautiful colors a votive dance performance and a congregation of worshippers of the Itsukushima Shrine. People are portrayed in classical outfits reminiscent of ancient figures from “The Tale of the Heike”. Seison studied traditional rituals and protocols of the Imperial court and samurai class which are often depicted in his pictures.

３８

GARDENIAS IN A VASE

Ogura Yuki (1895–2000)
ca. 1950
 
This painting shows gardenia flowers in an akae red porcelain vase. Flowers and vase are powerfully depicted as if asserting their existence due to her modern handling of the background. Yuki attempted to combine painting styles of West and Japan by using both linear depiction and blurred method.

３９

FLOWER VASE

Itaya Hazan (1872–1963)
Dated 1916
 
Itaya Hazan was particularly prolific in creating elaborate works in his early 40s. Among them, this gently voluminous vase was presented at the 1916 Japan Art Association Exhibition. A magnificent phoenix spreads its wings above exquisite arabesque.

４１

FLOWER VASE

Itaya Hazan (1872–1963)　Late 1910s
 
Three windows on the blue-wave pattern contain legendary creatures and plants, taken from Chinese fables, all expressing harmonious liaisons. The colors are softened through the semi-transparent matte glaze over the design.

４２

FLOWER VASE

Itaya Hazan (1872–1963)　ca. 1909
 
This cylindrical vase is designed with symmetrical floral motifs arranged in oval windows. The background is colored with the blue underglaze. The blue contrasts beautifully against the pink of the flowers.

４４

FLOWER VASE

Itaya Hazan (1872–1963)
 
Hazan created many works inspired by Chinese ceramics, particularly celadons. This flower vase is modeled on Chinese Longquan celadon, with two carp-shaped lugs.

４５

FLOWER VASE

Itaya Hazan (1872–1963)
 
The milky-white body is covered with fine, rustic crackles, resembling a cracked egg shell. Itaya probably started experimenting crackled ceramics in the early 1920s, as he noted in his glaze compound journal, dated June 1922, that “the egg-shell-like effect is fascinating.”

４６

FLOWER VASE

Itaya Hazan (1872–1963)
 
Decorated with an auspicious motif of peaches in relief, this vase presents gradations of glazes and blue hues achieved through firing, with a three-dimensional effect as a result.

４７

FLOWER BASKET

Iizuka Rōkansai (1890–1958)　ca. 1954頃
 
This basket is modelled on the large celadon jar of Jiaotan ware (in the Museum collection). The weaving technique is that is used to create a samurai armor. The tightly braided bamboo strips realize the solid curvature and the air of dignity.

５３

CAT

Satō Gengen (Seizō) (1888–1963)　Dated 1944
 
In his youth, Satō Gengen spent two years in Paris to study sculpture. He carved many animals to master the skills he learned in Europe. This cat bears a semblance of the Egyptian sculpture which he studied at the Louvre, but his original take manifests in the animal’s dynamic composure.

５５

DAIKOKUTEN (God of Wealth)

Satō Gengen (Seizō) (1888–1963)
Dated 1950
 
Satō Gengen became passionate about the figure of Daikokuten, one of seven deities in Japanese legends, as he claimed to have never seen a masterpiece of this figure throughout times. This work presents the artist’s unique approaches, a mixture of rough cuts and detailed finishes, with ornate decoration in gold and inlays.

５６

HAWK

Satō Gengen (Seizō) (1888–1963)
 
A glorious bird of prey stands on its feet with dignity. This is a copy of the original woodcarving. Crystal is applied on the eyes, and the body is painted.

５７

AN IMAGINARY PERSON

Hiragushi Denchū (1872–1979)
 
An imaginary figure, named Uyū, was created in the Western Han dynasty of China. His name is a pun on “nothingness” in Chinese. The figure is modelled on the artist’s acquaintance, Tabata Shinzō esq. The man’s persona is expressed excellently through the artist’s well-rounded skills and observations.

５８

MAN AND TORTOISE

Hiragushi Denchū (1872–1979)　Dated 1937
 
Modelled on Asano Nagakoto, a daimyo of Hiroshima domain, aged over 90, the figure depicts a man of integrity and grace. The tortoise is a symbol of longevity, inspired by a Chinese fable.