index

Part 2: Modern era

Chapter 10: Artists

TAKAHASHI Yuichi, 1828–1894

Yuichi was a western-style painter. He first studied under the Kano school from childhood but later aspired to Western painting; he then studied Western painting at the Yosho Shirabesho (the Bureau for the Inspection of Western Books) and received instruction from Charles Wirgman in Yokohama and others in Western painting techniques. He exhibited his works at the Paris International Exposition in 1867 and the Vienna International Exposition in 1873. A pioneer of oil painting in Japan, he produced landscapes, portraits, and still lifes. His characteristic works include Oiran (Courtesan) and Sake (Salmon).

155 Takahashi Yuichi shokan, December 20, 1881 [MISHIMA Michitsune Papers: 374-1]

A letter addressed to Mishima Michitsune, the governor of Yamagata Prefecture. Under Mishima's leadership, a massive public-works project was carried out in Yamagata Prefecture over approximately six years from 1876, resulting in more than 20 new roads and 65 new bridges. At Mishima's request, Yuichi visited Yamagata Prefecture in 1881 and made an oil painting of the Kurikoyama tunnel, one of the achievements in the public-works project. In this letter, which Yuichi sent to Mishima after returning to Tokyo, he praises the beauty of the sights he saw on his journey where the old and new intermingled, remarking that "it made me wonder whether I had entered a whole new world."

高橋由一書簡（３）

高橋由一書簡（２）

高橋由一書簡（１）

TOMIOKA Tessai, 1837–1924

Tessai was a Nanga-style painter, a Japanese style influenced by Chinese Wenrenhua paintings (paintings by the Chinese literati). His father was a merchant in Kyoto dealing in Buddhist clerical robes. He studied Japanese classical literature, Confucian thought, and Chinese studies. After the Meiji Restoration, he served as a Shinto priest at several shrines, including the Otori Shrine in Osaka. From 1881 onward, he returned to Kyoto and devoted himself to scholarship and painting, ultimately becoming an authority in the Nanga world. He remained highly productive into his final years and established a distinctive artistic style of his own.

156 Tomioka Tessai shokan, September 2, (Year Unknown) [ISHIGURO Tadanori Papers: 850]

In this letter, Tessai declines to accept a five yen payment for hakogaki (a note of authentication on a box containing a work of art) he had been commissioned to write, explaining that he had recently received a generous celebratory gift from the family of Ishiguro Tadanori. In his later years, Tessai was inundated every day with uninvited visitors seeking paintings or hakogaki, and his family members struggled to turn them away.

（封筒）

OKAKURA Tenshin, 1862-1913

Okakura was an art teacher during the Meiji era. He studied English and Chinese since he was a child, and studied under Ernest Francisco Fenollosa at the University of Tokyo. He worked for establishing the Tokyo School of Fine Arts (later the Tokyo University of the Arts), and became its president. In 1898, he established the Nihon Bijutsuin (the Japan Art Institute) with his students including Yokoyama Taikan and Hishida Shunso. He became a head of the Eastern division of the Museum of Fine Arts, Boston, and he devoted himself to introduce Japanese art abroad.

157 Okakura Tenshin shokan, August 27, 1896 [Sakatani Yoshiro Papers: 224]

This is a letter written by Tenshin replying to Sakatani Yoshiro's letter. Tenshin was a president of the Tokyo University of the Arts, and Sakatani was a Ministry of Finance official. It is assumed that Sakatani asked Okakura to whom he should order the painting of the carp that is realistically drawn. In the letter, Okakura says Hashimoto Gaho's paintings are great, but for realistic paintings, he recommends Kawabata Gyokusho's. He also mentions the names of prominent young artists such as Shimomura Kanzan. Later, Sakatani became a Minister of Finance, mayor of Tokyo City and a member of the House of Peers.

岡倉天心書簡

YOKOYAMA Taikan, 1868-1958

Yokoyama was a Japanese-style painter. He studied under Hashimoto Gaho and Okakura Tenshin. After graduating from the Tokyo School of Fine Arts, he joined the Nihon Bijutsuin (the Japan Art Institute). In 1914, he revived the Nihon Bijutsuin whose activities had been interrupted due to the pressures of the Conservative Faction. He played the most important role as a modern Japanese-style master painter. His vaguely outlined style is called "Morotai".

158 Yokoyama Taikan shokan October 7, [ca. 1922] [Makino Nobuaki Papers, Letters: 658]

This is a letter from Taikan to Makino Nobuaki who was the Minister of the Imperial Household. The letter says that Taikan will present Tenshin zenshu (by Okakura Tenshin [507-28]) according to the message from Kawai Gyokudo. The letter seems to be sent with the book. After resigning from the presidency of the Tokyo School of Fine Arts, Tenshin established the Nihon Bijutsuin (the Japan Art Institute). Taikan and Gyokudo participated from its establishment. The letter shows their communications.

横山大観書簡

TAKEUCHI Seiho, 1864-1942

A Japanese-style painter. He was born in Kyoto and graduated from Kyotofu Gagakko (later Kyoto City University of Arts). It was often said "Taikan in the East, and Seiho in the West", which indicates how he worked actively as the center of Kyoto Gadan (the Kyoto painting circles) and taught many disciples, taking major part in modernizing Japanese painting. He received the first Order of Culture along with Yokoyama Taikan and Koda Rohan.

159 Takeuchi Seiho shokan, July 22, 1925 [Sekiya Teizaburo Papers: 693-8]

This is a card to express appreciation for entertainment written by Seiho to Sekiya Teizaburo who was a Vice Minister of the Imperial Household. On the card, Seiho drew an illustration which depicts an incident at Higashi Izu after he left Tokyo. When he was smoking beneath a cliff, a boy was fishing and happened to catch an octopus, which surprised both Seiho and the boy― and even the octopus. The incident was humorously illustrated with the octopus on the fish rod with lively feeling which shows Seiho's ability in drawing animals.

竹内栖鳳書簡

KITAOJI Rosanjin, 1883-1959

Kitaoji was an artist. He first established himself as a calligrapher and with tenkoku (seal-engraving). He then studied antiques and cooking. After he established Hoshigaoka saryo, a high-class restaurant for members only, he began to be seriously involved in pottery. He was active in many art fields.

160 Kitaoji Rosanjin shokan, June 6, early Showa era [Makino Nobuaki Papers, Letters: 204]

This is a letter written by Rosanjin to Makino Nobuaki. While running Hoshigaoka saryo, the high-class restaurant in Nagata-cho in the beginning of the Showa era, Rosanjin built Seikoyo in Kitakamakura and created ceramics. The letter is an invitation to Makino for Seikoyo where Rosanjin wanted to host him with country dishes. " Hoshigaoka saryo" printed at the left bottom of the letter indicates it was an original paper.

北大路魯山人書簡

ASAKURA Fumio, 1883–1964

A sculptor. He was born in Oita Prefecture and was adopted into the Asakura family as a child. In 1903, he entered a special course in the sculpture department at the Tokyo School of Fine Arts (present-day Tokyo University of the Arts). After receiving numerous prizes at the Bunten (Ministry of Education Fine Arts Exhibition), he was appointed professor at the Tokyo School of Fine Arts in 1921. His characteristic works include Hakamori (The Grave Keeper). He also sculpted bronze statues of Okuma Shigenobu in both the central hall of Japan's National Diet Building and on the campus of Waseda University. His former home and studio now serve as the Asakura Museum of Sculpture (Taito Ward, Tokyo).

161 Asakura Fumio shokan, November 4, (Year Unknown) [ARIMITSU Jiro Papers: 8-2]

A letter to Arimitsu Jiro, in which Asakura writes that he is sharing some shiitake mushrooms with him. The mushrooms, he explains, were cultivated on Mt. Jinkaku in Oita and sent from his family home at the foot of the mountain. Asakura writes, "Sometimes I grow nostalgic, thinking about how the only ones that have come from that mountain to Tokyo are myself and these shiitake mushrooms." In later recollections of his birthplace, Asakura described his childhood as a happy one, saying he was loved and cared for by his immediate family, adopted family, and biological mother's extended family. Arimitsu served as Vice Minister of Education under the Allied occupation and later as the first president of Musashino Art University and as president of the Japan Art Academy.

YANAGI Muneyoshi, 1889–1961

Yanagi was a proponent of the Mingei movement and philosopher. While a student at the Gakushuin High School, he participated in founding the literary magazine Shirakaba and contributed numerous writings to it. He studied philosophy at the Imperial University of Tokyo. Deeply moved by the beauty of Korean ceramics, he came to recognize the aesthetic value of the handiwork of anonymous artisans. In 1925, he coined the term mingei (folk craft) to describe such art and founded the Mingei movement. In addition to being a prolific writer, he organized exhibitions across Japan and researched and compiled a collection of practical-use crafts. In 1931, he founded the magazine Kogei, and in 1936, he became the first director of the Japan Folk Crafts Museum.

162 Yanagi Muneyoshi shokan, June 29, 1956 [ISHIGURO Tadaatsu Papers: 47]

In this letter, Yanagi thanks Ishiguro Tadaatsu for sending him a copy of Nosei ochibakago (lit. A Basket of Fallen Leaves on Agricultural Policy) published earlier that month. Ishiguro was an expert on agricultural policy who was also known as the "God of Agricultural Policy." The note ends with the phrase "at the Folk Crafts Museum," referring to the Japan Folk Crafts Museum (Meguro Ward, Tokyo) that served as the center of Yanagi's Mingei movement. The paper itself, which is watermarked with the museum's emblem, is also of striking beauty.