New Year Special Exhibition: Landscapes, Flowers and Birds of Naritasan
Naritasan Shinshoji was founded in 940 (Tenkei Year 3), during the The Eastern Journey of the Great Priest Kanchō. The temple will celebrate its 1,090th anniversary in 2028. Throughout its long history, the numerous artworks handed down to Naritasan have been carefully preserved and passed down as evidence of faith and a source of spiritual comfort for the people.
This exhibition focuses on the world of sansuikachō, meaning “mountains, rivers, flowers, and birds.” These motifs have been depicted throughout time as part of Eastern art. They are not merely for decoration, rather, they have been elevated to the level of Buddhist teachings and enlightenment, creating unique art that combines Japanese sensibilities with the local climate.
Many of the motifs depicted contain symbols of good fortune.
Come and experience the profound world of sansuikachō, nestled in the sacred grounds of Naritasan for your first visit of the year.
1
Zengosekihekifu (1829)
NUKINA Sūou ＜1778-1863＞
Sūou is revered as one of the greatest calligraphers of the Edo period. He was also well-known as a poet and an artist, but was especially famous for his calligraphic works, possessing many techniques for exquisite execution. Sūou was so popular that had many followers even after the Meiji period.
“The First and Second Ode to the Red Cliffs” (Zengosekihekifu) are poems by Su Shi of China.
The poems sing of unchanging values and convey the relationship between humans and nature, as expressed in the line: “Like water and the moon, all things are in constant change, yet their essence remains eternally unaltered.”
２
Shichigonrisshi (1838)
TACHIHARA Kyōsho ＜1786-1840＞
Kyōsho came from a samurai family in the Mito Domain and excelled in calligraphy and painting. He also traveled to Edo, where he was influenced by TANI Bunshō. He also mingled with figures such as TSUNAKI Chinzan and WATANABE Kazan, becoming a leading figure in the painting world of the Kanto area. This work is thought to have been created while he was studying the Cao Quan stele, which is considered to be a masterpiece representing clerical script.
〜Edo Period Calligraphy〜（About the explanation of works 1 and 2）
The Edo period lasted for approximately 270 years from 1603 to 1867.
With the political stability brought about by the feudal system in Japan during the Edo period, came the flourishment of culture. Except for certain allowances made for the Dutch, the Qing Dynasty, and the Nanban trade, there was no interaction between Japan and the outside world. The culture that developed during this period was almost completely introverted.
Calligraphy expanded from the higher classes of aristocrats and monks to the lower classes of merchants and lower-ranking samurai, and the number of people familiar with calligraphy increased.
３
Hanzan-un-eikyomuseki
KATSU Kaishū ＜1823-1899＞
Katsu was a politician active during the Edo and Meiji periods. He studied Western studies and tactics, and was successful in establishing the navy.
The meaning of this piece is, “The shadow of the cloud on the mountainside has vanished, leaving no trace.”
４
Shichigonzekku
NAKABAYASHI Gochiku ＜1827-1913＞
Nakabayashi is one of the top calligraphers of the Meiji period. He was born in Saga, and when he moved to Edo, he studied calligraphy under famous calligraphers of the Edo period, such as Ichikawa Beian. After his study in Edo, he returned home, and it was at this time that he found the works of Yogenbi, a member of the Qing ministry representatives in Japan. It was this influence that prompted him to absorb work after work of famed Chinese calligraphers.
5
Shōsoenshūunringa
YAMAOKA Tessyū ＜1836-1888＞
Yamaoka was a politician who was active during the Edo and Meiji periods. He excelled at swordsmanship, Zen, and calligraphy. Written swiftly and in one stroke, his characters have quite a bold feel that reflects that strength, as well as a relationship to Zen. He also visited Naritasan, and was good friends with the successive top priests here as well.
6
Kachōfūei
TAKAHAMA Kyoshi ＜1874-1959＞
Born in Aichi prefecture, Takahama Kyoshi was a leading haiku poet and novelist of the modern era in Japan. He studied under Masaoka Shiki. After Shiki’s death, he became a novelist. However, alarmed by the rise in popularity of a new non-traditionalist school of haiku led by Kawahigashi Hekigotō, also a disciple of Masaoka Shiki and Kyoshi’s contemporary, he returned to the world of haiku to create his own following based on the traditional use of of 17 syllables and seasonal titles.
He often served as a poetry judge, selecting the best haiku works from various haiku competitions held at Naritasan Shinshōji Temple.
“The poetic celebration of nature and the seasons.”
Kachōfūei, is a phrase that TAKAHAMA Kyoshi created to express his philosophy on haiku. It is also a phrase that he often wrote. It refers to the poetic celebration and love of nature and the changing seasons.
7
Bokuchikuzusan
This painting of bamboo was done by calligrapher NISHIKAWA Shundō, in a state of drunken inspiration. The inscription was written by painter YAMAOKA Beika wrote the inscription.
NISHIKAWA Shundō ＜1847-1915＞
Ishikawa Shundō was a renowned calligrapher of many talents, his works having a great impact throughout the Meiji, Taisho, Showa, and even Heisei periods. Ishikawa was born in the Edo period, and at age 5 he started learning calligraphy under Nakazawa Setsujō, who was a disciple of one of the greatest calligraphers of the Edo period, Maki Ryōko. After the Meiji Restoration, he worked for the Ministry of Finance, and then immersed himself in the study of calligraphy.
8
Onagazusan – Long-tailed Bird Painting
MAEDA Mokuhō ＜1853-1918＞
The long tail of the bird symbolizes longevity and everlasting prosperity.
Maeda Mokuhō is well-known for his contribution to the world of calligraphy by editing and publishing important Chinese books of calligraphy and poems. He eventually published his own calligraphy works as well.
9
Sugi・Matsu・Take – Cedar, Pine, Bamboo (1985)
Ōyama Chūsaku ＜1922-2009＞
Born in Fukushima Prefecture, Ōyama Chūsaku graduated from Tokyo University of the Arts and studied under Yamaguchi Hōshun.
These fusuma were made specially for a room in the Kōrinkaku Hall of the Narita Shinshō-ji Temple. Up until recently, they had still been in use. The fusuma painting is done in sumi-e, using a subdued palette to convey a landscape of peace and quiet, depicting Japanese cedars, pines, and bamboo. The rising sun and harvest moon also play well into the landscape, adding an extra layer of depth. This piece is considered to be one of Chūsaku’s great masterpieces.
10
Sekihekiyayūzu (1937)
MATSUBAYASHI Keigetsu ＜1876-1963＞
“The First and Second Ode to the Red Cliffs” (Zengosekihekifu) are poems by Su Shi of China.
The poems sing of unchanging values and convey the relationship between humans and nature, as expressed in the line: “Like water and the moon, all things are in constant change, yet their essence remains eternally unaltered.”
Paintings based on Su Shi’s poetry continue to be created in abundance.
Japanese art history is shaped by the clash between opposing forces: traditionalists and those seeking innovation.
MATSUBAYASHI Keigetsu was a painter who valued traditional techniques.
11
Fudōmyōō-zu (1852)
KANŌ Kazunobu ＜1815-1863＞
Kanō Kazunobu was born into a family of antique merchants during the Edo period. He studied under Kanō Osanobu, from whom he received his name, Kazunobu. Kanō-ha is a school of painting that gained popularity after the Muromachi period in the 15th century.
It is said that this piece was completed to solicit donations for the construction of the Shakadō (the former main hall). On the back of the painting is a memo written by the head priest of the temple at the time, who probably made an offering to the Buddha to welcome his soul into the painting.
12
Chijinyū
KANO Tan-itsu
Although less documented than other major figures, Tan-itsu’s role was to uphold tradition and contribute to the official art projects of the shogunate.
This work expresses the virtues of wisdom, benevolence, and courage, which must be practiced in any situation and at all times, by likening them to a waterfall.
13
Sange-shitazu (1914)
TSUCHIDA Bakusen ＜1887-1936＞
Born in Niigata’s Sado Island, Bakusen entered the Chishakuin Temple in Kyoto at age 16. At 17, he became a disciple of TAKEUCHI Seihō (1864-1942) and dedicated himself to the path of painting. In 1918, he co-founded the Kokuga Sōsaku Kyōkai (The Society for the Creation of National Painting, Kokuga-kai)※ together with ONO Chikkyō (1889-1979) and others. He spearheaded the reform movement within the Kyoto art world and played a pivotal role in creating modern Japanese painting. He’s known for fusing the realism of Western painting with traditional Japanese painting, establishing a unique style.
※
The Kokuga Sōsaku Kyōkai was founded in Kyoto in 1918 by young Nihonga painters, including TSUCHIDA Bakusen and ONO Chikkyō, both of whom were disciples of TAKEUCHI Seihō.
The group aimed to modernize and liberalize Japanese painting by pursuing free and individualistic expression, going against the conservative Kyoto art circles.
Their style incorporated influences from Western movements like Post-Impressionism.
14
Phoenix and Paulownia, Peacocks and Peonies
KANO Tsunenobu ＜1636-1713＞
KANO Tsunenobu (1636–1713) was a major painter of the Kano school during the early to mid-Edo period.
Born in Kyoto, he succeeded his father as head of family at the age of 15.
He became the founder of the Kobikichō Kano branch, which became one of the most prominent lines of the Kano school.
Tsunenobu, who was a nephew and disciple of the great Kano Tanyū, Tsunenobu refined his master’s style, establishing his own sophisticated and delicate style.
He also served as an official painter to the Tokugawa shogunate.
In 1704, at the age of 69, he was appointed to the position of Hōgen (Grand Master), and five years later, Hōin (Supreme Master), demonstrating his status as a powerful figure.
The phoenix and paulownia motif was frequently depicted by those of the Kano school.
15
Matsutaka-zu (1793)
KANO Korenobu ＜1753-1808＞
KANO Korenobu, who was born in Edo, was a prominent painter of the Kano school during the late Edo period.
He became the seventh head of the Kobikichō Kano branch, founded by KANO Tsunenobu, maintaining the school’s traditional authority.
Korenobu was also appointed as an official painter to the shogunate, and achieved the highest rank of Hōgen, Grand Master.
As an orthodox Kano school painter, he trained many disciples.
This scroll is dated January 1793 (Kansei Year 5), making it a valuable piece due to its clear origin date.
16
lily (1960)
YAMAGUCHI Hōshun ＜1893-1971＞
Hōshun was born in Hokkaido. After graduating from the Tokyo School of Fine Arts, he participated in the New Yamato-e Movement (※) started by MATSUOKA Seikyū (1881-1938). He was active primarily in the Inten exhibition, actively incorporating Western painting styles into traditional Yamato-e. 1881-1938). He was active primarily in the Inten exhibitions, actively incorporating Western painting styles into traditional Yamato-e, creating new expressions in Japanese painting. He became a member of the Japan Art Academy in 1950 and received the Order of Culture in 1965.
This work was exhibited in Hōshun’s own selected exhibitions as well as posthumous exhibitions.
※
The Revival of Yamato-e Movement (Shinkō Yamato-e Undō) was a major art movement led by Nihonga painter Matsuoka Eikyū during the Taisho and early Showa periods. Its goal was to revive and modernize the aesthetic and decorative techniques of traditional Yamato-e painting. The style is characterized by subjects from classical literature (e.g., The Tale of Genji), a focus painting using lines, and rich ornamentation using bright colors and gold/silver leaf.
17
Shōchikubaizu
KANO Osanobu ＜1796-1846＞
KANO Osanobu was a highly influential painter who represented the Kano school during the late Edo period. He was born in Edo.
He became the 9th head of the Kobikichō Kano branch, succeeding the lineage founded by Kano Tsunenobu.
Osanobu served as an official painter (Oku-eshi) to the shogunate and attained the Grand Master rank of Hōgen.
He is particularly noted for his meticulous research and detailed records of the Kano school’s history and techniques, such as the Kōyō Nikki (Official Diary).
18
Chōrikeifuku (1917)
KONDO Setchiku ＜1863－1928＞
This is an auspicious piece. The meaning translates to, “May you enjoy great happiness for a long time.”
KONDO Setchiku was born in Edo (current Tokyo) and raised in a culture-rich environment provided by his father. He came to be known as a master calligrapher and a leader during the Taisho period, the beginning of the 20th century. He also contributed to the education of those who in turn became leading figures in the postwar period.
At the age of 16, he became of a disciple of KUSAKABE Meikaku, and studied a variety of sho, from kinseki calligraphy (Chinese characters engraved on metal and stone from long ago) to Ming and Qing calligraphy (Chinese characters from the mid-14th-20th centuries).
19
酒仙-shusen (1972)
KAGAWA Hōun ＜1904-1977＞
“酒仙-shusen” means someone who truly enjoys alcohol.
“Tenkoku” refers to characters engraved on a stone. “Kokuji” refers to characters engraved on a wooden board. In order to accommodate displays at large exhibition halls, “tenkoku” stone engraving evolved into “kokuji” wooden engraving.
20
Atarashiki
SUZUKI Baikei ＜1887-1973＞
This piece celebrates the delight of starting the new year surrounded by kindred spirits.”
Suzuki Baikei was both an educator and a calligrapher. He studied old writings and scripts under Tanaka Chikami, who was a renowned scholar of the Japanese arts.
The works displayed here are reproductions of old Japanese calligraphical masterpieces written between the Heian and Kamakura periods.
21
Harugasumi (1994)
FURUTANI Sōin ＜1924-2018＞
Born in Kyoto, Furutani Sōin was a great admirer of Nakano Etsunan, and chose to follow the path of a calligrapher because of his influence. He became a disciple of Tsujimoto Shiyū and Murakami Santō.
He studied many calligraphy works, starting with the works of Wang Xizhi, who is considered as the greatest Chinese calligrapher in history, as well as works from monks like Mokkan and Ryōkan of the Edo period. In his pieces, Furutani’s brush strokes are characteristic for their vitality.
22
Fujinoyuki (1990)
KURODO Kenichi ＜1947-＞
Building upon the style of his teacher NISHITANI Uboku, KURODA Kenichi established a dignified style of kana calligraphy characterized by straight lines and a strong structure.
23
Hyakunin Isshu (2021)
Hyakunin Isshu (百人一首) is a classical Japanese anthology of one hundred Japanese waka by one hundred poets. Hyakunin isshu can be translated to “one hundred people, one poem [each]”; it can also refer to the card game of uta-garuta, which uses a deck composed of cards based on the Hyakunin Isshu.
The most famous and standard version was compiled by Fujiwara no Teika (1162–1241) while he lived in the Ogura district of Kyoto.[1] It is therefore also known as Ogura Hyakunin Isshu (小倉百人一首). （Ogura_Hyakunin_Isshu wikipediaより引用）
