The Kura - Japanese Art Treasures
Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
In accordance with the requests of local authorities our Kyoto gallery will be closed to visitors from April 14th until further notice.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1800 item #1436384 (stock #MOR8033)
The Kura
A large footed offering tray covered in subsequent layers of black and red Negoro lacquer made for presentation of foods in a Buddhist setting dating from the 17th to 18th centuries. It is 39 cm (15-1/2 inches) diameter, 9 cm (3-1/2 inches) tall. There is a great deal of wear to the lacquer surface and edges and one can guess this saw frequent use. It exudes a fabulous sense of antiquity.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1800 item #1436333 (stock #MOR8032)
The Kura
An early Edo (17th to 18th century) box likely made to hold religious texts covered in black lacquer inlayed with plum blossoms and pine needles in mother of pearl. It is 28.5 x 26 cm (10 x 11 inches). There is a great deal of wear to the lacquer surface and edges and one can guess this saw frequent use. It exudes a fabulous sense of antiquity.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1920 item #1436332 (stock #AOR8031)
The Kura
sold, with thanks!
A set of four cabinet/alcove doors recovered from a traditional Kyoto house covered in genuine gold painted with a continuous vibrant landscape of rolling hills and high peaks dotted with pagodas and pavilions along a lake shore signed and dated in the cyclical 60 year zodiac Winter 1899 (it is difficult to discern the second character, which is much abbreviated). The original wooden frames have been removed, making the doors optimal for framing as a single panel. Together they are 30 x 177 cm (12 x 69.5 inches) and are in overall fine condition.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900 item #1436290 (stock #ALR8030)
The Kura
A tea bowl decorated with chrysanthemum blossoms and a bare plum branch nestles deep in the verse of crinkled script which seems to bury it like fallen leaves. The image is by Eiraku Wazen, 10th head of the Miura family of potters and bears the artists stamp on the bowl. An accompanying note gives the history of Taigado Seiryo, and although not signed, the verse may be that of this poet/priest. The poem reads from right to left:
Tsutanaki waza mo wo yo watarisenmo
Kokoro to yasashi keredo saraba mu yorito
Nani iubeki uramaki azana Ikanisen
Yo no hito wo me samashi uke no waza araba
Sukoshi ha Kuchi mo kikubeki mono wo
To sumaraize: the first half speaks to those with a blossoming Waza (skill, technique or ability) who lack the confidence to move forward into the world with it. The second half queries: if you have a Waza which awakens in people something new, should you not develop the confidence to present your gift to the world. It is signed: Written upon request, late Autumn, Year of the rabbit, Ansei era (1855). Judging by this Wazen would have been 33 years old, Seiryo his senior at 49. Could this be that Wazen is receiving advice or encouragement from this priest? Ink on silk mounted in a paper field within a patterned green silk border with beige extensions and lacquered wood rollers. The scroll is 38 x 172 cm (15 x 67-1/2 inches). It comes enclosed in a modern wooden box.
Eiraku Zengoro XII (Wazen, 1823-1896) was one of the most influential potters of his time, setting the stage for the revival of and modernization of Kyoyaki, based on models by Koetsu, Kenzan and Ninsei. Although named Sentaro, he was more commonly referred to by the name Zengoro, and used also the name Wazen after 1865. He was trained under his father, Hozen, who was a compatriot of Ninnami Dohachi and Aoki Mokubei, and rightfully one of the most famous potters of the later Edo. Zengoro was given the reins to the family business quite early, in 1843, and managed the day to day running of the kiln while his father sought to perfect porcelain products in Kyoto. From 1852 to 1865 the family worked from a kiln at Ninnaji temple. Attracting the attention of a Daimyo from Kaga, from 1866-1870 he worked to revitalize a porcelain kiln in that area, coming to produce classic wares which are prized to this day. During this time of working divided from the family kiln, two workers who had been trained by his father shared the title of the 13th generation leader in Kyoto, however Wazen outlived both by decades. He returned to Kyoto in 1870, and also established a kiln in Mikawa in the 1870s to produce more common tableware. From 1882 until his death, it seems he worked from a large kiln in the Eastern Hills of Kyoto. Under both the 11th and 12 generations of this family the name Zengoro took on a life of its own, and came to symbolize the highest in porcelain and tea wares. The family is one of the 10 artisan families producing tea articles for the Senkei tea schools.
Taigado Seiryo was the third generation Taigado, second son of Geppo. He served as 37th head of Sorinji temple. He was a well learned literatus adept at landscape painting, seal carving, poetry and was a well known tea practitioner and was a well respected member of the late Edo literati community in Kyoto. He died in 1869 at the age of 63.
All Items : Vintage Arts : Furnishings : Pre 1930 item #1436286 (stock #MOR4947)
The Kura
Sale Pending
A fine crafted Tea Ceremony Tana for display of tea paraphernalia made of light kiri-wood lacquered in opaque red, with uprights of bark covered limbs and raw kiri panels painted with autumn foliage by Nishimura Goun. It is 25 x 14 x 12-1/2 inches (63.5 x 35 x 32 cm) and is in fine condition.
Nishimura Goun (1877-1938) was a prominent Pupil of Kishi Chikudo and Takeuchi Seiho. He showed at the Nihon Bijutsu Kyokai (Japan Art Association) and then with the Zenkoku Kaiga Kyoshinkai (National Competitive Painting Exhibition). He was awarded at the first Bunten National Exhibition (1907) and later served as a judge at that prestigious event. Later in life he would be named a member of the Imperial Art Academy. Works by him are held in many private collections as well as the Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, Yamane Museum and the Gotoh Museum among many others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900 item #1436285 (stock #ALR8029)
The Kura
A dark forest rises in a field of white, as if still covered in frost or snow, over which is draped a poem brushed in the exquisite script of the poet-nun Otagaki Rengetsu, Itsu to naki, Tokiwa no sato ha, Hototogisu shinobu hatsune ni, Uzuki wo ya shiru?
With the first cry of the Cuckoo, in this village of Tokiwa
Will the people realize, Spring has arrived?
To the extreme left, the cuckoo flies off the page. Ink on paper in forest green silk extended in a beige with black lacquered wood rollers. The scroll is 50.5 x 113.5 cm (20 x 44-1/2 inches). There are faint water stains in the upper border (see closeup photos). It comes enclosed in an old wooden collector’s box annotated by Nanga artist Ueda Koho (1860-1944). The inscription reads Rengetsu-ni Painting, Attested to by the eyes of the 80 year old man Koho Ueda.
Much has been written about the life and work of poet/artist Otagaki Rengetsu. Born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1910 item #1436268 (stock #ANR8026)
The Kura
Sale Pending
A pair of large screens By Kawamura Manshu (1880-1942), depicting what woud have, at that time, been quite exotic…Western cattle grazing on a plain. Ink and light pigment on applied gold with brown patterned silk border. Each screen is 376 x 171 cm (67-1/2 x 148 inches) and in overall fine condition. These screens are consistent in style and scale with the artists work circa 1910, and bearing in mind the subject matter are likely a late Meiji (pre-Bunten) set of Exhibition Screens. For more photographs please DM me.
Kawamura Manshu was born in Tokyo, but studied under Yamamoto Shunkyo in Kyoto, then the cultural center of Japan. He was displayed and often prized at the Bunten/Teiten National Exhibitions. His works are held in the National Museum of Modern Art, Tokyo, the National Museum of Modern Art, Kyoto and the Mie Prefectural Museum among others,
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1920 item #1436259 (stock #MOR8026)
The Kura
A heavily lacquered tray created in the manner of the 36 Kamakura era trays of Hokkeji made of wood covered in thick negoro lacquer rubbed through to reveal the black lacquer under the original red. On back is written Hokke-ji Rakanban, 1 of 36, First month of Tokuji 2 (1307). It is 42 x 29.5 x 2.5 cm (16 x 11-1/2 x 1 inches) and is in excellent condition, enclosed in a black lacquered wooden box. An excellent example of the simplicity and austerity of the Kamakura aesthetic. Inside the box lid is written:
Hokke-ji Rakanban
In recognition of a mother to a friend this third year
Taisho 4 (1916) Spring Higan Service, the Honorable (Mr.) Fujiro
Hokkeji is a Temple in Nara originally founded in 745 by the Empress Komyo. This hand crafted tray is an early reproduction of one of the trays held in that collection. As the industrial revolution climaxed in Japan in the opening years of the 20th century, along with it came a renewed interest in ancient things, and the techniques with which those relics were created. A relatively prosperous time, there was much interest in culture and history. Some storehouses of ancient treasures opened their doors to craftsmen and researchers who were leaders in their fields, and the items they attempted to reproduce, often using the techniques imagined available at the original time of production, were highly collectable.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1920 item #1436258 (stock #ALR8025)
The Kura
Sold, thank you!
Bamboo springs up in a thicket about a garden stone on this scroll dated a summer day in 1914. Ink on paper in a green patterned silk border with wood rollers. The Scroll is 37.5 x 187 cm (14-3/4 x 74 inches). It comes enclosed in a wooden box annotated by Potter Mashimizu Zoroku titled Chikusen Ga, Take-Iwa (Painting by Chikusen, Bamboo and Stone).
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The kiln continues, currently under the management of the fifth generation.
The name Mashimizu was granted by prince Myoho-in to Zoroku I (1822-1877) who had established a kiln in the Gojo Zaka area of Kyoto. Works by him received favor in the highest circles, and in 1864 he was commissioned to prepare a set of Tea Ceremony equipment for a party held with Sen-no-Soshitsu at the Imperial Palace. Works by him are held in the LA county Museum and Kyoto National Museum among others.
Mashimizu Zoroku II (1861-1936) was the eldest son of the first Zoroku (1822-1877). After studying ceramics in China and Korea, he assumed the family title in 1882. In 1884, he earned honorable mention at the Kyoto Exhibition and was awarded the gold medal at the Kofukuji Temple Exhibition. He opened a new kiln in Kyoto in 1917, and in 1926 he made a celadon koro for the Emperor Showa and work by him is held in the Tokyo National Museum as well as the Imperial Household collection, and he is well known as the teacher of Koyama Fujio. The kiln is currently headed by the fourth Zoroku.
All Items : Antiques : Regional Art : Asian : Japanese : Baskets : Pre 1900 item #1436191 (stock #MOR8024)
The Kura
A low circular basket woven in a dynamic swirling wa-gumi style lined with lacquer soaked paper made for carrying charcoal in the Japanese Tea Ceremony. It is 30 cm (12 inches) diameter and in excellent condition, enclosed in a period wooden box titled Karamono Takegumi Hira-Sumitori.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1930 item #1436190 (stock #TCR8023)
The Kura
Sale Pending
A pine cone Kogo incense box with a Reishi mushroom (lingzhi) brush stand by Seifu Yohei IV enclosed in the original signed wooden box. The mushroom is signed underneath, while the Kogo bears an impressed seal within. The Kogo is covered in the green glaze favored by Seifu IV and is roughly 5 cm (2 inches) diameter. The mushroom is in a rare orange glaze and is 7.5 cm (3 inches) long. Both are in excellent condition.
Seifū Yohei IV (Seizan: 1872-1946) was born the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1950 item #1436158 (stock #TCR8023)
The Kura
sold, with thanks!
A chawan tea bowl in white decorated with a spray of flowers by painter Kanashima Keika accompanied by photographs and personal correspondence with the artist. It is roughly 5 inches (12.5 cm) diameter and comes enclosed in a wooden box.
Kanashima Keika (1892-1974) was born in Hiroshima, but moved to Kyoto at an early age to study under Hirai Chokusui, then the early 20th century master Takeuchi Seiho (along with Tsuchida Bakusen, Tokuoka Shinsen, Hashimoto Kansetsu and a host of other important artists). He exhibited with and was awarded at the Teiten. Throughout the 1930s he held a position at the Kyoto Municipal School of Art ((modern University of Art). Post war he exhibited with the Nitten. He received the Geijutsu Sensho award from the Ministry of Cultural Affairs in 1952, and the 10th Nihon Geijutsuin prize in 1954. In 1069 he was granted the Order of Cultural Merit from the City of Kyoto for his life’s work. Work by the artist is held in the National Museums of Modern Art in both Tokyo and Kyoto, Osaka Municipal Museum, The Museum of Modern Art in Kamakura, and the Imperial Household Agency among many others.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Paintings : Pre 1940 item #1436157 (stock #ANR8022)
The Kura
Bare trees rise up from mist in this slightly sinister screen by Yasuda Hanpo dated Autumn 1925. An ox stands, symbol of strength and solitude, in the deftly brushed landscape. In the distance birds take to the dark sky. The ink has been allowed to diffuse into the paper creating a mystical aura around the heavy creature. It is performed with ink on paper, mounted on gold with vibrant red lacquer frame. Each panel is 28 x 67-1/2 inches (71 x 172 cm) and is in excellent condition. Retaining the original cloth backing.
Yasuda Hanpo (1889-1947) was born in Niigata prefecture, and cme to Osaka to study painting under Mizuta Chikuho, and later Himejima Chikugai. He exhibited with the Bunten and Teiten National Exhibitions, and from 1922 exhibited also with the newly founded Nihon Nanga-In. Work by him is held in the National Museum of Modern Art, Tokyo, Harvard Art Museum, MFA, British Museum and a host of others.
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1900 item #1436156 (stock #MOR8021)
The Kura
Sale Pending
A serene image in black of Kannon, the goddess of mercy, seated on a lotus before a gilded mandorla dating from the later Edo to early Meiji period, 19th century. The image itself is 24 cm (9-1/2 inches). The entire composition (with stand and Mandorla) is 58.5 cm (23 inches) tall, 30 x 27.5 cm (12 x 11 inches) across the base. Both the figure and the stand are made using the yosegi technique of joined blocks of wood. Across the joint of the lap is a crack, and the left arm has been reattached. There is typical loss of lacquer and polychrome consistent with age.
Kannon is a Bodhisattva, (one who has prolonged their own eternal enlightenment to stay behind in this world. Kannon, known as Avalokitasvara in Sanskrit or Guan-yin in Chinese, is a Bodhisattva; is one who has prolonged their own eternal enlightenment to stay behind to alleviate the suffering of others in this ephemeral world. Originally a male deity, the iconography is generally shown as feminine or androgynous in Japan and is one of the most popular deities in the Japanese Buddhist Pantheon. Kannon is the central figure in the Heart Sutra (Hanyashingyo) and an important figure in the Lotus Sutra wherein is written a list of the 33 forms that Kannon may take to aid those in need. This list is the origin of the pilgrimage of the 33 temples of Kannon in Kansai and later in Kanto. It is said that Kannon expended so much effort in listening to the cries of the unfortunate that his head split into pieces, so Amiddha then gave the deity 11 heads to hear the cries of sentient beings. Thus one can often see images of Kannon with a crown of heads.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1930 item #1436155 (stock #MOR8020)
The Kura
Dark floral silhouettes by the eclectic artist and designer Kamisaka Sekka decorate the squared tray covered in deep red lacquer and enclosed in a period wood box dated 1924. Signed in the upper left corner, the tray is 23.5 cm (9 inches) square and is in excellent condition.
Kamisaka Sekka (1866-1942) is known as the last great Rimpa Master, an artist of many talents who worked in painting, wood and lacquer and the godfather of 20th century Japanese design as well as the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nuevo and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. In 1910, Sekka was sent to Glascow to study Western art and craftsmanship. He sought to learn more about the Western attraction to Japonisme and which elements or facets of Japanese art would be more attractive to the West. Returning to Japan, he taught at the newly opened Kyoto Municipal School of Arts and Crafts, experimented with Western tastes, styles, and methods, and incorporated them into his otherwise traditional Japanese-style works. It is easy to see this juxtaposition by looking at almost any of his paintings. While he sticks to traditional Japanese subject matter, and some elements of Rimpa painting, the overall effect is very Western and modern. He uses bright colors in large swaths, his images seeming on the verge of being patterns rather than proper pictures of a subject; the colors and patterns seem almost to 'pop', giving the paintings an almost three-dimensional quality. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Pre 1950 item #1436140 (stock #MOR6780)
The Kura
Iron and copper create the green on the top surface of this plate by Iwata Toshichi made for the Shobido studio sometime in the 1940s, the style loosely based on the image of glass held in the collection of the Shosoin Imperial Repository. It is 13-1/2 inches (34 cm) diameter, 3 inches (7.5 cm) tall and in excellent conditon.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emporer for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Textiles : Pre 1940 item #1436129 (stock #MOR6779)
The Kura
sold, with thanks!
An unusul weave carpet by pioneering artist Tatsumura Heizo replicating by technique a piece from Shosoin Imperial Repository dating from the early 20th century. A label reading: Made by Tatsumura Heizo, Bird and Plum Patterned from the Shosoin Repository (Tatsumura Heizo Sei, Shosoin Go Butsumon Kacho Umehana Moyo) is attached to the underside. It is 96 x 175 cm (38 x 69 inches) and comes in an old age-darkened kiri-wood box. As the industrial revolution climaxed in Japan in the opening years of the 20th century, along with it came a renewed interest in ancient things, things lost, and techniques. The Shosoin, the great repository in Nara, opened its doors to certain craftsmen who were leaders in their fields, and the items they attempted to reproduce, often using the techniques imagined available at the original time of production, were highly collectable.
Tatsumura Heizo (1876-1962) is considered to be the person who brought textiles from a craft into the domain of art in Japan. Born in Osaka the grandson of a currency exchange merchant. Heizo was brought up in an environment rich with fine art and immersed in traditional culture. By the time he entered the Osaka Commercial School (Osaka City University), he was composing poetry under the name of "Seppa.". However tragedy struck, and his father died when Heizo was 16 triggering a decline of the family business. So Heizo left school to begin working in the Kimono trade in Kyotos Nishijin. He was first occupied in sales but, gradually began to study weaving techniques, and sought to make the process more efficient. In 1894, at age 18, Heizo became an independent textile manufacturer. It was around 1921 that Heizo began to recreate ancient textiles from the 7th and 8th centuries, found in the Shosoin Repository and the Horyuji Temple. The very modem Tatsumura chose the Jacquard mechanism as his tool but at the same time he believed in the importance of always going back to original ancient textiles and to thoroughly research them and their original methods of production. His strong conviction to learn from the past became especially important in order to understand and recreate the weaving techniques of the highly intricate warp-faced compound weave which was born in ancient China and lost around the Tang Period (A.D. 618 -906). He would devote his life to both progress in modern techniques, and in reviving lost techniques through research and reproduction. He exhibited with the Nitten National Exhibition among others. For his lifetime of devotion to traditional crafts he was awarded the Japan Art Academy Prize in 1956, and the Imperial He was awarded Shiju-hosho ( Medal of Honor with the Purple Ribbon) in 1958. Work by him is held in the collection of the National Gallery of Australia
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1920 item #1436065 (stock #ALR8019)
The Kura
The Heron Maiden coquettishly covers her face, the intimation of snow in the vacant background with large occasional flakes falling in the fore on this large work by important 20th century artist Kitano Tsunetomi. Pigment on silk in the original silk border with solid ivory rollers (these will be changed if exporting). It comes in a later collector’s double wood box. The scroll is 46 x 206 cm (18 x 81 inches) and in overall fine, original condition. There are faint scattered foxing marks typical of the era.
In the Japanese folk- tale of The Heron Maiden (Sagi Musume), a young man comes across a wounded heron, and he takes it in and nurses it back to health. When the heron has regained the use of its wings, he releases it, and the heron flies away. Time passes and the young man meets a beautiful young woman with whom he falls in love. They get married and begin living happily together. The young wife weaves a particular kind of silk brocade in which the designs appear in relief. The young man sells the fabric, and the two are able to support themselves in this way. But the young woman places a constraint upon the man: He must never observe her while she is weaving her fabric. Of course the young man cannot resist the temptation to look, and when he does he sees a heron at the loom. Before his eyes the heron is transformed into a beautiful woman. Now that the secret has been exposed, the heron Maiden’s happy life with the young man must come to an end. She bids her husband a sad goodbye, and flies off to her heron companions.
According to the Nakanoshima Museum in Osaka: Kitano Tsunetomi (1880–1947) was born in Ishikawa Prefecture in 1880. His real name was Kitano Tomitaro. He subsequently moved to Osaka, where he studied under Inano Toshitsune, before working for the Osaka Shimpo newspaper illustrating novels serialized in the paper. In 1910, Sudaku-mushi (Chirping Insects) became his first work to be selected to appear in the 4th Bunten National Exhibition, and he gained a reputation as one of Osaka’s foremost bijinga artists. In 1912, he formed the Taisho Bijutsu-kai (Taisho Art Association.) In 1914, he set up the painting school Hakuyosha, and successfully submitted his work Negai-o-ito (Thread of Hope) to the 1st Inten Exhibition. After the 9th Bunten he became active in the Nihon Bijutsuin, an artistic association dedicated to promoting painting and sculpture in Japan, particularly nihonga, and became a judge of the Inten Exhibition. He played a key role in the Osaka art world, participating in the creation of the Osaka Art Exhibition in 1915 and the formation of the Osaka Sawakai in 1918. … He passed away in 1947 at the age of 67..