HP Japanese Fukusa, Hashimoto Kansetsu & Tomita Keisen
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Directory: Archives: Regional Art: Asian: Japanese: Pre 1940: Item # 1436014
Directory: Archives: Regional Art: Asian: Japanese: Pre 1940: Item # 1436014
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The Kura
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23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
Guest Book
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23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
Guest Book
sold, with thanks!
sold, with thanks!
Kannon (Guanyin) the bodhisattva of compassion, is depicted by two of the most famous painters of the early Showa period on this pair of presentation cloths by Hashimoto Kansetsu and Tomita Keisen. Keisen’s loosely brushed image of a cherubic Kannon sits in the center of an Enso Zen circle. The calligraphy on the left reads "Entsu", a Buddhist term combining the kanji for circle and authority, loosely meaning knowledge of the circle of Buddhist Doctrine, the cycle of life and of all things eternal. Kansetsu, on the other hand, creates a more severe image of Kannon seated in a lotus petal floating in tumultuous seas. The back of this features a long inscription and is dated Showa 7 (1932). The date coincides with the peak of Tomita Keisens popularity, shortly before his untimely death. It is also the year Kansetsu lost his wife, and this may explain the difference in perception of the Compassionate figure. He subsequently created a temple (Gesshinji) in her honor. Both come wrapped around pillows in a red lacquered wooden box signed by Keisen. Each is 34.5 x 36.5 cm (13-1/2 x 14-1/2 inches) and both are in fine condition.
Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. His early years were heavily influenced by ancient Chinese painting, a passion for which he made frequent trips to the continent. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso. He exhibited consistently at the Bunten, and was a member of the Imperial Art Academy. Works by him are held in the Kyoto National Museum, Tokyo National Museum, Metropolitan Museum of Art New York, and the Boston Museum of Fine Art, as well as almost every major collection.
Tomita Keisen (1879-1936) was born in Fukuoka on the southern Island of Kyushu into a family of restaurateurs, however fascinated with the arts, he began studying painting at the age of 12 in the Kano school tradition with Kinugasa Morimasa (1852-1912), the official painter for the Kuroda clan. In 1896, he went to Kyōto to continue his education in the Shijo manner with Tsuji Kako, and exhibited with the Japan Painting Association as well as with the Bunten/Teiten National Exhibitions among many others. Keisen also sought inspiration in Buddhist paintings from the Nara and Heian periods which he studied on frequent trips to Nara, the ancient capital. In the 1920s, he would delve into the concepts of the Nanga tradition of literati painting, and his unorthodox use of color and dramatic sense of proportion would propel him to great fame. Religion fascinated Keisen, and much of his work centers around these ideals. His works also show the influence of literati artists Tomioka Tessai and eccentric Buddhist Sengai Gibon. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. In 1935 he was made a member of the Japan Art Academy. He died the following year at the age of 58. Works by him are held in Tokyo National Museum of Modern art and Kyoto Natioanl Museum of Modern Art, the Minneapolis Institute of Art, The Kyoto City (Kyocera) Museum, Museum of Fine Arts in Boston, Rijksmuseum, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others. For more on this artist see Kyōto no Nihonga 1910–1930. National Museum of Modern Art, Kyoto, 1986
Kannon (Guanyin) the bodhisattva of compassion, is depicted by two of the most famous painters of the early Showa period on this pair of presentation cloths by Hashimoto Kansetsu and Tomita Keisen. Keisen’s loosely brushed image of a cherubic Kannon sits in the center of an Enso Zen circle. The calligraphy on the left reads "Entsu", a Buddhist term combining the kanji for circle and authority, loosely meaning knowledge of the circle of Buddhist Doctrine, the cycle of life and of all things eternal. Kansetsu, on the other hand, creates a more severe image of Kannon seated in a lotus petal floating in tumultuous seas. The back of this features a long inscription and is dated Showa 7 (1932). The date coincides with the peak of Tomita Keisens popularity, shortly before his untimely death. It is also the year Kansetsu lost his wife, and this may explain the difference in perception of the Compassionate figure. He subsequently created a temple (Gesshinji) in her honor. Both come wrapped around pillows in a red lacquered wooden box signed by Keisen. Each is 34.5 x 36.5 cm (13-1/2 x 14-1/2 inches) and both are in fine condition.
Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. His early years were heavily influenced by ancient Chinese painting, a passion for which he made frequent trips to the continent. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso. He exhibited consistently at the Bunten, and was a member of the Imperial Art Academy. Works by him are held in the Kyoto National Museum, Tokyo National Museum, Metropolitan Museum of Art New York, and the Boston Museum of Fine Art, as well as almost every major collection.
Tomita Keisen (1879-1936) was born in Fukuoka on the southern Island of Kyushu into a family of restaurateurs, however fascinated with the arts, he began studying painting at the age of 12 in the Kano school tradition with Kinugasa Morimasa (1852-1912), the official painter for the Kuroda clan. In 1896, he went to Kyōto to continue his education in the Shijo manner with Tsuji Kako, and exhibited with the Japan Painting Association as well as with the Bunten/Teiten National Exhibitions among many others. Keisen also sought inspiration in Buddhist paintings from the Nara and Heian periods which he studied on frequent trips to Nara, the ancient capital. In the 1920s, he would delve into the concepts of the Nanga tradition of literati painting, and his unorthodox use of color and dramatic sense of proportion would propel him to great fame. Religion fascinated Keisen, and much of his work centers around these ideals. His works also show the influence of literati artists Tomioka Tessai and eccentric Buddhist Sengai Gibon. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. In 1935 he was made a member of the Japan Art Academy. He died the following year at the age of 58. Works by him are held in Tokyo National Museum of Modern art and Kyoto Natioanl Museum of Modern Art, the Minneapolis Institute of Art, The Kyoto City (Kyocera) Museum, Museum of Fine Arts in Boston, Rijksmuseum, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others. For more on this artist see Kyōto no Nihonga 1910–1930. National Museum of Modern Art, Kyoto, 1986