JJ199800001000_000000_001T, 0000/00/00撮影, Public Domain

Landscape in Autumn

Title	Landscape in Autumn
Artist	菱田春草　HISHIDA Shunso
Date	ca.1908
Medium	color on silk
Dimensions	119.7×50.5
Classification	Japanese-style Paintings
Accession Number	JJ199800001000
Summary	Moro-tai, the revolutionary method of depiction that Shunso was attempting, uses extensive blurring of color fields to express diffused light or humid climates. Shunso favored this form of expression for his depictions of dawn and evening scenes and waterside views. Yet it was not appropriate for expressing the three-dimensionality or sense of reality of a large boulder. One of Shunso’s ways of overcoming this weakness in the technique was to experiment with dotted brushstrokes. This work is a good example of this approach, as can be seen in his use of moro-tai characteristics to create the watery splashes in the waterfall pool, while depicting the large cliff face behind the waterfall with a series of detailed brushstrokes and light and dark ink effects, thus conveying the three-dimensionality and solidity of the rock wall. The careful depiction of red-leaved trees against this scene skillfully creates a real sense of autumn. This is an important example of one extreme of the painting style formulated by Shunso.

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Native place	Chikuma (Nagano), JPN
Birth	1874
Dead place	Yoyogi, Tokyo, JPN
Died	1911
Biography	Shunso was born in Iida, Nagano Prefecture. He traveled to Tokyo in 1888 and studied Japanese-style painting there with Yuki Somei. In 1890 he entered the Tokyo School of Fine Arts, where he studied under Kawabata Gyokusho. He graduated from the school in 1895, and the following year he became a teacher there. Under the direction of Okakura Tenshin, he worked with Yokoyama Taikan, Shimomura Kanzan, and others to develop the new potential of Japanese-style painting. A dispute at the Tokyo School of Fine Arts led Tenshin to resign as head of the school, and Shunso then participated in the founding of the Japan Art Institute. While studying the classics, around 1899 he began to discard the linear expression of traditional painting and drew on Western-style painting in his use of shaded color fields as he experimented with the so-called moro-tai (fuzzy style) form of blurred expression. This style was not well received in the art world of the day, and along with Yokoyama Taikan, who was also experimenting with the style, Shunso went through a period of bad luck. However, during this period, Shunso gradually broke free from the constraints of moro-tai and developed his own style, as seen in his work “Fallen Leaves,” which fuses color and linear effects into a lovely form.

Landscape in Autumn

HISHIDA Shunso