Купить написанную вручную репродукцию картины Nine Auspicious Symbols of Longevity and Prosperity

This work is a colorful landscape filled with auspicious symbols of longevity. In the center, the gray-bearded man sitting in a thatched pavilion can be identified by his elongated forehead as Jurōjin, the Daoist deity of longevity. A red-crowned crane, associated with marital fidelity and longevity, is perched by his side. Nearby, a pair of rugged pine trees stand tall, their long needles likewise symbolizing long life. Red auspicious fungi grow at the base of the pines, believed to extend one’s life span if they are ingested as part of elixir. A precipitous waterfall flows from the lofty green mountains, dotted with Mi dots, large ink dots that representing lush pines. Above the hills, a red sun and a blue crescent moon complete the auspicious scene.The inscription comprises an excerpt from the poem “Protecting the Heavens: (Chinese: Tian bao; Japanese: Tenhō 天保) from the Classic of Poetry (Shijing, which comprises over 300 poems dating from the eleventh to the seventh centuries BCE). In the right upper corner above the image, Tessai brushed the verse in cursive script with short yet assertive brushstrokes. It can be deciphered and tentatively translated as follows:如山如阜如岡如陵如川之方至如月之恒如日之升如南山之寿如梥柏之茂Japanese pronunciation: 山の如く阜の如く岡の如く陵の如く川の方に至るが如し月の恒の如く日の升るが如く南山の寿の如く梥柏の茂る如しLike the mountains, and like the hills, Like the topmost ridges, like the grand forms, Like the river that flows and continues to fill,[….a few lines are omitted by Tessai]Like the moon that never wanes, Like the sun that always rises ,Like the longevity of the Southern Mountains,Like the lushness of the pine…. (Translated by Tim Zhang)This ancient poem was dedicated to congratulating the newly crowned kings of the Zhou dynasty (1050–221 BCE). It uses the metaphor of the eternal aspect of nature to pray for the longevity of the newly inaugurated rulers. The seemingly primitive and repetitive phonetic pattern of the poem nevertheless effects a strong rhythm. This poem became a pictorial theme in the Ming and Qing dynasties and was also taken up by artists in Japan. The signature suggests that this inscribed painting was created on the second birthday of Emperor Taishō during his reign, as a way of expressing a wish for the emperor"s longevity.Tomioka Tessai was a Japanese painter and calligrapher who was one of the leading figures of the Bunjinga literati painting style during the Meiji and Taishō periods. Having received traditional training in Chinese painting styles, he is often considered the last and best of the Literati painters in Japan due to his deep cultivation of Chinese literature and art. Tessai was also a court painter for the imperial family later in his career and was occasionally commissioned to create works for the for the royal family.

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The Last Voice of Bunjinga: The Life and Legacy of Tomioka Tessai

Tomioka Tessai, born as Tomioka Yusuke, remains one of the most profound and singular figures in the long tapestry of Japanese art history. Standing at a monumental crossroads between eras, he was both the final great guardian of the Bunjinga tradition—a style rooted in the scholarly, literati ideals of China—and a pioneering force behind the emergence of Nihonga, the modern evolution of Japanese painting. Born in Kyoto in 1836, his early years were marked by a deep immersion in the intellectual and spiritual currents of his time. The loss of his father at a young age led him to serve as a page at a Shinto shrine, an experience that provided him with an intimate, early exposure to ritualistic beauty and the power of visual storytelling through sacred art. His scholarly foundations were laid under the tutelage of Okuni Tadamasa, a renowned scholar of kokugaku. Through this mentorship, Tessai absorbed the profound tenets of Neo-Confucianism, a philosophy that emphasizes moral cultivation and a harmonious, respectful coexistence with the natural world. This intellectual rigor would later manifest in his brushwork, where every stroke was an expression of character and cosmic order. Perhaps most significantly, his life was touched by the presence of the Buddhist nun and poet Ōtagaki Rengetsu. As his patron and mentor, Rengetsu nurtured his artistic sensibilities, instilling in him a lifelong fascination with the delicate interplay between poetry and visual representation, ensuring that his art would always possess a lyrical, soulful quality.

A Synthesis of Tradition and Innovation

As Tessai’s mastery grew, so too did his ability to bridge disparate worlds. His artistic journey was not merely one of technical refinement but of profound stylistic synthesis. While he remained deeply anchored in the Bunjinga style—characterized by its emphasis on spontaneous brushwork and the expression of the artist's inner spirit—he began to incorporate elements that would define the new Nihonga movement. This transition was not a rejection of his roots but an expansion of them, allowing him to document the changing landscape of Meiji-era Japan with both historical reverence and modern vitality. His technical prowess extended beyond the canvas into the realm of calligraphy, where his command of line and ink mirrored the strength and fluidity of his paintings. This versatility allowed him to move seamlessly between the delicate, poetic nuances of literati landscapes and more robust, topographical works. His involvement in the Meiji government even saw him contributing maps and charts, demonstrating a commitment to using his artistic vision to document the physical and political evolution of his nation.

Historical Significance and Enduring Spirit

The significance of Tomioka Tessai lies in his role as a cultural bridge. He lived through a period of intense transformation in Japan, witnessing the closing of the feudal era and the dawn of modernization. In an age where many were looking solely toward Western influences, Tessai provided a vital link to the classical past, ensuring that the spiritual and philosophical depth of Japanese tradition was not lost in the rush toward progress. His achievements can be summarized through his enduring impact on the Japanese aesthetic:

As the final bastion of the Bunjinga style, he preserved the scholarly traditions of literati painting for future generations.
As a pioneer of Nihonga, he helped shape the modern identity of Japanese painting by blending classical techniques with contemporary sensibilities.
His work serves as a visual record of the transition from the Edo period to the Meiji era, capturing both the landscape and the shifting cultural psyche of Japan.

Through his brush, the ancient philosophies of Neo-Confucianism and the poetic grace of Buddhist thought found a permanent home in the visual arts, leaving behind a legacy that continues to resonate with anyone seeking the profound harmony between humanity and nature.

tomioka yusuke

1836 - 1924 , Japan

Основные сведения

Artistic Movement Or Style: Bunjinga & Nihonga
Artists Or Movements Influenced By This Artist: ['Kanō School']
Artists Who Influenced This Artist: ['Ōtagaki Rengetsu']
Date Of Birth: Kyoto, Japan (1836)
Date Of Death: 1924
Full Name: Tomioka Yusuke
Nationality: Japanese
Notable Artworks:
- Scene Inspired by the Scrolls of Frolicking Animals and Humans
- Hall of Enma, the King of Hell
Place Of Birth: Kyoto

Nine Auspicious Symbols of Longevity and Prosperity

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