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TOMIOKA TESSAI Front Cover 9. Children Piling Stones to Make a Stupa (1917) TOMIOKA TESSAI 1836-1924

A Loan Exhibition of

from

The Kiyoshi Kojin Temple, Takarazuka,

Originated by the Metropolitan Museum ol Art, New York

Circulated by the Smithsonian Institution

:957-r958 ACKNOWLEDGMENTS

The Smithsonian institution wishes to express its sincerest thanks to the Rev. Bishop Köjö Sakamoto, Kiyoshi Köjin, whose interest and cooperation have mack- this exhibition possible. It is from the splendid collection of his Temple that all oi the scroll paintings and screens included herein were lent.

We also wish to express our gratitude to the Kokusai Bunka Shinkokai in , especially to its President, Mr, Nagakage Okabe, and its Managing Director, Mr. Köjirö [noue. Tin's Society lor international Cultural Relations was responsible for all matters pertaining to the selection of the paintings, the first showing in Tokyo during January of 1957, am' trie preparation of the illustrated catalogue.

The Asia Foundation, through its Tokyo office, provided necessary financial assistance, and we wish to express our gratitude to its Hoard of Directors. The National Museum of Modern Art in Tokyo, through its Director, Mr. Okabe, and its Deputy Director, Mr. Atsuo Imaizumi, lent valuable assistance in selecting the paintings from the Kiyoshi Köjin Temple collection.

Especial thanks are due Mr. James Cahill, Freer Fellow of the University of Michigan, for his unfailing interest in the exhibition and his assistance in all its phases. It was due to his initiative that the Tessai Exhibition came into being.

Finally, we wish to acknowledge the help and encouragement received from the Exhibits Officer of the American Embassy in Tokyo, Mrs. Frances Blakemore, who supervised the many details connected with the publicity of the first showing, and the despatch to the United States.

Annemarie Fi. Pope Smithsonian Institution

•~o 8. A Snow Scene with Distant Mountains (19 135J 77 THE AKT OF TOMIOKA TESSA]

Tessai 1836-1924 is worthy ol being called the greatest painter produced by Japan in recent times. I le was a man ot wide learning, a collector o! rare manuscripts and books, renowned tor his scholarship am! erudition. ! le was tond ol travel, and from youth to old age took advantage ol period ol free time to roam on foot over the length and breadth ol [apan. interested in history, geo­ graphy and folklore, he was also in continual contact with the grandeur ot natural scenery, and ceaselessly trained his eyes toward the clear perception and understanding ot reality. I lis achievements as a painter, springing troni such a powerful discipline and rich experience, ^.o not belong to "art for art's sake but can rather be called, in the truest sense, art tor the sake ot humanity. Such a course of development is in perfect accord with traditional ways of thought about art in the Orient, and with the orthodox Oriental view of artistic creation ; it is profoundly bound up with the artistic ideal expressed in the Eastern painter's ancient canon, "The living expression of spiritual grace." Born in in 1836, he began in his early years to master the highest scholarly disciplines of the Far East : Japanese and Chinese classical literature and philosophy, Buddhist thought, poetry etc., and was himself the author of a number of books. His development as a painter was similarly eclectic ; beginning with the study of Chinese Ming and Ch'ing of the "Southern School" lineage proper to the scholar- artist, he then practiced the Yamato-e painting which is the wellspring of Japanese sensibility, as well as the styles of Otsu-e and Ukiyo-e, which breathe the more robust air of a people's art. At all these he tried his hand as they came his way. These various manners of painting, sufficiently digested, continued to ferment and mature as he passed through his fifties, sixties and seventies, until at last, in his eighties, they culminated in the magnificent luxuriance of the art of his late period. The splendor of his ink-tone, the delicate softness of its gradations, his firmness of manner and grand scale of organization, as well as the vivid brilliance of the colors he laid on over the ink all are practically unrivalled in recent times. They manifest the consummation of Eastern painting methods. Moreover, the distinctive character of the art of Tessai lies in the fact that it is carried out in accordance with a clear and precise view of human life and of the world at large. In requesting that those who see his pictures begin by reading the inscriptions on them he was drawing our attention, I think, to the fact that the total meaning of the picture is what really matters. Tessai's recognition in the world as a painter dates from 1907, when he wielded his brush at the command of the . After that, he was nominated to a number of leading positions in Japanese art circles including membership of the Imperial Fine Arts Academy. However, keeping himself aloof from worldly affairs, he devoted his whole life to the mission of painting right up to the time of his death. It is worthy of note that, though contemporaneous with the giants of Post-Impressionism in France, he lived longer than any of them to reveal the progress of his true merit as he entered upon his last years. Indeed, the awesome spirit of freedom manifested in his paintings will be comprehended by everyone without regard to East or West, for, as Pascin once remarked, "Tessai, il est un artiste mondial !" In the name of the Kokusai Bunka Shinkokai (K. B. S.) which has been, for the last 23 years, ardently endeavouring to promote international cultural exchange, I pay my profound respects to the Smithsonian Institution for its project of holding travelling exhibitions in the States to acquaint the American public with the great art or Tessai. It is sincerely hoped that the project will go a long way toward the furtherance of understanding between the Japanese and American peoples.

April, 1957

Nagakage Okabe, President Kokusai Bunka Shinkokai (The Society for International Cultural Relations) CATALOG

Note: all the pictures are hanging scroll-; unless otherwise noti , i. The Traditional Customs ol the Ainu. 1896 Pair 0} two-foi ns, color on paper. Bach làjcm. /^î.î cm.) IM the v-ar io-} l'essai made a tour ol Hokkaido, where he observed the life ol the .Ainu people. The ¡creen on the right depicts the Bear I ¡stivai, the major .Ainu ceremony; the 0 0:1 the left shows the everyday lite ol the Ainu.

2. Mount Fuji. 1898 {Pair of six-fold screens, color on paper. Bach /_-í/o~''"'- ' ,ò'V..icm. Tessai climbed Mt. Fuji in the year 1^7^. He piinted the mountain many times; these screens are his finest rend ¡rings ol the subject. The right screen sh >u\s Mt. Fuji from a distan . the left 0:1c a bird s-eye view ol ¡rs peak.

3. Mt. Yoshino The World of Flowers). (I9I4 {Color on silk. //<>cm. • /2 cm.) Mt. Yoshino, in Nara Prefecture, ¡3 famous for blossoming cherry trees and for its many historical monuments. Tessai is known to have visited it in 1875 and 1898, and perhaps on other occasions.

4. The Realm of Immortals in the Eastern Sea. (1915) {Ink on paper. Ißl.Icm. ' c) / .y cm.) According to ancient Chinese legend, there are three islands P eng-lai, Ying-chou and Fang- ch ang—in the sea east of the Chinese mainland, dwelling places for deities and immortals. The immortal in is one who has so sublimated his physical self, through renunciation of desire, withdrawal from the world and practice of Taoist disciplines, that no corporeal part re­ mains to suffer mortality.

5. Fishermen on the Great River. (1916) {Color on paper. I49-5'cm. X SI cm.) The life of the fisherman is considered in the Far East to be naive, natural and joyful. A poem by the great Chinese artist T'ang Yin, describing this pleasant existence, is written on the upper part of the painting.

6. Wandering in the Mountains, Enjoying Streams. (1916 {Light color on paper. 147'cm. X JÇ.Jcm.)

7. The Meaning of the "Ten Bullock Pictures". (1916^ {Color on silk. fjjem. X ¿1.8cm.) In the Zen sect of , the steps toward spiritual enlightenment are symbolized by ten stages in the pursuit and capture of a strayed bullock. Scenes representing these stages make up the d'en Bullock Pictures", which d'essai has here combined into a single composition.

8. A Snow Scene with Distant Mountains. (I9I7 {Light color on silk. 62.8 cm. X 37.4 cm.) 9- Children Piling Stones to Make a Stupa. (1917s {Color on silk. 74-5cm. X 6y',¿cm.) According to Buddhist legend, when children die they go to the bank of the Sanzu River (the Buddhist Styx) and there pile up towers of stones as memorial offerings to their parents. Demons come and knock these down ; but the Bodhisattva Jizo appears to rescue the children.

10. Recluses Catching Fish in a Hidden Valley. (1917) {Color on silk. ¡43-^ cm. X ¿/.¿an.)

11. Su Tung-p'o Returns to the Han lin Academy. (1917) (Color on paper. f33-3cuu /' 3~-7'cm.) Su Tung-p o (1036—1101), great litterateur and statesman of the Sung Dynasty, was born on the same day of the year as Tessai, who therefore took a special interest in Su s biography and often depicted incidents from it. ddie present picture is based on one such incident. Returning to the capital after years of banishment suffered because of his opposition to the prime minister Wang An-shih, Su finds himself promoted to the Handin Academy. One night the Empress Dowager, mother of the deceased emperor Shen-tsung who had banished him, summons Su to an audience with herself and the new emperor, and tells him th it her son had really considered him a rare talent , and that Su s quick promotion is due to Shen-tiung s dying wish. The three weep with emotion, after which Su returns to the Academy, his way lit by a candle in a gold candlestick presented him by the Lmpress Dowager.

12. AI laven for Immortals in the Eastern Sea. (1918 (Color on silk. y¿.Ocm. 86.3cm.) (Cf. the explanation to No. 4)

13. Chung-k'uei Escorting His Sister to Tier Marriage. ^1918 {fan-shaped, color on silk. lrC.¿cm. X ¿y.ycm.) Chung-k'uei was a scholar of the T ang Dynasty who, failing in the examinations for official rank, committed suicide. I le later appeared to th; emperor TLiian-tsung in a dream and captured some demons which had been annoying the emperor. from this time he was popularly venerated as a protective spirit against sickness.

14. Three Old Men Tasting Vinegar. (1918 [Light color on paper. T38.2cm. • /".¿cm.) Su Tung-p o and a friend, 1 luang Lu-chih, visit the Zen master Fo-yin, who serves them the finest Peach-blossom vinegar. They all taste it, and all make sour laces. Su being a Con- Fucianist, I luang a Taoist and Fo-yin a Buddhist, the three react with different facial expressions to the same vinegar. 1'he point o( the story, and ol the picture, is that although the three religions differ, they lead ultimately to the same point.

15. Chu-ko K'ung-ming Tilling lbs Farm. 1 o 1 o ^l.ight color on paper. /32cm. • 48.2cm. Chu-ko fC'ung-ming 1 M 1 234) was a great warrior-statesman ol the 1 Tree Kingdoms period in China. He was called from retirement by Liu Pei, whom he aided to become emperor and restore the Fian Dynasty. Tins picture shows him while still in seclusion.

ib. An Immortal Embarking on the Sea in a Hollowed I.og. ioio (('olor on silk. /('7cm. ¿0.3cm. 17- A Snow Scene in Morning Sunlight. ]{>l9) {Light color on tilk. JÇ.2cm. • ¿2.8cm.

i8. Su Tung-p'o Visits the Zen Master Fo-yin. (1920 (Light colors on paper. rJJ.¿Cm. ' JJ.acm. Fo-yin tells Tung-p'o that a great wind the previous night has broken a branch from the pine tree in front of th.- tempi.-. Fo-yin his composed the first two lines of a quatrain lamenting this, but cannot finish tin- poem. Tung-p'o supplies the missing lines, to the joy and admiration of Fo-yin.

19. Blossoming Plum ami Narcissi. ''1920) Light colors on paper, /^/..'an. ' J J.8 cm.)

20. A Ciathering of Immortals on Mt. P'eng-lai. (1920) {Light colors on paper. IÇI.2cm. ¿8.8cm. Mt. P'eng-lai is one of the three legendary Isles of the Blest (Cf. No. 4.) Taoist immortals travel to P'eng-lai on the backs of cranes ; the arrival of one is shown in this picture.

21. T'ai Kung-wang Fishing. (x921 {Light color on paper. 111 cm. • JÇcm.) Lu Shang, known as T'ai-Kung-wang, was a great minister of the Chou Dynasty in ancient China. He hid himself among fisherman, but at the age of eighty was discovered by the Duke of Chou and brought to court, where he served as advisor.

22. Landscape: A Genuine Love for Dwelling in the Mountains. (1921) {Color on paper. 145-7 cm. < JÇ.Jcm.)

23. Ying-chou. (1921) {Light color on paper. J J/ cm. X ¿2.4cm.) One of the three Isles of the Blest (Cf. No. 4.)

24. The Grotto of the Three Divinities. (1922) {Ink on paper. lOQcm. X 43 cm.) This cave is on the seacoast near Shimoda in Shizuoka Prefecture. It is said that if one enters it in a boat, the agitation of the waves and reflected rays of light make an image of Amida Buddha and two attendant Bodhisattvas seem to appear on the rock wall. It has been a holy place from early times.

25. Lu Yü Judging the Quality of Water. (1922" {Light color on paper. 133.8cm. >'32.6 cm.) Lu Yd was a scholar-in-retirement during the T'ang Dynasty, a connoisseur of tea and author of the Classic of Tea. In brewing tea, the selection of water is highly important.

26. The Zen Master Feng-kan. (1922 {Color on silk. y2.¿cm. X 68.4 cm.) Feng-kan, a priest of the T'ang Dynasty, is said to have startled his fellow monks by re­ turning to his temple on the back of a tiger. 27. The Leisurely Life of Su Tung-p'o. (1922 (Light color on paper. /¿¿.¿cm. X 32.2cm.)

28. The "Former Red Cliff Ode" by Su Tung-p'o. (1922) {Light color on paper. I¿6 cm. X 43cm.) One autumn evening in the year 1082, Su Tung-p o embarks with a friend in a small boat on the Yangtze River near Huang-chou. As they drift beneath the Red Cliff, the friend plays a melancholy air on his flute. d^ung-p o asks the reason for such sad music, and his friend reminds him of a great battle fought there eight centuries earlier. The two sip wine and muse on vanished glory as the night passes.

29. The "Latter Red Cliff Ode" by Su Tung-p'o. (1922 (Light color on paper. 147-~cm. X 4°-5cm.) Three months later Su, with two friends, again spends the night beneath the Red Cliff. Two storks fly overhead ; later, these reveal themselves to Su in a dream as Taoist immortals. The texts of the two odes composed by Tung-p o on these occasions are transcribed in full by d'essai above his pictures.

30. A Bird's-eye View of the Red Cliff. (1922" (Light color on paper. I¿6cm. X 43'cm.) Su Tung-p o and his friends are seen again, on a moonlit night, drinking wine as they drift past the cliff.

31. Ch'ang-o Fleeing to the Moon. (1923) (Colors on paper. ¿3J'Scm' ^S3-"cm') According to Chinese legend Ch ang-o, wife of an immortal, stole his drug of immortality from him while he slept and fled with it to the moon, where she became the Moon Goddess.

32. A Cluster of Auspicious Plants. (1923) (('olor on paper. /¿/.¿cm. • 44-°cm.) This is a type ol lily, symbolic of good fortune. It is said that Bodhisattvas sit on mats of these plants while meditating.

33. The Dwelling ot the Immortal Sun Ssu-miao. 1023Ì {Color on paper. 1'-/A'cm. ' 4".2cm. I Sun was a Taoist of the Tang Dynasty, who lived in a cave on Mt. 1'ai-po. He studied medicinal herbs, and wrote a treatise on medicine. The painting would have us believe that he also rode on a tiger.

54. The Quiet Mood of the Water World. [923 Light color on paper. 131.2cm. • 3/cm.)

35. A Pleasant Life in a Gourd. 1923 (Light color on paper. / 52.y cm. • 32cm. A certain Taoist immortal is said to have escaped the cares of the world by living inside a gourd. j6. Gazing at a Waterfall to Cleanse the M 1 nel. [923 Ink on paper. 132.7cm. • 5>c'"- '

37- Landscape: A Quiet Tide, Alool trom the World. • o- {Ink on ¡>aper. T22.¿cm. ' . ?- >.¿ cm. )

38 . Three "Old Buddhas" in a .Shrine. 1023 (Color on paper. f¿Icm. ' ¡"cm.) In the Zen sect, "Old Buddhahood is a term tor the eternal, unchanging nature in each man; those who have recognized it in themselves and so attained spiritual enlightenment are thus "Old Buddhas . The three figures represented Bodhidharma, Vimalakirti and Avalokitesvara (Kuan-yin) are such enlightened ones.

59. A Dialogue between Sages. (x924 {Light color on paper. T33cm. ' 32-5cm') The famous Ashikaga period Zen priest Ikkyu once called on hi; friend Rennyo, a priest of the Pure Land sect, at the 1 amashina remple. Finding that Rennyo was out, Ikkyu pushed over the statue of Amida Buddha which was on the main altar, rested his head on it and went to sleep. Rennyo, returning and finding him like this, shook his shoulder to arouse him and said, You should be ashamed of yourself ! Ikkyu awoke, and the two laughed heartily.

40. Monkeys Reaching for the Moon in the Water. (1924 {Ink on paper. /¿/ cm. > 32'2cm-)

41. Birds and Flowers. 1924, {Light colors on paper. /32.2cm. • 33'2cm-)

42. Kuan-yin on Potalaka Island. (1924) (Light color on paper. Ç0.4cm. • 33cm.) Potalaka Island is the residence of the Goddess of Mercy, Kuan-yin (Avalokitesvara). In this picture Tessai employs a highly individual manner of painting, using the ink-stick directly, rather than a brush, to draw lines.

43. The Sixteen Arhats Watching a Game of Go in a Cave. (1924) {Color on paper. J'44^ cm. >'39-3'cm.) Arhats are those among the disciples of Buddha who attained a state of enlightenment. The game of go is similar to checkers, but rather more complex.

44. The Unaging Pine and Fungus. (1924 {Light color on paper. I32~7'cm. X 33.3cm.)

45. Kobo Daishi's Travels in China. (1924 {Light color on paper. J3*-7'cm. X 33'Jcm') The priest Kukai, posthumously canonized as Kobo Daishi, was the founder of the Shingon sect of Buddhism in Japan. In the year 804 he traveled to China and stayed there two years, studying Buddhist doctrine under various masters. Upon his return to Japan, he founded the Kongobuji Temple on Mt. Koya. Tessai, in painting this picture has conceived in his mind's eye the Chinese journey of Kobo Daishi, whom he adored in his heart throughout his life. 46. The God of Longevity. (x92/! {Color on paper. J33'5crn- y¿I.4cm.) This divinity, who controls the span of human life, is said to have taken human form and appeared on earth during the Sung Dynasty.

47. The Buddhist Master Noin. (1924) (Light color on paper. I2Ç.8cm. X ¿8.¿cm.) Noin, in addition to being a famous priest in the Heian period, was noted as a poet and connoisseur. He is said to have met Fujdwara Takanobu and matched poems and connoisseurship with him.

48. Landscape: Reading in a Cottage in the Valley. (1924) {Light color on paper. !4¿-¿cm. X ¿C.¿ cm.)

49. The Realm of Immortals on Mt. P'eng-lai. (1924J (Color on paper. i4Tcm. X 37-5cm.) P eng-lai is one of the legendary Isles of the Blest (Cf. No. 4.)

50. A Dragon Ascending to Heaven. (1924) (Ink on paper. /¿¿.2 cm. *• 32-5cm.)

51. The Realm of Immortals on Ying-chou. (1924") (Light color on paper. i43-2cm. X 4°-2cm.) (Cf. the explanation to No. 4.)

52. The Patriarchs of Religions Boating Together. '1924) (Light color on paper. //4 cm. X 39-8cm.) Sakyamuni Buddha, Kuan-yin, Confucius, Laotzu and Bodhidharma embark in a single boat on a lotus pond. The picture expresses the underlying unity of Buddhism, and Taoism.

53. Mt. P'eng-lai. (>924) (Light color on paper. //¿cm. • ¿9.2cm.) (Cf. the explanation to No. 4.) *í*2 > »

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45. Kobo Daishi's Travels in China I L924 52. i he Patriar gions Boat . ether (1 | 53. Mt. P'eng-lai (1924) ON TESSAI

At last, through the combined efforts of various persons and organizations in America and Japan, the works of the great Japanese-born artist Tomioka Tessai are to be exhibited in several important U. S. cities, and so will be offered for the first time for the appreciation of the general public in America. This ultimate realization of my long-cherished desire gives me a happiness beyond measure. On this occasion, I should like to speak briefly about the motives which led me to collect these works, and about my association with Tessai.

Forty-three years ago, when I became Bishop of this Temple, not a single work of Tessai was owned by the Temple, and the name of Tessai was not widely known. About that time, I was told by one of our believers, "Anyone who decides to collect painting and calligraphy mustn't pay attention simply to the technical gifts of the man who made them ; unless the artist is himself deserving of respect for his character and attitude to life, his works will have no value for the future. Tessai is the foremost man of character in the field of painting today, and is also a scholar of rare insight. He will surely, in years to come, be venerated by all the world. '' My concern with d'essai arose at that moment. I seized every opportunity to see his works wherever I could, studied them diligently, and began to collect them carefully one by one.

Just at that time, plans were going forward for the development of Takarazuka, near our Temple, as an amusement center, with an operetta company to be established there. The field of entertainment being thus represented, I determined then to complete the three spheres of human culture by making our mountain into a shrine of art as well as a sanctuary of the faith, and devoted the intervals between my daily religious duties to the absorbing task of studying and collecting works of d'essai.

1 first visited d'essai and was introduced to him when the old man was eighty- seven. I le received me delightedly, and after a keen examination of the pictures I had brought, raised his youthful face and said, "d'hey're mine I I felt, at that moment, an unspeakable affection for bini. After this 1 visited him often, to request authentica­ tions of my purchases or to watch him at work. The first picture he painted especially for me was the "Three 'Old Buddhas' in a Shrine". By then I had already gathered several hundreds of his paintings, and he was pleased that 1 had collected his own work exclusively ; he wrote in a letter, "You appi) your lofty vision only to my clumsy brushwork" and also saidl. "1 shall paint tor you with all my energy.

Once he said, "People are always coming to me boasting id" their calligraphy. All of them write very well, but none so well as 1 do. If only Kobo Daishi w still alive, the two of us would have a real 'meeting ot minds' about calligraphy! 1 was struck with admiration tor his matchless discernment. On the whole, the old man was not given to boasting about his works ; but when I was presented with the picture I "Kobo Daishi's Travels in China and "The Sixteen Arhats Watching a Game ot Go in a Cave", there was a note attached to them reading, "Although they might still be called 'tree and easy', I've done them with special consideration and restraint, and they arend like my ordinary works...

When he was eighty-eight he announced thai he was coming to our 1 empie, and we made elaborate preparations to receive him : but because ol his advanced age, he decided in the end against coming, lesi some unlikely accident happen on the way. W hen 1 went to him instead and asked him for a picture, he consented readily, saying, "Good! Til draw some" and presented me with a number or superb works. 1 le was always saying, " 1 want people to read and understand the inscriptions on my pictures." 1 lis inscriptions are all aimed at the enlightenment and education ot the people ol the world, and are filled with a rich spirit ol humanism. That one never tires of them, loving them more the more one sees them, is because they are, like his paintings and calligraphy, direct expressions ot his personal character and beliefs. Tor, besides beino an artist and scholar ol the first rank, Tessai was a man of spiritual faith. The value of this aspect of his art for people of other lands is symbolized by his [Tainting ol " The Patriarchs o[ Religions Boating Together", in which the spiritual teachers of the world are represented together, embarking harmo­ niously in a single boat.

Thus my friendship with the Master became ever deeper. Pie approached the spring of his ninetieth year with increasing vigor : then, on the last day of the last month of the year, he departed for another world, ending gladi)' bis long and peaceful mortal life. Until the end, his brushwork did not decline, but rather manifested an energy which seemed to transcend human bounds. Plis death was all the more to be regretted.

The day before this profound sorrow-, I received, with feelings of surprise and pleasure, the following letter from Tessai :

"Because of the year-end, I have been kept busy with affairs both scholarly and worldly. The richness of the affection shown me by you, my revered teacher, fills me with deep emotion. . . I haven't sent you a letter of thanks for each of the gifts you have so kindly sent me, and 1 feel ashamed of my remissness. Some day I must speak my gratitude to you from the darkness of the afterlife ; for now, in this world, my thankfulness is beyond words. I pray that next spring I wall receive generously once again of your wasdom. With respectful obeisance, the 28th day of the twelfth month."

This letter was written only three days before his death, and I was deeply moved by its expression of kindness, of courtesy, and of a seeming foreknowledge that he was to take leave of this life. Since then I have found deep pleasure in the strange affinity which bound me to the venerable Tessai, and with sincere feelings of eternal gratitude I have taken the exalting of the man and his works as my heart's desire. I have already held a number of exhibitions of his paintings within Japan, and also presented over forty of them as gifts to museums abroad. This was for no other purpose than to promote among the nations of the world belief in the . Now at last, through a fortunate congruence of time and persons, I come to see my long-cherished desire about to be fulfilled, in sending forth the works of our great master Tessai to be exhibited in the artistic world, and thus to contribute to international goodwill, the interchange of culture, and ultimately to world peace -for it is my sincere belief that the spirit and ideals of Tessai, as implicit in all his works, were these but understood by men every­ where, would act as a very real force in that great cause.

There is nothing I long for beyond this ; I send my respectful thanks to the Heaven of Buddha for its protection, and have here set forth my desires as a greeting to all who see this exhibition.

April, 1957 Köjo Sakamoto, Bishop Kiyoshi Kojin Seicho Temple Takarazuka, Hyogo Prefecture, Japan ¿