Invisible Air: How It Is Made Visible in Japanese Art 53
ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art 53
or 松
2) is not is not rain and and rain by Kaihō Kaihō by (fig. (fig.
yohaku yohaku Trees Pine @ss.ritsumei.ac.jp unified by air by air unified mentioned piece, mentioned ] -
月下渓流図
(Ritsumeikan University)(Ritsumeikan nakama 長谷川等伯
above
.
: mail ’s - E Ōkyo inspires Ōkyo
eated wind.
Hoshino’s interpretation, interpretation, Hoshino’s
Yuko Nakama Yuko 1 known screen paintings, paintings, screen known these painted bamboos are bamboos painted these [ it painting, the To understand be seen. not to of part invisible what the to find is important Ōkyo, of case In the describes. the painting to is difficult of air of fullness as the subject by is expressed it by eyesight, grasp wind. by Hasegawa Tōhaku Tōhaku Hasegawa by As seen in in As seen
Seasonal Willow ected in contemporary art. this tradition is developed mainly by ink paintings. by paintings. ink mainly is developed this tradition well- In the 林図 Pine and by Plum Moonlight According to Hoshino Suzu, Suzu, Hoshino to According to According but or poetical sentiment, the related only to lyrical air. visualizing to relates haku’s artist, alsospeaks of the beauty of
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attemptstovisualize thewindy and rainy space
— “ is theisimage of spring with moving waterdrops weather - theMomoyama Maruyama period and
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Maruyama Maruyama as can be be can as Matrix
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-invisible pictorial space is refl -1610) in he interactivity of visible and invisible worlds that Japanese , 1996) ,
(1776) not exceptionsthis to trend. Tō
Ōkyo
Bamboo in Wind and Rain
in the period in the Edo
haku (1539 t who herselfdescribes as a weather Bamboo and Bamboo Windy weather - 1) period are weather Bamboo and Windy and Bamboo weather Maruyama Maruyama - Rainy ) concentratesonhis series of waterfalls, thebeloved motifsseen traditionally pictorial space. In this article, I article, In this space. pictorial 雨竹風竹図 as an important factor in Japanese Japanese in factor important an as - (fig. (fig. that the actual theme of the painting is the invisible wind swaying the leaves.
), an artis
— - Rainy
ji, Kyoto ( - Hasegawa Tō , pair of six panel screen, ink on paper, 160.5 x 354.0ink 160.5 paper, of on six panel screen, pair ,
The creationof a sense of air surroundingnature motifsis the essential pointofview This artisticurge for visible 余白 1776
ink screen painting of
s physicals senses, iscreated by t , My research lies in the traditional feature in in feature traditional the in lies research My The suggestive blankness has been a facet of of facet been a has blankness The suggestive 円山応挙 ’ 1795) thein Edo Maruyama Ōkyo Maruyama Rei (1961 -
’s ō Invisible air: How it is made visible in Japanese art in Japanese visible How air: it is made Invisible hedynamic splittingof water as mythological a mistof divinity, simultaneously appealingto the Ōkyo and poolsof wateron earth changingtheir form throughthe use oftechnologically cr Senju Hiroshi (1958 wind in movement. Her masterpieceentitled Fig. 1 Enkou each, cm weather Bamboo weather observed in in observed Bamboo senses and sensibility on the particularly art Japanese the introduced to blankness invisible on the focus to like would yohaku abstract abstract
(1733 in Japanese art. This paper deals with the visuality of air in Japaneselandscape paintings, both in the past and in contemporary times. artists sought for generations. T viewer flow of air through the depiction of bamboos. Nait theviewers to feel paintings, both for expression and content. and for expression both paintings, centuries, for painting ink Japanese Ōkyo
pu - - nk i
ink on ink on
Quing hua - , ,
1495, century, .
Landscapes shu )
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( zhai (detail), (detail),
- 1708, byedited , fig. 6 fig. , – wen - 705 Splashed Ink Splashed
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. ) , 1495 破墨山水, 雪舟等楊 , Idemitsu Museum of Art Museum Idemitsu , Splashed Ink Landscapes Ink Splashed , ,
㎝ ’s Mountain Market in Mist Clearing Market Mountain Tōyō wer. Nevertheless, the appreciation in in appreciation the Nevertheless, wer.
ū 33.1×82.8 Japan did not just blindly accept imported did accept Japan not imported blindly just highly the valued most example artworks. For ignored in were largely Yujian Muqi and of prominent China—in the inventory in listed collectors The view of the world and life was dominated dominated was life and world of the view The Muromachi during the Buddhism by Zen in roots spiritual deepest the with period, China. Art was, so in principally to speak, painting ink the the reason, is That China. overwhelming the had period this during po 佩文斎書画譜 of order imperial Sesshu Tōyō Yujian What is specific about the Japanese reception reception about the Japanese specific What is
148.9 × 32.7cm, Tokyo National Museum Museum National Tokyo 32.7cm, × 148.9 Haboku Sansui Haboku http://www.emuseum.jp/ Fig. 6 Fig. 5 paper, ( of Chinese ink painting was the preference of yohaku. preference was the painting ink of Chinese Art historian Minamoto Toyomune points out: points Toyomune Minamoto historian Art ( on paper, museum.or.jp/collection/painting/ centuries, centuries, as seen in Yujian’s splash ink technique, in Sessh
or To fig. fig. (
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- ink on paper, 155.0 x 346.8 cm on155.0 x paper, ink ink and slight color on paper, paper, on and slight color ink 3) http://www.emuseum.jp/ (
1338– (fig. 4) (fig. 足利義満 (fig. (fig. Pine Trees
, The , The Nelson , the blankness, the invisible margin. invisible the blankness, , the Pine and Plum by Moonlight by Plum and Pine Dynasty (1127 Dynasty Pine and Plum by Moonlight and Plum Pine 牧谿 each
1615), both enshrouded in mist, we see see we mist, in enshrouded both 1615), ) atkins.org/collections muse.or.jp/jp/collection/ - - – Fishing Village in the Evening Glow Evening the in Village Fishing pair of six pair of panel screen, pair of six pair of panel screen, yohaku , , 海北友松 1573 and lyrical expressions are considered as considered are expressions lyrical and , the ink paintings of Chinese Zen monks of monks of Chinese Zen paintings , ink the Hasegawa TōhakuHasegawa Referring to the historical background of background historical the Referring to Mu Qi Mu Qi Kaihō Yūshō Kaihō Yūshō
were handled as the most valuable treasure. treasure. valuable as the most handled were , Tokyo National Museum century century shō
, th th ū https://art.nelson http://www.nezu Fig. 2 effects ofeffects period ( period in blossoms plum white the from fragrance faint a of wing the left poetic the dim silhouette by pale morning or the moonlight moonlight or the by pale morning silhouette the dim in mist of touch A cool stream. over a 5) yohaku Song Southern those of Muqi 16 each Asikaga Yoshimitu Yoshimitu Asikaga own these paintings symbolized the high status of high status the symbolized paintings own these the during lords feudal Japanese Daimyo, period ( Muromachi Y
functioned as the model of Japanese ink paintings for paintings ink of Japanese model as the functioned ink on paper, 33.0 x 112.6 cm, Nezu Museum Museum Nezu 112.6 cm, onink x 33.0 paper, Fig. 4 Fig. 3 16 168.91 x cm 168.91 353.06 ( (
ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art
54 ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art 55
- but
was was
, the , the
from 美麗
Entoku two Buddha Buddha ) of the ) of the - Seasonal Seasonal
the spring spring the 3 1185) the golden golden the ’s research research ’s
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and in and and its reflection reflection its and fig. century.
haku intentionally intentionally haku Century, thirty
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- Entoku (fig. 2) (fig. effect of viewers. effect inviting ji - the statues statues themselves the examining the Japanese Japanese the examining - 四季柳図 moonlight moonlight
. 優美 dai ō 17) Landscape,
bi ū 公卿日記 y in K Pine Trees dimensional dimensional
. According to Musaka Akira Musaka to According . - nikki nikki only for only not ,
the beauty of the spaces where they are are they where spaces the of beauty the (fig. 9) (fig. ō Shiki yanagi zu yanagi Shiki
with a more decorative character, decorative more with a ( (Kuroda 2013,(Kuroda p.
Hasegawa TōhakuHasegawa It is no wonder that T that wonder no It is It is worth re It is worth If we recognize how these screen paintings paintings screen If recognize how these we
The snowfall gives us not only the poetic poetic the only us not gives snowfall The
kugy
. , Kyoto Willow yohaku wind is blowing through the willow gently, willow gently, the blowing wind through is viewer. the touching simultaneously utilized the crest ( paulownia his landscape in screens, sliding printed already painting space. pictorial of the depth the also but atmosphere, subtracted crest, The patterned mica using a giving reflection, with the light’s glitters shells, snow. the to expression vivid (beautiful) replaced the religious descriptions of descriptions religious the replaced (beautiful) the mid from statues Buddha considered aesthetics and appreciation of art. For the For of art. appreciation and aesthetics period Heian latter the from statues were actually viewed, the depth into pictorial space pictorial into depth the viewed, were actually s the folding through is created three giving in The mist Fig. 9 in sliding door panels, color on paper, 177.0 x 116.0 cm each, each, x 116.0 cm color177.0 panels, on paper, sliding door 院 placed, particularly the particularly placed, water on the on also for also the style, appreciation to this parallel in nobles), as words such perspective of the totality of air and and atmosphere of air the totality of perspective , ,
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yohaku shizuka naru e shizuka categorizes categorizes , , Night Rain Night g not mentioned and that of Muqi was of Muqi that and notmentioned only oncementioned or that should twice, tell lack not did country our of the appreciation originality. dynasty Japanese Japanese Hasegawa TōhakuHasegawa Mu Qi
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13th Century, ink on paper, ink on 13th Century, Fig. 8 Fig. 7 (https://ja.wikipedia.org/wiki/) of FineMuseum Art
panel screens, ink on gold screens, panel and color cm, private collection ( collection private cm, style in the Momoyama period. In the book of period. the In in Momoyama style the Tō natural phenomena of light and air, or the poetic poetic or the and air, light of phenomena natural This creates. it sensation lingering and the sentiment of method paintin notes that the paintings with the depiction of rain and of rain depiction with the the paintings notes that as counted also is moon beloved Chinese landscape series of series landscape Chinese beloved of Xiaoxiang phenomena of rain, moon, snow, and wind were key wind were and snow, rain, moon, of phenomena is shown that painting his ideal for motifs Trees.
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.
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, Kyoto ) of Buddhist paradise. As we As see paradise. of ) Buddhist decorated with H
1052 , in - , fig. 11 fig. , Sultra Box Box Sultra
Byōdō
, 2014, p.146) 2014, , https://benesse.jp/contents/history/byoudouin/) Fig. 11 x x 8.029.0 11.8 cm, engraving,bronze, Fig. 10 Emaki ( in spiritual quietness. in quietness. The votive spiritual light and are There here. important definitely were moonshine hanging of mirrors the and the eightcanopy, mirrors as sixty as many are the ceiling from statue’s the Buddha to create light effective the known is that it Also, water. on the reflection spring by the generated pond were the of waves of stones the hits Its stream temple. the behind water the create to beach sand the artificial ( flowers of imaginary pattern to the similar 宝相華 as such the natural elements example, this from to create the medium functions as water light and designs. artistic impressive such
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Omugaku Tamonokazari 藤原頼通
ight in the ight (Chapter (Chapter 1028) (fig. (fig.
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（栄華）物語 – ), which consists of 40 of consists which ), 花 The tale is presumably presumably is tale The (966 (Chapter (Chapter he temple no longer exists; exists; longer no he temple 栄
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ca. 1033, is one of the important texts of this texts important one of the is 1033, ca. vol. 17 vol. Temple Temple on is reflected of Buddha figure The divine hall, the enshrinement so as water surface, It appe tower. and bell house, scripture of Buddha. world a us as がく たまのかざり The Buddha statue reflected on the pond pond on the reflected statue The Buddha figure the as again reappears (Chapter noble. unlimitedly Buddha the over, and all shines The moon l votive by the is lit statue hall. enshrinement in 1052 reminds us exactly of these scenes. scenes. these of exactly us reminds 1052 in In this tale, an aesthetic viewpoint is written; written; is viewpoint aesthetic an In this tale,
Eiga Monogatari The sceneries were depicted based on the on the based depicted were The sceneries
Amitabha ji ji ō j , who established 1057), who established ed ō
1358) (di mildness the facial with sculptures of Buddha style however, the however, H Yorimichi no Fujiwara son by his the beauty of the Buddha statue was concerned not was concerned statue Buddha the of the beauty natural with but also itself, artwork with the only phenomena. volumes, whose principal part of 30 volumes were were volumes of 30 part principal whose volumes, written and for and customs, of manners for history the time Akazomemon lady, court a by written Fujiwara power, in man ofthe wife the who served no Michinaga Tale of Flowering Tale of Fortune Flowering of art. the appreciation
The sculptor the of work representative
ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art
56 ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art 57 . . - in ō
) was ) was
Juk in 2002 in Shikaku no historical historical (
1968)
century, and and century,
ji’s - th
26.0 cm
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, fig. 15 fig. 2002, – (1605
in
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, 滝, painted a series of 77 77 of series a painted temple
1333) Taki
. ( ji –
- Yōrō Falls in Mino Yōrō Falls , sliding doors for the for the doors , sliding 20)
千住博 p. 襖
,
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Waterfall , color woodblock print, woodblock color , fusuma period period ji was established at the end of the the end of at the established jiwas - c.1833
Katsushika Hokusai Katsushika ,
Senju Hiroshi Senju’s
ushi Hokusai s 14 etsuin of the Daitoku of the etsuin Fig. onfalls the was known as one of the major Zen temples in Kyoto of one temples was the major known Zen as from paintings of ink house treasure the as and also period Edo to the the Muromachi b Daitoku Kamakura are not only amazed by the dynamism of the the of dynamism the by amazed only not are reaches that the air by feeling also but waterfall, with of people the integration viewers the through is senses between transition This space. pictorial invisible whose painting, ink to the common context. a similar in functions blankness painted in ink, dedicated to Daitoku to dedicated in ink, painted Majut Province
– ū
the the
kyo kyo
) Seif Ō (
1760
14
Mino no Mino (
Waterfall of Art
fig.
) painted by painted
p.48
x cm, 92.0 color color on paper, 葛飾北斎 at the top is looked looked is top the at
, 2007,
, 177.7 MuseumSuntory Tokyo Green Maple and Maple Green 1787
大瀑布図) branches ) also painted by , fig. 13) also painted 1787
美濃ノ国養老ノ瀧 Water in LifeWater ; , measuring 3.63 m in height and and height in m 3.63 , measuring
pine tree pine
, 1996 , Green Maple Maple and Waterfall Green
no taki Daibakufuzu the the ly while the basin at the bottom is viewed viewed is bottom the at basin the while ly
( fig. 12) fig. , 青楓瀑布図,
Ōkyo Kyoto (
Maruyama Ōkyo Yōrō Yōrō Waterfall in Mino Province
rō ji, - ō 362.8 paper, gives us not only the close look at the object, object, the at look the close only not us gives Being present in the pictorial space, for an an for space, pictorial the in present Being The
’s
ink and slight Waterfall
, kyo 144.5 cm,
Maruyama Maruyama 1849) x Shokoku
Great ( Fig. 13 12,
artist or viewer, seems important for expressing for expressing important seems viewer, or artist is characteristic This paintings. in Japanese reality Great of waterfalls. motif beloved in the seen also Waterfall in 1772 the make to viewpoints different has in width m 1.45 the seeing actually are they if as move, eyes waterfall: bakufuzu and moistness of reality the physical the butalso ( Hokusai Katushika coolness. Ō kuni Y kuni up from beneath, and the protruding rock is viewed viewed is rock protruding the and beneath, from up horizontal above. from splash of water hitting the ground, shows that people people that shows ground, the hitting water of splash color on 1772
e ū was was
This Art
7 Ry
6 . 内藤礼. Teshima
; Rei Rei , ō Waterfall senses, senses, is created 2010
, was awarded the the awarded was
Venice Biennale for for Venice Biennale
th appearance of rushing of rushing appearance Matrix by the dynamic splitting splitting the dynamic by
, artmuseum.html
1995 e ū , ,
. all 18) f
Water 2011, p. 2011,
Rei, Nishizawa Ry Rei, Nishizawa - artsite.jp/art/teshima
- ō Nait Evoking a deep sense of calm, his waterfalls his waterfalls calm, of sense deep a Evoking the just not conjure and feel. smell sound, its but also water,
Another Japanese contemporary artist artist contemporary Another Japanese Senju’s
ected to the same theme is Nait is theme the same to ected http://benesse Fig. 17 ( Museum Handbook conn “fluctuation” of a waterfall of a “fluctuation” Honorable Mention in the 48 the in Mention Honorable commented as follows: commented of water as a mythological mist of divinity, divinity, of mist a mythological as water of physical viewer’s the to appealing worlds invisible and of visible by the interactivity the At generations. for sought artists Japanese that his Singapore, in exhibition expressing a “meditative world of nature and the and the nature of world a “meditative expressing culture.” traditional Japan’s of fluctuations In collaboration with the architect Nishizasa architect with the In collaboration
in ink ink …] - [
, the , the
ji . …] 花鳥図 -
5 in in Jukō 196)
四季 https://souda (
2007, p. 2007,
was most important important most was , 1566, ink , 1566, onpaper, 狩野永徳 ji, Kyoto - — ink and color on paper, color and ink , Hiroshi
u toku of the Daitoku 2003
Eitoku Eitoku , Senj
(
ō in, Dai to -
ō . —yohaku ) : : ji, I ji, - turnover of the space concept, that that concept, space the of turnover Waterfall
, hich form it is trying to take. it form hich ) of Kan ) sub temple temple sub yohaku merely the space not painted [ painted not space the merely
.5 cm each, Juk each, cm .5 It was the the It was the blankness it Western Europe in whereas art, in Japanese was painting is to face the natural phenomena phenomena natural the face is to painting I began by listening carefully. I am trying to trying I am carefully. by listening I began to wants waterfall way the which discover flow, w It to is remarkable point out that Senju also Flowers and Birds of Seasons Four Flowers and Senju Hiroshi Senju Betsuin, Daitoku Betsuin,
- in 16 ō , (1566 16 fig.
emphasizes Fig. 175.5 x 142 175.5 kyoto.jp/other/jukoin.html Fig. 15 Juk contribution to ink paintings. 440 years after after years 440 paintings. ink to contribution of Seasons Birds Four Flowers and recognize to installed was painting ink contemporary role it the and tradition Japanese of the continuity culture. Japanese played in 聚光院
ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art
58 ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art 59
, ,
.
84)
10 t envelop envelop t
日本的感性) , Nakamura 2002,, Nakamura p. ō appreciating flowers. Tulip Tulip flowers. appreciating Nihonteki kansei Nihonteki feminality and maternality, or and maternality, feminality ( ower tunnel, it is not the object object is not the it ower tunnel,
2006,Ribbons dyed with royal purple,
, Spirit rk, derives from her idea that, from derives rk,
, trates on through through Rei ō ō 11 or Rose that European people favor, or the or the favor, people European that or Rose distinctive has the vase, flower bouquet in the thus seeing, of the object of character painting. still the of subject the becomes an as favor, we blossoms cherry However, of fl example tha expanse the sense to but to see, us. What I noticed the difference between the the between difference the noticed I What in Japan and West […] thought my light, wind and through concen Nait , the title she continues to use for her for her use to she continues , the title Sasaki Kenichi points out in his book out in his book points Kenichi Sasaki Nait The fragmental features and approach of approach and features fragmental The spirituality, where light and wind is entrapped, entrapped, wind is and light where spirituality, space. the feeling and seeing people the with unified Matrix wo installation Sensibility Japanese Fig. 18 Sakujima Salon,Benten (Nait Aichi Sakujima 8 wind. reminds reminds Seirei ( ō have their their have almost 200 almost in 2010, in 2010, in senses. The The senses. , ) Sprit 17 : 9 titled titled 母型, fig. installation installation bokei ) expresses the spiritual attitude attitude the spiritual ) expresses ( d created the installation of a installation cave- the created ō cite - as we hang laundries. The ribbon sways sways ribbon The laundries. hang we as the movement of water and blow of of blow and of water the movement , fig. 18 fig. , Matrix , Nait , Ununderstandable beauty. Ununderstandable I have hanged the ribbons dyed with royal royal with dyed ribbons the hanged have I kite on a Sakushima of garden the in purple string dyed being is Ribbon wind. the in freely so for shellfish from extracted purple with how process, however, it isartistic beautiful in the swaying something to see […] wind, water and in such anima feel wind, to as I am. there people standing and see the 2006 It is the artistic space of five of space artistic the It is ’s above ’s ontinues in another interview: interview: another in ontinues ō towards nature. towards Nait 西沢立衛 She c 精霊, like space space like the to applied repellent water by the and holes tiny ground. sound subtle make a drops water flowing wind and from light with the changing accompanied the with an opening ceiling, to nature. Nait us that the essence of her work is work of her the essence us that Teshima Island in the Seto Inland Sea. The water water The Sea. Inland Seto the Island in Teshima slowly water, ground the from out spring drops to separate and gather slope, gentle on the moving spring a creating shapes, various the and reform form drops water the that It seems end. the at movement This out. fading and growing own lives, the by controlling possible made technically is from out in and water flowing of amount . u s sha, ū － Kyōto: 2007. u , Say s . Tokyo: : o Betsuin, - th ky Ribun o : Shōgakukan, T , Nihon Bijut . Kyuryudo , Nihon Bijut Tōkyō 2002. . , Fukutake Foundation, Tōkyō: dansha, 2014. dansha, Matrix , ryudo, 2002. ryudo, Tōkyō: u ō. Kō Shinchōsha,1996. . Kodansha, 1994. Kodansha, : Shinsha, Tokyo, 2010 Ky - Shinkōno to Bi Katachi Tōkyō: . 1964. Tetsur Byōdoin to Jōchō , Tōkyō Tōkyō: . Eiga Monogatari Chūshaku ntroduction and note explanatory by Waterfall u, 2014. u, 6, Tōkyō: I s , Nihonteki Kansei: Shokkaku to Zurashi . hoten, HasegawaTōhaku, Shōgai to Sakuhin Screen Paintings for Jukōin Waterfall , Kyoto National120 Museum . , Chūokōron , , exh., cat., Suntory Museum of Art, 2007. ō ō S . Bijut Ōkyo ō /Nakamura Taiz ky Kenichi, , Hiroshi, ō Rei, “Seimei no no ugoki mugen no nakakara Rei , , Bunkad explanatory note by Minamoto Toyomune, Kagawa, 2011 mietekurumono,”in T 2016. no Kōzō 2002. Anniversary Commemorative Special Exhibition, exh. catalog, 2017. Zenshū,vol. Daitokuji II Zenshū,vol.6, Kashika sareta no Kami Zō Hoshino Suzu, Tōkyō: Kadokawa Shoten,1987. Butsuzōkan,”in 2013. Shuppan, KaihōYūshō Shikaku no Hokusai Majutushi Teshima Museum Art Handbook inWater Life Naitō, Kuroda Sasaki Senju Hiroshi, My Senju Hiroshi Ōchō to Kizoku Emaki no Itonami Senju Maruyama Naitō, Matsumura Hiroji, Musaka Akira, “Heiankōki Kiken Kyūtei no Biishiki to y - 13 of . . that that - foiled foiled - - painted b painted yohaku the temple temple the fundamental fundamental for centuries. for 12 ntroduction and I in . fig. 19) 19) fig. invisible air, air, invisible 1592, color on gold color 1592, 82. , asetsu water), 10/25/2019 mentions, , Senju - the 187. 2015 桜図, – . 1996. falling 2002, p. - 253f. Tōhaku G 232. 184f. 167 . and Waterfall p. - 1987, vol. 4, p. 275, 310, vol. 6, p. 38. p. 6, vol. 310, 275, p. 4, vol. 1987, Ōkyo 長谷川久蔵 . , . (Kuroda, 2014, p.54)(Kuroda, 2014, ntemporary art has left behind. left has art ntemporary falls_1), 10/25/2019. paint from top to bottom, have I bottom, top from to paint Cherry BlossomsCherry Sakurazu 1964. 1964. ( 2010, p. 2010, cliffs - Tōhaku 2013, p. 2013, p. 2013, zō - night , Kyoto ū - , Kyoto, is a 智積院, Kyoto, visual where image in, - http://www.hiroshisenju.com/exhibitions/out http://www.hiroshisenju.com/exhibitions/day Senju 2002 nature ut of Nature: Cliffs and Falling Water, 2009 Water, Out of and Falling Nature: Cliffs ( Sasaki falls Naitō/Nakamura Naitō Naitō Day falls/NightDay falls, ( Senju 2007 Senju 2002 Matsumura Musaka 1994, p.181 Maruyama creating the waterfall itself. waterfall the creating Tōhaku, in - 13) Cited Works Hasegawa 12) 11) 10) 9) 8) 7) 6) 5) 4) 2) 3) 1) Regarding his Regarding I might be trying to recover the recover to trying be I might By pouring By been painting not the illusion of the waterfall, waterfall, of the illusion not the painting been but reality that co reality , This was reality the Hasegawa Kyūzō Hasegawa Notes 9 g. 1 Chishaku Hasegawa Ky Hasegawa this ‘expanse’ can be sensed with golden golden with be sensed can this ‘expanse’ Fi paper, Chishaku Cherry Blossoms Cherry Japanese art has attempted visualize to art has Japanese attempted ART RESEARCH SPECIAL ISSUE vol.1 Invisible Air: How it is Made Visible in Japanese Art 60