|
Part2
|
 I first became interested in bijinga (pictures of beautiful women) when I was in 3rd grade of primary school after seeing a picture on the cover of a magazine. That inspired me to become a painter, and I continued to hold on to that dream.
Putting aside my family's objections, at the age of 25 I picked up my portfolio and knocked on the door of the master of historical pictures Yukihiko Yasuda. He looked at my work and gave me some advice, and then introduced me to Shinsui Ito, saying that I would be better suited to working with him.
So I became Shinsui Ito’s apprentice. For 13 years (1950-63) I studied at the side of this great master in North Kamakura.
He gave me the pseudonym Goyoh, “five seas,” explaining, “Your influence will spread widely, across the five oceans.” This also retained a direct connection with his own name, Shinsui, which means “deep water.”
For me, the apprentice, the master’s presence was vital and his studio was my world. For 13 years, I was engaged in assisting him in the creation process from sketch to finished paintings. He had many pupils but I was the only one that he allowed to become independent under his own care.
With the sincere support of Shinsui Ito, who was aware of his own responsibility as the sole remaining ukiyo-e style painter to leave at least one well-qualified successor, I became independent in 1963 with his permission.
In the years that followed, under his guidance, I exhibited some works in the Japan Fine Arts Exhibition. Sadly, however, he passed away in 1972. His dying wish was that I continue in his footsteps, so I followed the path to full independence.
When my creative juices are dry, he mysteriously comes to mind, and I am reminded how he would approach the problem. It took me another period of time and efforts equal to what I devoted as an apprentice to get to the point where I had completely absorbed his way of working as part of my own work.
There are two kinds of artist: those who express themselves faithfully within a tradition, and those who break the rules to produce something different in order to express themselves. I fall into the former category. I am determined to continue to paint bijinga, preserving and treasuring the methods passed down to me.
What I learned from Shinsui Ito and what I too believe is that, beyond the fundamental importance of composition and color, “a painting must have grace” and “a painting is not made merely by smearing colors, but by drawing with the brush.” Also, Yukihiko Yasuda taught me that, when painting, the boundary between the background and the subject and the use of space are important.
When I reflect on it, two of the great masters of the bijinga tradition, Kiyokata Kaburaki and Shinsui Ito, have both made Kamakura their final resting place. I am proud to live in the same town as these great masters and follow in the traditions of bijinga.
Goyoh
|
|
