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After studying political science at university, William Kentridge (born in Johannesburg, South Africa in 1955) produced stage dramas and films. In the late ’80s, he began garnering attention for his stop-motion animated films composed of charcoal and pastel drawings. The acclaim for Kentridge’s work, which grew out of South Africa’s apartheid system and social conditions, reflects post-colonial views that emerged in the ’90s as well as public sympathy and support for universal themes such as individual suffering in the face of absurd realities, human dignity, and the divided self. Eschewing storyboards, Kentridge repeatedly draws and erases his pictures, and in the process of shooting them frame by frame over an extended period, a story begins to emerge. These unique animated films have had a tremendous influence on younger artists working with moving images.

I Am Not Me, The Horse Is Not Mine is Kentridge’s first exhibition at the museum since his large-scale solo show in 2009. It features an eight-screen installation that was made as part of the preparations for the artist’s production of Shostakovich’s opera The Nose (1930), based on a short story by Nikolai Gogol. The exhibition title is a common phrase used by Russian peasants to deny their guilt. It is derived from the minutes of a meeting held by the Central Committee of the Communist Party of the Soviet Union that dealt with the politician Nikolai Bukharin, who was a victim of Stalin’s Great Purge. While employing the visual vocabulary of Russian Constructivism, Kentridge incorporates a host of elements into the work, including paper cutouts, film collages, dancing shadows, Soviet archive footage from the ’20s and ’30s, and quotations from political documents. Kentridge’s eponymous lecture/performance, featuring an appearance and narration by the artist himself, shares themes with the absurd drama of Kovalyov and his nose. Among these are the divided self, the role reversal of ruler and ruled, and the collapse of the world order.

William Kentridge: I Am Not Me, The Horse Is Not Mine

　　威廉姆·肯特里奇（1955年，生于南非共和国约翰内斯堡）在大学学完政治学后，又经历了戏剧、电影制作的经验。从20

世纪80年代末起，在他发表了通过使用炭笔和彩色粉笔所绘画作而拍摄而成的分格动画胶片后，开始受到了关注。对从南非的

人种隔离政策的历史和社会状况的背景下孕生的肯特里奇的作品的评价，不仅仅是对20世纪90年代的后殖民主义状况的

反映，也是大众对面对不讲道理的现实时的个人的苦恼、作为人的尊严以及分裂的自我等等主题的普遍性的共鸣和支持。在没

有情节故事板的情况下画了又擦掉、擦了又重画，通过长时间一格一格的摄影，终将画中的故事串起来，以其独特风格制作

而成的短片动画作品对于后世艺术家们的影像表现带来了巨大的影像。

　　自2009年的大规模个展以来，此次本馆的展示距离上次已有10年的时间。《我不是我，那匹马也不是我的》是在肖斯塔科

维奇的歌剧《鼻子》（原作：果戈里的短篇小说）（1930年）的演出准备过程中制作的8面图像的装置艺术。其标题是俄罗斯农民

在否认罪名时必定会使用的一句话，它来源于在斯大林政权下的大粛清中牺牲的布哈林相关的苏联共产党中央委员会的会议

记录。肯特里奇使用俄罗斯构成主义者的视觉语言，将剪纸、图像的拼贴、舞蹈的影子、1920/30年代苏联的资料影像及政治

文件的引用等各种元素融入了作品之中。在将肯特里奇的朗读和其本人出境的影像融合的同名讲义/表演中，在围绕科瓦列夫

和他的鼻子展开的不讲道理的剧情中，分裂的自己、支配方和被支配方的反转、世界秩序的崩塌等等主题相互重叠。

威廉姆·肯特里奇《我不是我，那匹马也不是我的》

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As Japan is blessed with four distinct seasons, Japanese people have long celebrated their love for the special beauty of each season in poetry, literature, and art. In the Nihonga (Japanese-style painting) section of this edition of the collection exhibition, we present a number of works depicting winter scenes.The word “winter” calls to mind snow. Asada Benji was known for his bird-and-flower paintings, which deftly combined seasonal vegetation with small birds. His work Snow in the Evening depicts a single male pheasant in a thicket of snow-covered of low, striped bamboo, conveying the loneliness of winter. On the other hand, Matsumoto Michio notably revived the Kasuga mandala in the modern era by imbuing the form with realism. In Kasuga Shrine after Snowing, he enhanced the pure, sacred atmosphere by covering the shrine’s precincts and surrounding mountains with snow. As you view these works, you may get a sense of the various sentiments Japanese people have for snow. Scenes that combine plum blossoms with snow are another favorite of Japanese people (however, in seasonal terms, these are categorized as spring). Plum blossoms hold their own against snow and cold winds, and start blooming at the beginning of the new year before any other flower. The plum’s charm lies in its purity and tenacity, the shape and fragrance of the pretty red-and-white flower, and the way that even an older tree’s branches stretch vigorously upward. We hope that you will enjoy this friendly rivalry between snow and plum blossoms, both of which have long fascinated Nihonga painters.

Winter Scenes in Japanese-style Paintings

　　日本有四季，从古至今，日本人都深爱着四季之美，在诗词、画作之中都有对四季的描绘。在本次藏品展的日本画区，将对

描绘冬天景物的作品进行介绍。

　　说到冬天，首先浮现脑中的就是“雪”。麻田辨自画了许多在四季植物中配以小禽鸟的画作，在他的《暮雪》中，被大雪覆盖

的山白竹林中，一只公鸡形单影只，将冬天的寂寥之感表现无遗。另一方面，将写实风格带进传统的春日曼陀罗的形式之中，

使之在近代复活的松元道夫的《雪之春日》则是通过被白雪覆盖的院落及周围大山，强调了一种清净圣域的感觉。在这里，您可

以从一件一件作品中，感受日本人对于“雪”所怀抱的各种各样的感情和感想。此外，与“雪”并肩，深受日本人喜欢的冬日景物

还有“梅”（但是，在季语的分类中它属于春）。梅花作为所有植物中的魁首，它不畏雪花和寒风，于每年年初开始绽放。它的纯洁

和坚韧，红白色若人怜爱的花朵和香味，即使已成古木依旧不断向上攀升的枝条等等，无不吸引着人们的视线。请尽情享受日本

画家们为之着迷的“雪”和“梅”的一场盛宴。

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■コーナー解説パネル［英中韓］（1枚）【上野伊三郎とインターナショナル建築会】

The Weimar Republic, as the German state was known following World War I, faced various social problems such as a severe housing

shortage and the development of slums. Not limited to Germany, these were global issues as reflected, for example, in the preeminent

fin de siècle architect Adolf Loos’ (1870-1933) involvement in supplying housing in the city of Vienna. (See also Loos’ furniture designs in

the “Graphics in Vienna around 1900 – New Design for a New Way of Life” exhibition)

These circumstances also led to the establishment of the International Housing Association in Paris in July of 1928 at a time when

exchanges between architects in various countries were gaining momentum. Hans Kampffmeyer (1876-1932), who like Loos was

employed by the city of Vienna as an engineer, served as the group’s secretary-general. Not only were the members based in Frankfurt

and Austria, but in many other countries around the world, including Italy, Holland, Norway, and Spain. As a result, the association

published a newsletter called Housing and Building with a distinctive trilingual format (Germany, English, and French).

The association also counted a Japanese member among its ranks: the Kyoto-born architect Ueno Isaburo (1892-1972). After

graduating from Waseda University, Ueno went to Germany to study at the Technical University of Berlin. He later moved to Vienna and

in 1924, Ueno began working at the office of Josef Hoffmann (1876-1957), one of the founders of the Vienna Workshop. After a year and

several months at the firm, Ueno met Felice (“Lizzi”) Rix (1893-1967), also a member of the workshop, and the two married and went

back to Japan. Shimazu House, which Ueno designed not long after returning, clearly exhibits Hoffman’s influence. While continuing his

architectural practice in Kyoto, Ueno helped form the Nihon International Kenchiku-kai (International Architecture Association of Japan)

with Motono Seigo (1882-1944) and other Kansai-based architects in July 1927.

Alongside the members’ own texts, the group’s newsletter, International kenchiku (International Architecture) included Japanese

translations of articles from Housing and Building. These personal networks were closely linked to Japan and provided realtime

information on new movements abroad. In this exhibit, we introduce some of the trends in international architecture that began to

emerge in fin de siècle Vienna with a focus on Ueno Isaburo.

Ueno Isaburo and the International Architectural Association of Japan

　　第一次世界大战后，在魏玛共和政府统治下的德国遭遇了严重的住宅困难且由此形成了贫民窟的社会问题。而且，这个问题不仅仅是在德

国国内，在全世界范围内都受到了广泛的关注。即便是世纪末维也纳具有代表性的建筑家阿道夫·路斯（Adolf Loos）（1870-1933，曾在

“世纪末维也纳的图鉴”中介绍过路斯设计的家具）也曾在维也纳市内从事过与提供住宅相关的工作。

　　在这样的背景之下，建筑家之间的跨越国境的交流非常频繁，并在1928年7月在巴黎成立了“国际住宅协会”。之后，曾与路斯一起在维也

纳市担任过技师的汉斯·坎普夫迈尔（Hans Kampffmeyer）成为了秘书长，并开始以法兰克福为根据地从德国、奥地利向外扩展吸纳了包括

意大利、荷兰、挪威、西班牙等世界各地的会员。因此，他们的会刊“住宅和建筑”采用了德语、英语、法语的三种语言并用的版面设计，这成为了

它的一大特色。

　　其实，它在日本也有其会员。他就是京都的建筑家·上野伊三郎（1892-1972）。上野伊三郎在从早稻田大学毕业后，就去了柏林工科大学

留学。之后，他又去了维也纳，1924年他开始在维也纳工坊创立者之一的约瑟夫·霍夫曼（1876-1957）的事务所工作。上野伊三郎在该事务所

工作了1年又几个月，在那里他结识了维也纳工坊成员之一的利兹（Felice “Lizzi” Ueno-Rix, 1893–1967），在与她结婚后便回到了日本。

在他归国后不久所设计的《岛津邸》中，我们可以明显地感受到他受到了霍夫曼的影响。上野伊三郎在京都从事设计活动的同时，又与本野精吾

（1882-1944）等关西建筑家们一起于1927年7月成立了“国际建筑会”。

　　而在该国际建筑会的会刊“国际建筑”上，除了投稿之外，还登载了“住宅和建筑”上的文章的日文译文。当时，通过这种人际网络，海外的

动向与日本紧密相连，实现了实时共享。本展中将通过上野伊三郎对世纪末维也纳以后的世界建筑动向进行介绍。

上野伊三郎和国际建筑会

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Lucie Rie said that she “got a new surprise every time [she opened] the kiln,” and to the end of her 93 years she was always

full of curiosity, producing works with a freshness and delight in discovery that never faded. Rie incorporated undulations

into even forms shaped on a potter's wheel, and added scratched lines and colored glazes, wedding a sense of tension with

a gentle benevolence and elegance.

Rie was born in 1902 into a wealthy Jewish family in Vienna, Austria. This was the time when figures such as the painter

Gustav Klimt and the architect Josef Hoffmann were engaged in the groundbreaking activities of the Vienna Secession

movement. Rie grew up in contact with this art, and in 1921 enrolled at the Vienna School of Art and Crafts where Hofmann

was a teacher, and was enchanted by the potter’s wheel, deciding to become a ceramicist. In Vienna, Rie won many

awards, including at public open-call exhibitions, but being Jewish, she was forced to flee to the UK in 1938 as World War II

approached. After this she remained based in the UK and gained international renown, and was invited to participate in

exhibitions in Japan, including at this museum, such as International Exhibition of Contemporary Ceramic Art (1964) and

Contemporary Ceramic Art - Europe and Japan (1970).

In this section we present British contemporary ceramics from the museum’s collection with a focus on Lucie Rie, showing a

cross-section of postwar European ceramics including pieces by Hans Coper who worked together with Rie at the studio,

Lucio Fontana and Berndt Friberg’s works shown at the 1964 exhibition, and works by Inger Persson and others exhibited in

1970.

Lucie Rie and European Ceramics

　　正如露西·里尔（Lucie Rie）所说的“每次起窑都会带给我震惊”那样，以93岁高龄画上人生句点的露西·里尔终其一生

始终怀惴着满满的好奇心，从发现和喜悦中诞生的她的作品始终不曾缺失那份新鲜之感。在通过陶工旋盘成型的匀称端正的

器皿外形下加入摇摆的要素，再通过线条式的刮法和釉彩上色，同时给人以一种紧张、豁达、舒展之感，这就是露西的作品。

　　1902年，露西生于一个奥地利维也纳的富裕犹太人的家庭之中。在当时的维也纳，由画家古斯塔夫·克里姆特和建筑家

约瑟夫·霍夫曼等人组成了维也纳分离派，并在推动新的造型活动。在这种艺术氛围下长大的露西后来进入了维也纳工业美术

学校（霍夫曼也曾在此执教）学习。在那里，她接触到了陶工旋盘，感受到了它的魅力所在，从此她便立下了成为陶艺家的决心。

在维也纳，露西在各种公开招募的展览等上获得了许许多多的奖项，但因她是犹太人，在逐渐逼近而来的战火下，1938年她只

得逃亡去了英国。之后，露西便以英国为根据地，在世界上获得了高度的评价。并且在日本，在本馆举办的1964年的“现代国际

陶艺展”、1970年的“现代陶艺——欧洲和日本”等各种展览会上，露西也曾应邀展出了她的作品。

　　此次，本馆从藏品中选出了在以露西·里尔为主的露西工坊共同制作的以汉斯·考伯（Hans Coper）为代表的英国现代

陶艺作品，在1964年展览会上出展的卢齐欧·封塔纳（Lucio Fontana）和贝恩特·弗里贝格（Berndt Friberg）等的作品以及

在1970年展览会上展出的英格尔·培森（Inger Persson）等人的作品，希望能通过上述作品为大家揭开欧洲陶艺的一角。

露西·里尔（Lucie Rie）和欧洲的陶艺

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【ルーシー・リーとヨーロッパの陶芸】420

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Kawai Kanjiro, one of 河井宽次郎是近代日本 !"#$%&#"'()#*





Kawai Kanjiro, one of modern Japan’s most renowned ceramic artists, was born in 1890 in Yasugi, Shimane. After graduating from Technical Teacher Training School (present day Tokyo Institute of Technology), he worked at the Kyoto Research Institute for Ceramics as a technician and devoted himself to research on tens of thousands of glaze types. After resigning from the institute in 1917 and becoming an independent ceramicist, in 1921 he held his first solo exhibition of works in a style inspired by Chinese and Korean ceramics, a spectacular debut that saw him hailed as “a genius suddenly appearing like a comet.” Afterwards, however, Kawai significantly shifted his creative course and participated in the Mingei (Folk Art) movement, pursuing ceramics in a manner that emphasized close relationships between daily life and art. Kawai’s work became increasingly formally ambitious in his later years, and brimmed with the irrepressible joy of life.

This museum’s holdings of works by Kawai Kanjiro consist primarily of ceramics from the Kawakatsu Collection, acquired by longtime patron Kawakatsu Kenichi. The Kawakatsu Collection is the largest and highest-quality public collection of Kawai’s works, including the Grand Prix winner of the 1937 Paris Exposition and important pieces representing every phase of his career, making it indispensable in tracing the arc of his creative evolution. In addition to the Kawakatsu Collection, other works by Kawai have been gifted to the museum over the years. In this exhibition, we invite you to explore the world of Kawai Kanjiro not only through works from the Kawakatsu Collection, but also through others that have seldom been shown before.

Selected Works of Kawai Kanjiro

　　河井宽次郎是近代日本具有代表性的一位陶艺家，明治23年（1890）他出生于现在的岛根县安来市。在从东京高等工业

学校（现在的东京工业大学）毕业后，河井先生作为技师就职于京都市陶瓷器试验场，醉心于成千数万种的釉料的研究之中。

大正6年（1917）他辞去了试验场的工作，在作为陶艺家独立后，其以参考了中国及朝鲜陶瓷风格的作品在大正10年（1921）的

第一个个人展上获得了“犹如彗星般突然出现的天才”的极佳好评。但是，之后河井先生极大地改变了他的创作方向，在参加了

民艺运动后，他开始以“生活”和创作的紧密关系开始了他的陶瓷创作。在河井先生晚年的作品中，其造型中越是流露出高涨的

热情和欲望以及对“生命”的喜悦。

　　本馆所藏的河井宽次郎的作品主要来自于长年以来的河井先生的支持者川胜坚一的藏品（川胜藏品）。川胜藏品是包括

昭和12年（1937）巴黎万国博览会大奖作品在内，在质和量上最为丰富的河井宽次郎作品的公共藏品，它网罗了从初期至晚年

为止的河井宽次郎的代表作品，是在追溯河井宽次郎创作意识变迁时不可或缺的。此外，除了川胜藏品外，本馆还获增有其他

的河井作品。在本次展览上，连同川胜藏品，还将对此前未有机会展示的川胜藏品以外的作品进行展出，以全面介绍河井宽次郎

的世界。

河井宽次郎作品选

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Mizuki Shinichi (1892-1 水木伸一（1892-1988 !"#$%&'()*+,-)+*





Mizuki Shinichi (1892-1988) was born in Matsuyama, Ehime, moved to Tokyo and studied Western painting under Nakamura

Fusetsu at the Taiheiyo Art Association, and was discovered by Kosugi Hoan in 1914 and enrolled in the Western-style

painting department of the Saiko Nihon Bijutsu-in (New Japan Art Institute). During this time he lived at the Kosugi family

home along with Murayama Kaita, and is known for spending wild youthful years. In addition to the Nihon Bijutsu-in

Exhibition (Inten), he showed at the Nika Art Exhibition and Kofukai Art Association Exhibition, but he eventually drifted away

from the mainstream art world and began studying under fellow Matsuyama native Kawahigashi Hekigoto and associating

with a circle of haiku poets and other poets and literary figures. Mizuki was a painter unconcerned with art world trends, who

continued to work on his own terms, primarily holding solo exhibitions.

In the history of modern Japanese art, Mizuki’s name is usually mentioned in conjunction with Taisho-era (1912-1926)

painters Kosugi Hoan and Murayama Kaita, and Yanase Masamu, also from Matsuyama. However, if we look instead at the

history of literature, we also connections between Mizuki and the students of renowned haiku poet Masaoka Shiki, including

Kawahigashi Hekigoto. Mizuki’s writings on Murayama Kaita pay tribute to the vitality of his friend’s work and his widely

recognized genius, but also portray an introspective figure single-mindedly dedicated to his own original expression.

The year 2018 was widely celebrated as marking 60 years since the death of Yokoyama Taikan and 50 years since the

death of Foujita Tsuguharu, but it was also the 30th anniversary of Mizuki’s death. Here, we are pleased to present works by

Mizuki from the museum’s collection, and mark the milestone of 30 years since the passing of an independent spirit who

moved freely in both artistic and literary circles.

Marking 30 Years Since the Death of Mizuki Shinichi

　　水木伸一（1892-1988）出生于爱媛县松山市，他在来到东京后加入了太平洋画会跟中村不折学习西洋画，之后又于大正3

（1914）年被小杉未醒发现，加入到了再兴日本美术院（院展）的西洋画部。他和村山槐多一起住在小杉家，在那里度过了他们奔

放的青春年华的这段往事流传甚广。除了院展外，他还在二科展、光风会展上展出过作品。后来，他离开了画坛，拜同乡河东碧

梧桐为师，开始了他与俳句诗人、和歌诗人、言论家们的交友生活。他从此不再关注美术界的事情，而是以个展为中心持续着他

的绘画创作活动。

　　在日本近代美术史中，他的名字经常会与大正时期的小杉未醒、村山槐多及其同乡柳濑正梦的相关内容中出现。但是，若将

目光转向文学史，则在以河东碧梧桐为首的正冈子规门下的众多文学表现者中，亦可看到水木的身影。翻阅水木所著的村山槐

多论，您可以从中看到他对天才好友的称颂，对村山的表现能力的敬佩之情，也可以看到他坚持自己的表现方式的那份内省。

　　在横山大观逝后60年、藤田嗣治逝后50年而非常热闹的平成30（2018）年，其实也是水木逝后的第30个年头。在这里我

们展示了本馆收藏的水木伸一的作品，以此来纪念自由驰骋于美术和文学之间的他的逝后30周年。

逝后30年　水木伸一

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The printmaker Haseg 长谷川洁于1891年生于 !"#$%&'()%*+,*





The printmaker Hasegawa Kiyoshi was born in Yokohama in 1891 and active in France. His art career began around the age of 20, when he started studying drawing under Kuroda Seiki and oil painting under Okada Saburosuke and Fujishima Takeji, and receiving commissions for literary magazine covers and illustrations, he began producing woodcuts and copperplate prints. In 1919, at the age of 28, he moved to Paris, where he exhibited in salons such as the Salon d’Automne and devoted the remainder of his life to printmaking.Hasegawa worked with a range of techniques such as woodcut, drypoint, etching, aquatint, and engraving, but his reputation as a printmaker was firmly established with his revival of the manière noire technique. Manière noire is another word for mezzotint, a type of copperplate printmaking, invented in 17th-century Germany and popularized in Europe, but it declined after the invention of photography in the 19th century. With technical manuals as his guide, Hasegawa conducted research aimed at reviving this “forgotten art” in France, and succeeded in creating his own original version of the technique and restoring it as a form of printmaking.Hasegawa invested his still-life subjects with symbolic meaning. For example, a small bird represented the artist himself observing the world, a ball the world, the universe, harmony, and unity, and a rose beauty, love, silence, and secrets. We invite you to enjoy the artist’s serene, intellectual world of deep, rich, beautiful blacks, compositions based on the golden ratio, and constructions of motif and meaning.

Manière Noire by Hasegawa Kiyoshi

　　长谷川洁于1891年生于横滨，他是一名以法国为中心活动的版画家。在20岁左右时，他跟黑田清辉（Kuroda Seiki）学习

了素描，又跟冈田三郎助（Okada Saburosuke）和藤岛武二（Fujishima Takeji）学习了油画。在他刚在美术道路上起步时，

因文艺同人志的封面和插画的工作，使其走上了木版画和铜版画的道路。1919年28岁的他来到了巴黎，并在巴黎秋季沙龙等

巴黎的画坛上不断发表其作品，他的一生都奉献给了版画制作。

　　长谷川洁使用的技法有很多，如：木版画、铜版画、蚀刻、凹版腐蚀制版法、雕刻等等，但他作为版画家而受到肯定的，是因

为美柔汀技法的复兴。美柔汀技法即铜版画的Mezzotint，是于17世纪在德国被发明，并在欧洲获得普及的技法。19世纪，

它又因照片的发明而开始衰退。长谷川洁通过技法类书籍，对在法国已被以往的该种技法进行了深入研究，并成功通过自创的

技法使之作为一种全新的表现技法而复活。

　　长谷川洁为静物画的每一个主题都带入了一种象征性的意义，比如，小鸟表示“观察世界的作家本身”，球体表示“世界、

宇宙、和谐、统一”，玫瑰表示“美、爱、沉默、秘密”等等。请尽情欣赏由唯美深远的黑色、基于黄金法则的构图、与主题意义相合

的知性且静谧的作品所呈现的世界。

长谷川洁的版画：美柔汀技法

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In memory of the Nihon 为追悼于今年10月11日 !"#$%&#$$'(#)*+#





In memory of the Nihonga (Japanese-style) painter Iwakura Hisashi, who passed away on October 11, 2018, we exhibit all of his works in our collection as well as works by Inohara Taika, a painter that Iwakura deeply respected and admired.Iwakura Hisashi was born in 1936 in Kagawa Prefecture. In the sixth year of elementary school he took an interest in painting, and he started oil painting during his first year of junior high school, engaging in it fully as a student Kagawa Prefectural Kan’onji Daiichi High School. In 1955 he enrolled in the Nihonga painting department of Kyoto City University of Fine Arts now Kyoto City University of Arts). Influenced by Inohara Taika, then a teacher at the university, Iwakura decided to pursue a career as a Nihonga painter and submitted the painting Basho to the first edition of the revived Nitten (Japan Fine Arts Exhibition) in 1958, for which it was selected. After graduating from the university the following year, he became a member of Shinchosha, an art school led by Yamaguchi Kayo, to which Taika also belonged, and thereafter primarily exhibited work in the Nitten and the Shinchosha Exhibition. Iwakura also taught at his alma mater from 1963 to 2002, and guided new generations of artists at both the art school and the university. In 2003 he received an award from the Nihon Geijutsuin (The Japan Art Academy), he became a member of the Academy in 2006, and in 2010 a retrospective exhibition, which he had firmly declined for many years, was held at the Chikkyo Art Museum, Kasaoka, cementing his reputation as one of Kyoto’s most prominent current painters. From his earliest years he consistently depicted landscapes, and around 1975 he developed a style of indistinct rendering as if seen through frosted glass, using vivid intermediate hues and richly textured brushwork, and from the late 1980s onward his paintings featured softly framed compositions with a sense of transparency, filled with moisture and luminosity, as if filled with large and small particles of light, water vapor, and air. Although it is dry and cold outside, we sincerely hope you enjoy these dewy, sun-bathed works. (In addition, in the “Winter Scenes in Japanese-style Paintings” section, we present paintings by Asada Benji, and Nishiuchi Toshio, Iwakura’s seniors at Shinchosha, as well as by Nakaji Yujin, who together with Iwakura led the school following their seniors’ death, and who himself passed away last year.)

Exhibition in Remembrance of Iwakura Hisashi

　　为追悼于今年10月11日逝世的日本画家岩仓寿，本馆将展示所收藏的所有该画家的作品以及画家本人即为尊崇的猪原大华

的作品。

　　岩仓寿于昭和11（1936）年出生于香川县。从小学6年级时，他便开始对绘画表现出浓厚的兴趣，之后在中学1年级开始学习油画，

再后来于香川县立观音寺第一高等学校开始正式学习画画。昭和30（1955）年，他进入了京都市立美术大学（现在的京都市立艺术

大学）美术系日本画科学习。受到当时在该校执教的猪原大华的影响而立志要成为日本画家的岩仓寿在就学期间的昭和33（1958）年

第1届新日展上展出了作品《芭蕉》，并首次被入选。次年，大学毕业后，他便加入了猪原大华所在的，由山口华杨所率领的晨鸟社画塾。

之后，他的工作活动都以日展和晨鸟社展为中心展开。此后，从昭和38（1963）年到平成14（2002）年，他在母校京都市立艺术大学

执教，在画塾和学校从事教导后学的工作。平成15（2003）年，他获得了日本艺术院奖，2006年成为日本艺术院会员，2010年在笠

冈市立竹乔美术馆举办了长年以来一直不愿举办的回顾展，成为了一名现代京都画坛具有代表性的作家之一。他从初期开始便一直以

风景为题，昭和50（1975）年前后，他开始描绘一种仿佛透过磨砂玻璃所看到的那种模糊的形态，使用了明亮的中间色并配以丰富的

笔触；昭和60（1985）年代起又变成了润泽、充满光辉透明感的画面，在画面上的宽松的框中，会有仿佛封存了光辉、水蒸气和空气

的大大小小的颗粒物。虽然外面又干燥又寒冷，但是在岩仓寿的作品中却能感受到润泽和阳光的温暖（此外，在“日本画·冬”区，还有

晨鸟社前辈（麻田辩自、西内利夫）以及在几位前辈过世后一直支撑着画塾并于去年过世的中路融人的作品展示）。

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【追悼　岩倉壽】420

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