萬巌積雪 (Ten Thousand Cliffs and Fallen Snow), Komuro Suiun

This hanging scroll is dominated by two towering cliffs. The gnarled limbs of a venerable pine tree zigzag along the foreground. In the distance, a bridge suspended in mid-air connects the cliffs, serving as a path to a temple nestled behind the mountains. Komuro Suiun was a central figure of the revival of nanga??. This revival movement was known as shin nanga or “new” nanga. Together with Mizuta Chikuho, whose work is also displayed on this wall, Komuro helped establish the Japan Nanga Institute (?????Nihon Nanga-in) in 1921. Within the Taisho period (1912-1926) art world literati painting was generally regarded as conservative and traditional; however, artists associated with the Japan Nanga Institute promoted a progressive approach to ink painting that emphasized artistic expression over stylistic orthodoxy. In an effort to promote this modern perspective, Komuro actively participated in nationwide exhibitions such as the Teiten (called Bunten between 1907-1919 and renamed Nitten after 1947) or Imperial Art Exhibition, a government sponsored Salon-style annual exhibition.

Exhibition Label: "Nature/Natural," Jan-2014, Kris Ercums This hanging scroll is dominated by two towering cliffs. The gnarled limbs of a venerable pine tree zigzag along the foreground. In the distance, a bridge suspended in mid-air connects the cliffs, serving as a path to a temple nestled behind the mountains. Komuro Suiun was a central figure of the revival of nanga南画. This revival movement was known as shin nanga or “new” nanga. Together with Mizuta Chikuho, whose work is also displayed on this wall, Komuro helped establish the Japan Nanga Institute (日本南画院Nihon Nanga-in) in 1921. Within the Taishō period (1912–1926) art world literati painting was generally regarded as conservative and traditional; however, artists associated with the Japan Nanga Institute promoted a progressive approach to ink painting that emphasized artistic expression over stylistic orthodoxy. In an effort to promote this modern perspective, Komuro actively participated in nationwide exhibitions such as the Teiten (called Bunten between 1907–1919 and renamed Nitten after 1947) or Imperial Art Exhibition, a government sponsored Salon-style annual exhibition.