{"id":90525,"date":"2022-06-02T14:00:00","date_gmt":"2022-06-02T05:00:00","guid":{"rendered":"https:\/\/www.momat.go.jp\/magazine\/129"},"modified":"2023-06-12T14:14:11","modified_gmt":"2023-06-12T05:14:11","slug":"129","status":"publish","type":"magazine","link":"https:\/\/www.momat.go.jp\/en\/magazine\/129","title":{"rendered":"TSUJI Shindo, Poet (Prototype for Figure of Otomo no Yakamochi) , 1942"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/S00494_02_\u8fbb\u664b\u5802_\u8a69\u4eba\uff08\u5927\u4f34\u5bb6\u6301\u8a66\u4f5c\uff09_\u64ae\u5f71\uff1a\u5927\u8c37\u4e00\u90ce.jpg\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/S00494_02_\u8fbb\u664b\u5802_\u8a69\u4eba\uff08\u5927\u4f34\u5bb6\u6301\u8a66\u4f5c\uff09_\u64ae\u5f71\uff1a\u5927\u8c37\u4e00\u90ce.jpg\" alt=\"\" class=\"wp-image-18252\" width=\"500\" height=\"750\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/S00494_02_\u8fbb\u664b\u5802_\u8a69\u4eba\uff08\u5927\u4f34\u5bb6\u6301\u8a66\u4f5c\uff09_\u64ae\u5f71\uff1a\u5927\u8c37\u4e00\u90ce.jpg 666w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/S00494_02_\u8fbb\u664b\u5802_\u8a69\u4eba\uff08\u5927\u4f34\u5bb6\u6301\u8a66\u4f5c\uff09_\u64ae\u5f71\uff1a\u5927\u8c37\u4e00\u90ce-133x200.jpg 133w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><\/a><figcaption class=\"wp-element-caption\">Tsuji Shindo (1910\u201381)<br><em>Poet (Prototype for Figure of Otomo no Yakamochi)<\/em><br>1942<br>Color on Wood<br>196.0 \u00d7 47.0 \u00d7 41.8 cm<br>Gift of Uchida Kimiko FY2021<br>Photo by Otani Ichiro\u3000<\/figcaption><\/figure><\/div>\n\n\n<p>Tsuji Shindo is best known for his clay sculptures. Inspired by their contemporaries in the avant-garde ceramics group Sodeisha, he and his close friend the sculptor Horiuchi Masakazu produced abstract forms that had a significant impact on postwar art in Japan. Two of Tsuji\u2019s works already in the museum\u2019s collection are among these abstraction, but this carved wood sculpture represents a human figure. A seminal work that won first prize at the 29th Inten (Imperial Art Exhibition) in 1942, it was donated by Tsuji\u2019s patron Kuroda Jinzaburo, a fertilizer wholesaler in Osaka.<\/p>\n\n\n\n<p>Otomo no Yakamochi, known as one of the Thirty-Six Immortals of Poetry, was the provincial governor of Inaba Province (present-day eastern Tottori Prefecture), and may have been familiar to Tsuji, who was from Tottori. The fact that the figure is holding a falcon is probably based on the fact that Yakamochi was particularly fond of falconry and is known to have composed poetry about the birds. The heightened nationalism of the war years no doubt encouraged the artist to select this subject from Japan\u2019s distant past associated with the 8th-century&nbsp;<em>Man\u2019yoshu<\/em>&nbsp;poetry anthology. In 1941, the previous year, Tsuji had made statues representing Japanese settlers in Manchuria.<\/p>\n\n\n\n<p>Be that as it may, Otomo no Yakamochi is a rare choice of subject, especially as a nude. Fellow sculptor Hirakushi Denchu wrote that it was \u201can unexpected idea,\u201d<sup>1<\/sup>&nbsp;and the work\u2019s individual elements are indeed odd: the falcon dangerously perched on his bare hand, the thin fabric adhering to the abdomen seemingly by chance, the pubic hair resembling a broom rendered with vertical lines. The overall impression, however, is a dignified one due to the evenness of the classical contrapposto pose, with the figure describing a gentle S-curve.<\/p>\n\n\n\n<p>Perhaps the most notable feature is the rawness of the finish, with chisel marks, wood filling, and joints between sections remaining visible. According to Horiuchi Masakazu:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>\u30fc\u201cHe was not satisfied with the orthodox style of wood sculpture common at the Inten exhibitions, executed with precision using well-sharpened chisels, and he sought a more rugged technique, not so much rustic as raw and powerful\u2026 He left the wood filling in the joints clearly visible, as if intentionally making the sculpture ugly\u2026 His idea was that the material was wood, and it would be stronger as a work of art if the wood was shown in its true form.\u201d<sup>2<\/sup><\/p>\n<\/blockquote>\n\n\n\n<p>Around 1940 Tsuji began experimenting with \u201cdirect carving,\u201d taking the chisel to the wood without relying on a model. He wrote, \u201cIt is fine for there to be sculpture that reproduces, but there should also be sculpture that represents.\u201d<sup>3<\/sup>&nbsp;For Tsuji, this work was a prototype in a subjective, expressionist mode.<\/p>\n\n\n\n<p>The notion of \u201csculpture that represents\u201d was influenced by Hashimoto Heihachi, who was expected to accomplish great things in wood sculpture but died prematurely in 1935 (Hirakushi\u2019s comment quoted above also describes Tsuji\u2019s work as \u201cinheriting the style of the late Hashimoto Heihachi,\u201d and Horiuchi himself was also strongly interested in Hashimoto\u2019s work.) This is an important example of sculpture from the wartime period, and calls for further research.&nbsp;<\/p>\n\n\n\n<p class=\"has-small-font-size\">[Notes<small>]<\/small><\/p>\n\n\n\n<ol class=\"has-small-font-size\">\n<li>Hirakushi Denchu, \u201cTsuji and Me,\u201d June 18, 1949. Quoted in Ozaki Shinichiro, \u201cThe Work of Tsuji Shindo: To the Far Side of Sculpture,\u201d&nbsp;<em>Shindo Tsuji: A Retrospective<\/em>&nbsp;exh. cat., 2010.<\/li>\n\n\n\n<li>Horiuchi Masakazu, \u201cModel, Image, No-Mind,\u201d&nbsp;<em>Tsuji Shindo: Genius of Contemporary Sculpture<\/em>&nbsp;exh. cat., 1983.<\/li>\n\n\n\n<li>Tsuji Shindo, \u201cComplexity and Simplicity,\u201d&nbsp;<em>Ceramic Sculpture of Tsuji Shindo<\/em>, Kodansha, 1978.<\/li>\n<\/ol>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-right\" style=\"font-size:15px\">(<em>Gendai no me, Newsletter of The National Museum of Modern Art<\/em>,<em>&nbsp;Tokyo<\/em>&nbsp;No.637)<\/h2>\n","protected":false},"featured_media":46676,"template":"","magazine_category":[274],"series":[276,280,275],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>TSUJI Shindo, Poet (Prototype for Figure of Otomo no Yakamochi) , 1942 \uff08\u898b\u308b\u805e\u304f\u8aad\u3080\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.momat.go.jp\/en\/magazine\/129\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TSUJI Shindo, Poet (Prototype for Figure of Otomo no Yakamochi) , 1942 \uff08\u898b\u308b\u805e\u304f\u8aad\u3080\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"og:description\" content=\"Tsuji Shindo is best known for his clay sculptures. Inspired by their contemporaries in the avant-garde ceramics group Sodeisha, he and his close friend the sculptor Horiuchi Masakazu produced abstract forms that had a significant impact on postwar art in Japan. Two of Tsuji\u2019s works already in the museum\u2019s collection are among these abstraction, but this carved wood sculpture represents a human figure. A seminal work that won first prize at the 29th Inten (Imperial Art Exhibition) in 1942, it was donated by Tsuji\u2019s patron Kuroda Jinzaburo, a fertilizer wholesaler in Osaka. 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