Kodama Teruhiko (1898-1992)
Rekishiga (History) c. 1930-40
Signed: Teruhiko e and sealed
Pair of six-panel screens; ink and color on silk
H. 68 3/8 x W.139 . inches (171 x 353.4 cm)
Rekishiga ( Painting of a Historical Subject) written on the screen box.
In “History” the color aquamarine is widely used, and adds to a sense of modernity, while the paintings depict traditional scenes from the Heian period that are episodes from the “Tales of Ise and/or “The Tales of Genji.” The young girl and boy are childhood friends from a famous story in “Genji” shown in a springtime setting while the Nobleman is pictured among more subdued autumn foliage in a scene that could be from either literary work. In the latter screen, the aquamarine color is used both for many of the plants and also as an overlay of moisture-laden air, giving the painting a distinctively cool feeling and evoking emotions such as sadness and yearning.
This color was seldom used in Japanese paintings until it became popular in the late Meiji period with Nihonga artists such as Shimomura Kanzan (c. 1910) and Hishida Shunso (c.1900). The pigment that produced this color was expensive and thus reflected a certain level of prosperity. This, however, was not the only reason that it came into vogue, it was also due to its affinity to the French school of the times. It infused the paintings with a notedly ‘cool’ feeling, whereas traditionally, Japanese paintings were in decidedly warm tones such as golds, reds and greens. Although many of the artists were becoming exposed to and experimenting with non-Japanese subjects, those who chose to return to the more indigenous ‘historical’ themes, in order to modernize them often used this ‘new’ color to give the art works a sense of being ‘up-to-date.’
Teruhiko was born in Niigata Prefecture and his real name was Yamauchi Shinji (or Nobuji). He made his way to Tokyo and studied with the painter Tsubata Michihiko (1868-1938) who specialized in historical subjects. In 1926, his painting “Gio” was exhibited in the 8th Teiten and illustrated in its catalogue. In 1943 , exhibiting in the Taito Shodo Inten, he won the Osaka Mainichi and Tokyo Nichinichi Shinbunsha prizes. In 1967 he became an honorary citizen of Kawanishi-cho in Niigata Prefecture and in later years became chairman of the Nihon Kokuga In and a commissioner of the Nihon Bijutsu Kyokai.
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