Yamato-e -
Classical Painting Style of Japan
by Ishiyama Gen'tarou Yori'ie

Chojo Giga

The first (of four) Choju Giga scroll begins with the animals bathing in a stream. Then, they participate in archery contests and a meal is brought to them. Then, it appears a priest blesses their beasts of burden, One monkey steals a sacred branch and is chased. Well dressed nobles begin to arrive. There is a bit of dancing. There is a bit of wrestling, and perhaps some betting. Two monkeys leave the scene with a sugoroku set and a full purse. Finally, a monkey appears in court where he amuses some and embarrasses others.

All in all, it looks like an SCA event to me.

I took a little license with this excerpt from the Choju Giga. In the original, the figures are facing left, and the expression on their faces is one of dismay. Hideo Okudaira points out that since these scrolls are read from right to left, a reader progressing through the scroll by unrolling with the left hand and re-rolling with the right hand would see this reaction shot first and the chase scene (next) after. I thought that placing these figures on the left of the page (after the text) and having a pleasant reaction to the words on the scroll would be more appropriate.

The Choju Giga scrolls are drawn in the hakubyo style, which uses only black lines. The first two scrolls are attributed to the monk Toba Soujou who lived from 1053 to 1140 CE. These two emaki show mundane and fantastic animals imitating human beings.

Yes, I know that the Choju Giga emaki is just black and white, but I was in a room full of people who were doing illumination, and I succumbed to peer pressure.

This image from the first scroll shows a rabbit servant carrying gifts (of food?) to a monkey who wears the kesa of a buddhist monk. The monk must be reciting sutras, as he is handling a string of prayer beads. I like this image, as it shows devotion to an ideal, as well as quiet support for the work of others. For the third redition, I actually played with the composition a bit more on the scroll blank than is shown. The two images are in diagonal corners of the paper, leaving room between them for text.

The late period copy of the Choju Giga that is held by the Sumiyoshi family has a fifth scroll that was lost from the scrolls at Kozan-ji temple. [Okudaira] This image from Wikipedia does not appear in the Kozan-ji version, so it must be from that additional "third" scroll. It depicts a monkey who has been armored with leaves, who is receiving a blessing from a monkey priest. A frog holds a lily pad as a parasol to shade the priest from the sun.

At the very beginning of the first scroll, rabbits and monkeys bathe in a stream. It is ostensibly a ritual bath, but they do seem to be enjoying themselves.

The domestic animals also participate in the ritual bath. This kind of deer is considered to be sacred, and it is protected in several areas of Japan to this day. This same kind of deer is being blessed by a priest later in the first scroll.

The scroll may depict a religous festival, but it is still a festival! A fox carries food to the festival, and a rabbit carries a musical instrument (probably a shamisen).

There are also several wrestling matches between frogs and rabbits. In the first, a frog (unfairly!) bites the ears of a rabbit while a nearby rabbit watches. In the second, a frog bellows triumph over a rabbit while nearby frog spectators laugh and cheer. You can tell that the wrestling is all in fun because the thrown rabbit is also laughing. The thrown rabbit is one of the most famous images from the first scroll.

Dojo-ji Engi

Traced from the Dojo-ji Engi ("Legends of Dojo-ji Temple") emaki
16th century, in Dojo-ji, Wakayama Prefecture

The Dojo-ji Engi ("Legends of Dojo-ji Temple") scroll from the Muromachi period tells the tale of a wandering priest and his tragic relationship with another man’s wife. He flees her and is consumed by the fires of her anger while hiding in the bell of Dojo-ji temple. The prayers of the monks of Dojo-ji re-unite the lovers as spirits in the heavens. This late-period scroll is considered to be of poor artistic quality and "awkward" technique, but it shows a development towards real narrative literature. [Okudaira]

Eshi Zoshi

Traced from Eshi Zoshi (The Story of a Painter)
14th century, in the Imperial Collection

The original of this emaki is colored. My first rendition was just the outline, but subsequent renditions have been in various watercolors.

The Eshi Zoshi emaki from the 14th century follows the life of a poor artist in Japan’s Kamakura period. The rest of the tale’s not a pretty one, but in this scene the artist rejoices upon hearing of his appointment as a court painter. [Grilli]

Gaki Zoshi

The Gaki Zoshi scroll depicts the world of the hungry ghosts, one of the six realms of Buddhism. The ghosts exist in the human world, but are invisible. They are unable to acquire food or drink, and are forced to consume spilled liquids and human waste. The sixth section of this emaki contains tales of salvation of hungry ghosts. This particular image comes from a panel that shows Ananda, a disciple of Shakyamuni, teaching an incantation to achieve salvation to a hungry ghost. I have only included the ghost, who belches flames. The original is in color.

From a copy (dated to late 12th century) in the online exhibition of the Kyoto National Museum.

Heiji Monogatari

Traced from Heiji Monogatari (Tales of the Heiji Wars)
13th century, in the Boston Museum

The original of this emaki is colored. My first rendition was just the outline with a light ink wash to color the bowman's suikan, but subsequent renditions have been in various watercolors.

The Heiji Monogatari emaki from the 13th century tell of the tale of the 30+ years of war between the Heike (Taira) and Genji (Minamoto) clans in the 12th century. Only three scrolls remain, showing various campaigns, battles, and events. [Grilli]

Honen Shonen Eden

Traced from the Honen Shonen Eden (Pictorial Biography of Priest Honen) emaki
13th century, in the Zoujou-ji repository in Tokyo

Priest Honen is a saint of the Joud "Pure Land" sect of Buddhism and a proponent of achieving salvation by chanting the name of the Amida Buddha repeatedly. This emaki relates the achievements of this celebrated priest extols his virtues, and portrays important episodes in his life. The version containing this image is 2 scrolls long. A later version is 48 scrolls! In the original, a young priest paints a vision of the priest Shandao that appeared to Honen. [Murase]

Ippen Shonen Eden

Traced from the Ippen Shonen Eden (Pictorial Biography of Priest Ippen) emaki, a National Treasure of Japan. I'm pretty happy with the way this one came out. The images are fairly small in the original, but enlarging them brought out a bunch of interesting detail. The original detail, the physical attitudes and expressions of the people, the way the positions of their clothing shows motion, this is all fascinating to me from a storytelling perspective.

Priest Ippen was the founder of the Amidist sect of Buddhism, and this scroll was created soon after his death. The text was written by Ippen’s direct disciple Shikai. The emaki is dated 1299, and Ippen lived from 1239 to 1289. Despite his relatively short lifetime, his biography stretches across 12 scrolls, each at least 30 feet long and made of silk, not paper. Although here I focus on figures, the scrolls are predominantly landscape and poetry.

Grilli writes that in this scene, Ippen instructs the son of another priest. Wikipedia refers to this scene as Ippen and the Warrior and claims that the warrior is a convert to Ippen's "Pure Land Buddhism". To me, it looks like Ippen is remonstrating the warrior, and the warrior doesn't like it one bit. The warrior is preparing to draw his sword, and so is one of his henchmen. The other henchman looks like he's whistling for backup.

Journey to the East

Traced from The Journey to the East
Circa 750 CE, in Toushoudai-ji, Nara Prefecture

This scroll details events from the life of the Buddha. [Kidder]

Kasuga Gongen

Traced from Kasuga Gongen Reikenki (Miracles of Kasuga Gongen)
Dated 1309, in the Collection of the Imperial Household

This is only one small scene from the Kasuga Gongen Reikenki scrolls that are explicitly dated to 1309. Minister of the Left Saionji Kimihira commissioned this set of twenty (!) scrolls from the painter Takashina no Takakane. They depict the miracles performed by the Shinto divinity Kasuga Gongen around Saionji's family shrine to Kasuga in Nara. The scrolls were kept at the shrine until the family donated them to the collection of the Imperial Family. [Grilli]

This image shows the master carpenter with his long measuring stick, ready to check the dimensions of a framework. I modified one copy of the image to include a representation of the camp gate that the recipient of this scroll helped create. [Coaldrake]

Kawagoe Miyoshino Tenjin Engi

Traced from Kawagoe Miyoshino Tenjin Engi (Legends of Miyoshino Shrine) emaki
Circa 1600, in the collection of the eponymous Miyoshino Shrine

In this scene from the construction of the Miyoshino Shrine, a carpenter adjusts the set of his plane's blade. Adjustments to the kanna (plane) are made by tapping the dai (block) of the plane with a mallet Tapping at the ends of the plane deepens or lightens the cut. Japanese planes are pulled, rather than pushed like Western planes, and the carpenter often works while seated. Some consider it easier to pull the plane while seated than while standing. [Coaldrake]

Kegon Engi

Traced from Kegon-engi (Legends of the Kegon Sect) emaki
12th century, in Kozanji, Kyoto

The Kegon-engi (Legends of the Kegon Sect) emaki is a 6-scroll biography of the lives of the Korean priests who were important in founding the Kegon sect of Buddhism. The text of this scroll was written by the founder of the Kozanji temple, which is today the Toudai-ji temple where the scrolls are still kept. In this scene, the priest Gijyo speaks with Lady Zenmyo in T’ang era China. Variations in artistic style between this scene and others indicate multiple artists worked on the 270 feet of scroll, completing it in the 12th century. [Grilli]

Matsuzaki tenjin engi

Traced from the Matsuzaki tenjin engi emaki, Scroll 4
Dated to 1311 CE

This set of scrolls shows the construction of the Matsuzaki temple. This scroll in the set specifically shows the erection of the temple's frame. This images shows the Touryou (chief master carpenter) with his long kensao (measuring stick), ready to check the dimensions of the framework. This scroll shows a great deal of detail about Japanese timber frame construction, the tools used, and the practices of the people who use them. [Coaldrake]

The 36 Immortal Poets

During the Nara and Heian periods (8th to 13th centuries), poetry contests (uta-awase) were a popular pastime for courtly nobles. Near the end of the 10th century, two poets argued about who was the greatest poet ever, and decided to record their choices. Thus, competing lists of the 36 Immortal Poets were born.

Nobuakira

Traced from The 36 Immortal Poets, Minamoto no Nobukaira
13th century, in the Sumitomo Kichizaemon collection, Kyoto

Owned by the Satake family until 1915, the "The 36 Immortal Poets" emaki from the 13th century comprise two scrolls of 18 poets each, and have been declared an important cultural property.

This poet, Minamoto no Nobuakira lived from 909 to 970 CE and his pensive pose matches the subdued mood of his accompanying poem. [Murase]

Kintada

Traced from 36 Poets, Kintada, by Nobuzane
Kamakura period (1185 to 1333), in the Freer gallery of Art, Washington

This image is from the second set of "36 Poets" attributed to Fujiwara no Nobuzane. This set shows the poets seated on mats. Kintada lived in the tenth century, so this 'portrait' could not have used the person of Kintada as a model. However, an attempt was made to capture the character of Kintada using a few simple lines, in the nise-e style. [Paine]

Kiyotada

From the Narikane version of the 36 Immortal Poets in the collection of the Met Museum, from the Kamakura Period (12-14th cent.)

In the late 13th century, Taira no Narikane compiled and calligraphied his own list of the 36 Immortal Poets, and included the poet Fujiwara Kiyotada. The illustration is by an unknown artist.

The original is "hakubyo" monochrome, but I added color for visual interest. I gave the first one colors to be pretty. I gave the second one colors to match the outfit I wore in Kyoto. I gave the third one the colors of an outfit I hope to have.

Kiyohara

Nijou Tameshige is credited with one list from the late 14th century. This image of the poet Kiyohara Motosuke is from that version, though some analysts have their doubts about attributing it to Tameshige, placing it up to 100 years later.

I love the expressive nature of this original art. The original even has some pale coloration, which I didn't know was allowed for hakubyo art.

Yamabe no Akahito

The Satake family version of the "36 Immortal Poets" scroll was broken up into individual hanging scrolls about a hundred years ago. There was an exhibition of most of the individual panels at the Kyoto National Museum in 2019.

This portrait is of Yamabe no Akahito a poet of the Nara period (710 to 794 CE). He is best known for his anthology "The Man'yoshu", which contains 13 choka ("long poems") and 37 tanka ("short poems"). [Arima] One translation of his poem in the scroll reads: "When the tide rises at Wako in Chigata, when the flying cranes cry together, I fly to the fragrant garden."

Sakura, "Merry Making Under the Cherry Blossoms"

Traced from "Merrymaking Under the Cherry Blossoms" screen, circa 1600 by Kano Naganobu (1577-1654) now in the Tokyo National Museum

This screen by a nephew of the famous Kano Hideyori (of the "Maple Viewing" screen) shows the inheritance of his Uncle's style, with some refinements. This detail shows noble youths practicing their fighting. Other sections of the screen depict nobles dancing, eating, and watching performance, thus demonstrating that the SCA is an accurate recreation of Momoyama era Japan. Portions of an accompanying screen were lost to fire in 1923. [Hickman]

Seiko-ji Engi

Traced from Seiko-Ji Engi (History of Seiko-ji Temple) emaki
Late fifteenth century, by Tosa Mitsunobu

The temple at Seiko-ji houses a statue of the Bodhisatva Ksitigarbha, who is known as Jizou, the savior of children and protector of sinners who suffer in hell. This scroll tells the history and legends of the temple, starting from its foundation by the nobleman Taira Sukechika. [Murase]

In this first scene, Sukechika receives a visit from a priest, who instructs him to reclaim a statue of Jizou that has been abandoned in the wilderness, and build a shrine for it.

Sukechika rides out with his retinue to fetch the statue, but when he finds it, he is unimpressed. It is small, and worn from its time in the wilderness. He desires a more impressive statue for his shrine, and returns home without this one. That night, Sukechika dreams of Jizou who is batching his feet by the well of Sukechika's mansion. The next morning, when Sukechika enters his courtyard there on a stone by the well are wet footprints where Sukechika dreamed Jizou had stood.

Sukechika honors the wet footprints on the stone which confirm his dream of Jizou. The miracle convinces Sukechika to recover the statue. [Murase]

Sanjuniban Shokunin Uta-awase

The term "Shokunin Uta-awase" means "A Poetry Competition among People of Various Occupations". This type of scroll depicts an imaginary poetry competition between various craftsmen. In this type of painting, all the poetry is actually composed by a single poet, but each poem is illustrated with a portrait of a craftsperson with their tools. This kind of scroll should be contrasted with Uta-awase emaki of actual poetry contests, and Kasen emaki that depict famous (immortal) poets possibly of multiple generations.

[From the article utaawase-e on the Japanese Architecture and Art Net Users System, retrieved October 22, 2014 (http://www.aisf.or.jp/~jaanus/deta/u/utaawasee.htm).]

Nanajuichiban Shokunin Uta-Awase

This emaki also depicts a poetry competition among people of various occupations. Many of the images are similar to those found in the Sanjuniban, but the overall collection is different. This competition has 71 rounds, and 142 different kinds of shokunin are depicted.

This emaki is online as Commoners’ story: Nanajuichiban Shokunin Utaawase on the Hyogo Prefectural Museum of History.

Shigisan Engi

Traced from Shigisan Engi (Tales of Mt. Shigi)
12th Century CE, preserved at Chougosonshi-ji Temple, Nara Prefecture

There are three scrolls in this set, but only the third one is an emaki. All three relate the miracles performed by the Bishamon, the chief of the four heavenly kings. These miracles were frequently performed through the medium Myouren, who lived as an ascetic on a mountain top. The Chougosonshi-ji temple is built where many of the events are said to have occurred. In this image, a servant attends to the horse of a rich merchant who has come to implore Myouren for the return of a storehouse full of rice which has flown to Myouren’s abode. [Kidder]

Sumiyoshi Monogatari

Traced from Sumiyoshi Monogatari (Tale of Sumiyoshi) emaki
Late 13th Century, in the Tokyo National Museum

The Sumiyoshi Monogatari predates the Tale of Genji by about a half century, but it is not as well developed narratively, and only fragments of the original text remain. It is the tale of love between an abused stepdaughter and the middle son of an important family who must go through years of struggle to be together. Here, the young nobleman stands on the white beach of Sumiyoshi, straining to hear the distant koto playing of the princess who will one day be his wife.

One interesting aspect of this emaki is the way both time and space are represented. At one point in the story, the nobleman visits a house where he believes his love to be hiding from her family. The floorplan of the house is presented in its entirety as a single long illustration in isometric view, and the nobleman is represented within that illustration several times to show his journey through the house to where his love waits for him. [Murase]

Takaezu

Traced from "Takaezu", the Jimyoin falconry manual (from a copy made in 1506) by Jimyoin Motoharu (1453-1535) now in the Harvard-Yenching Library.

This manual, bound in accordion-book form, illustrates falconry terms and equipment. It details the parts and behaviors of falcons, and the equipment used by falconers in the sport of falconry. The manuscript I traced is a copy of a manuscript from 1506, which is most likely copied from an earlier earlier manuscript from 1328. Thus, the knowledge from almost 700 years ago is transmitted to the modern middle ages today.

Takekurabe Shoshi

From Takekurabe Soshi ("Story about a poetry contest") in the Tokyo National Museum, from the Muromachi Period (15th century) Traced from a photo by Elliott C. Evans of the original scroll, taken October 2016 in the Tokyo National Museum.

This illustrated scroll portrays a poetry contest consisting of 21 themed matches. Both the themes and the poets are pitted against each other, such as the match between "moonlit night" and "snowy morning". The contest is meant to settle an argument between the Emperor and his Crown Prince, who disagree on whether the spring or autumn is superior.

Most panels of this scroll portray two poets facing each other, and their competing poetry. Some text-only panels are included, however, and some with full-panel illustrations like the above.

Yamai no Soshi

Traced from the Yamai no Soshi (Diseases Scroll)
12th century, in Kawamoto Kakuzo, Kyoto

While the 12th Century Yamai no Soshi (Diseases Scroll) mostly depicts people suffering from afflictions like insomnia and obesity, in the background of one scene was this image of a calm servant faithfully carrying her mistress’ burden. [Murase]

Zen Kunen Kassen

Traced from Zen Kunen Kassen (The Early Nine Year War) emaki
From the mid-thirteenth century, National Museum of Japanese History

Minamoto Yoriyoshi cemented the reputation of the Genji clan by leading a campaign to quash a rebellion by Northern provincial governors in the early eleventh century. This emaki is based on earlier picture scrolls that are now lost, and shows the battles fought during the first part of what was to become a twelve year war. This scene shows the battle drum of the Genji during a night attack by the rebellious Sadatou clan. Nothing is known of the artist. [Murase]

Zuishin Teiki

Traced from the Zuishin Teiki (Imperial Guard Cavalry) emaki
13th century, in the collection of Oukura Kishichirou.

This emaki representative of the highly realistic "documentary" style of emaki that flourished in the Kamakura period. It is interesting because although it is from the time period when the black-and-white hakubyou style was the dominant expression of Yamato-e, it has light washes of color on the clothing of the rider and the tack of the horse. I have exaggerated the coloring on this copy, but left the horse pure white. [Okudaira]

Daruma

Traced from a portrait of Daruma in the Tokyo National Museum
Fourteenth century, by Issan Ichinei

The Bodhidarma, called Daruma in Japan, was a legendary Buddhist teacher who brought Zen Buddhism to China. Daruma lived during the fifth or sixth century of the common era, and in Japan has become a patron spirit of those who have a goal they wish to achieve. It is believed that Daruma once sat in a cave gazing at a wall in meditation for nine years. Traditionally, Daruma is depicted wearing the red robe of a high-ranking priest. [From the article Daruma Doll on Wikipedia, retrieved October 18, 2014 (http://en.wikipedia.org/wiki/Daruma_doll).]

Daruma

Traced from a portrait of Daruma, by Kei Shoki (died 1523)
Muromachi period (1333 to 1573), now in Nanzenji

The painter Kei Shoki was a student of Geiami, founder of the Shubun school of painting. The Shubun style is characterized by its crowded details. Kei Shoki attempts to show the irascible nature of Daruma while suggesting a flash of spiritual realization. Daruma, was a legendary Buddhist teacher who brought Zen Buddhism to China. [Paine]

Fudou

Traced from a silk painting of Fudou
Ninth century CE, in the Myou-ou-in repository on Mt. Kouya

The deity Fudou is the patron of those who serve as warriors. Fudou is one of the Five Great Kings of Light who were introduced to Japan through the Buddhist traditions of India. Although praised as a destroyer of evil, Fudou is also credited with wisdom, and is invoked to bring rain. He is typically represented as seated on an immovable stone, backed by flames, wielding a sword and a rope. Fudou has sworn to use the sword to destroy evil spirits, and the rope to bind the wicked and coerce them towards good. [Kidder]

Hitomaro

Traced from a portrait of Hitomaro that is in the Kyoto National Museum
Original attributed to Takuma Eiga (circa 14th century)

Hitomaro is one of the most famous and revered poets of Japanese history. He is so revered, that he was eventually made a Kami (divinity) of poetry. Essentially, he is a Patron Saint of poetry. It is customary to hang a portrait of Hitomaro close by when composing or reciting poetry, much like having a bust of Beethoven on your piano. I saw this portrait of Hitomaro in the Kyoto National Museum when we went to see the exhibition of panels from the Satake family version of the “36 Immortal Poets” scroll. I have also mounted a copy of this portrait as a "kakejiku" hanging scroll so he can oversee any poetic endeavors in which I participate.

Prince Shoutouku

Traced from a portrait of Prince Shoutoku, His Brother, and His First Son
Seventh Century, preserved by the Imperial Household Agency, Tokyo

Prince Shotoku was appointed regent by his aunt, Empress Suiko, in 593 CE. He is credited with many accomplishments, such as centralizing the government, establishing the 12-level cap rank system for officials, establishing a 17-article constitution, publishing the first Japanese texts (annotated Sutras), and choosing the name “Nihon” for Japan. He is revered today as a protector of Japan, its Imperial Family, and Buddhism. [Kidder]

Autumn and Winter Landscapes, by Sesshu

The painter Sesshu represents a rebirth in Japan of the painting traditions of China during the Muromachi period. Sesshu visited China in his youth and the school of painting he founded back in Japan influenced the next few generations of Japanese painters. These images are from a pair of hanging scrolls known as "The Autumn and Winter Landscapes" that can be considered representative of Sesshu’s mature style.

Traced from Autumn Landscape, by Sesshu (1420 to 1506)
Muromachi period (1333 to 1573), in the National Museum, Tokyo

[Paine]

Traced from Winter Landscape, by Sesshu (1420 to 1506)
Muromachi period (1333 to 1573), in the National Museum, Tokyo

This image is actually a reproduction of a painting by the Chinese painter Hsia Kuei. [Paine]

The Long Scroll, by Sesshu

Traced from the Long Scroll, by Sesshu (1420 to 1506)
Muromachi period (1333 to 1573), Hofu Mori Hokokai Foundation, Yamaguchi

These images are detailed from Sesshu's Long Scroll of Landscapes, that depicts scenes from the four seasons across the countryside of Japan.

[Kidder]

[Arata]

Samurai Painters

Samurai Painters is a book by Stephen Addis and G. Cameron Hurst III that collects paintings by people who are better known for their mastery of the sword than their mastery of the brush.

Miyamoto Musashi is a legendary late-period swordsman. He lived from 1584 to 1645, but his martial teachings and philosophy are immortal. Many stories are told about the skill and wisdom of Musashi, and his paintings are admired for their bold execution and harmonic compososition. In Japanese, the cormorant is a wild bird pressed into service, pulling fish from the river in a practice known as Ukai. Addis and Hurst note that for many reasons, Mushashi's Shrike is considered a classic example of Samurai art. They also note that the plum tree, pictured here with a peaceful dove, is a symbol of endurance.

The book has no biographical information about Masayoshi or the current location of the original painting. It notes that there are many paintings of hawks.

The Tale Of Princess Kaguya

Rabbit Netsuke

Yamato-e traced from a photograph of an antique ivory netsuke, inspired by the hakubyo style drawings of the Choju Giga emaki.

Original artwork is an Albino Hare Netsuke in the collection of the Maridon Museum in Butler, PA

Horse Netsuke

Yamato-e traced from a photograph of an antique ivory netsuke, inspired by the hakubyo style drawings of the Choju Giga emaki.

Original artwork is an Ivory Katabori Netsuke of a Horse lying down, unsigned.

Rabbit Sculpture

Yamato-e traced in the hakubyo style from a photograph of a glazed porcelain sculpture in the Tokyo National Museum.

Original artwork is by Tsuda Shinobu (1875-1946) from 1934.

Azalea Blooms

I was able to snap a nice photo of the azalea shrubs blooming in Her Ladyship Hara's garden, and thought that maybe I could trace that photo for an ink painting. I think the one that is just colorful outlines is probably my favorite.

Original photograph by Elliott C. Evans, April 2020.

Tourism Photos from Japan

These paintings are based on photos I took when we were in Japan for the 'Fourth International Conference on Braids' in 2019. After the conference, we spent a few days in Kyoto, and wound up viiting a nice little garden that is right in downtown.

The first image shows a bird in a tree. I was trying to capture the texture of the leaves, but I don't think I 100% succeeded. The bird came out well, though.

The second image is actually a mash-up of two different images. I had one image of the ducks from close up, and another of the buildings on the far side of the pond. Combining them into a single hakubyo image like this really helps create some of the depth that Sesshu was so good at.

I tried to re-create in this third image the success I had with the duck pond, but a turtle on a rock with some more rocks in the background just is not as inspiring. It's just a lump on a lump with more lumps in the background. Maybe I can use the turtle part in another painting some time, but this one is pretty much a failure.

Original photographs by Elliott C. Evans, October 2019.

Giant Squid

In May of 2021, the town of Noto in Japan's Ishikawa Prefecture used some of their COVID-19 recovery grant money to build a 30 foot long sculpture of a giant squid. No, really. They did this to promote tourism to their quiet seaside municipality, and truth to tell it is a glorious thing. So glorious, that I needed to make it into a painting,

Original photograph by TheTonarinopoti@Youtube via REUTERS and CNN.com.

Pelicans

The story here is that the "Order of the Pelican" is a SCA peerage order, much like a Knighthood is for fighting, but for service to the society. I saw a terrific photograph of a pelican in a page about "best wildlife photographs of 2021", and I realized that the image would make a great Yamato-e scroll blank. Maybe not for a peerage, but maybe for a "writ", an invitation to consider entry into the order.

This photo was one of the top 50 photos in the CEWE photo awards competition of 2021. I saw this photograph of a pelican, and just thought it would make a good writ scroll or other recognition of service. The dignity of this noble bird shows through, as does the dignity of those who perform service in the society. I traced the photo and colored it in the “tsukuri-e” (built up paint) style.

Original photograph by Christoph Schaarschmidt, 2021.

This next image was the result of a web search for "pelican in flight". All credit where it is due, any vibrancy and splendor in my image is entirely based on the original image.

Original photograph by Ken Chan of Awesome Sasquatch, 2013.

Descendants of Samurai

Ryotaro Horiuchi was visiting the Soma region of Fukishima prefecture, when he witnessed a festival they have been celebrating for over 1000 years. They call it the Samurai festval, and the people of Soma, who are descended from Samurai of old, celebrate their heritage and the Samurai way of life. During the festival, hundreds of modern men and women recreate the traditions and dress of the Samurai class. Horiuchi sought to capture how the Samurai spirit shines through these modern people, and occasionally how the modern cannot be suppressed. I love this photo of a contemplative Samurai interacting with his smartphone and its Supreme phone strap, and I extended the anachronism.

For more photos from this series, visit - Descendants of Samurai

Duckdor

There is a story, I assure you, but I will not tell it here. Instead, a song:

    Duckdor was a duck.
    I mean, it was a dragon-duck.
    Maybe it was just a dragon,
    But it was still DUCKDOR.

    DUCKDOR!

    Duckinating the Pennsic camp.
    Duckinating with its presence.
    Duckinating all the peoples
    In their canvas camping tents.
    CANVAS CAMPING TENTS!
  

Original photograph by Elliott C. Evans, August 2021.