Column
His view towards religion
(Beginning of the Showa period/success as a partition painter)
For Insho, beginning of the Showa period was a time when he had made great progress as a Japanese painter, displaying his works at the exhibition sponsored by the government and exhibition of Shokosha. He also made progress in creation of requested art and dedication art.
In 1933, Insho founded the Tokyusha private school of painting and as a president, he put an effort to train the younger generation of painters. Also in 1936, he taught for 5 years at his old school, Kyoto Municipal School of Painting as a professor and he played a central role in the art world of Kyoto.
During this period he got an opportunity to work on wall paintings at famous temples such as Ninna-ji Temple, Tofuku-ji Temple and To-ji Temple and Insho flourished as a religious painter.

Insho's involvement in painting room partitions started in 1925 with the Sugido-e (painting on cedar-board doors) and Fusuma-e (painting on the sliding partitions) in Ryusho-ji Temple, a Tatchu (sub-temple) of Daitoku-ji Temple.
After this, he worked on Sugido-e, Fusuma-e, paintings on the ceiling, wall paintings and paintings on the pillars for over dozen places in temples that are located around Kyoto. In his later years in 1971, he worked vigorously on painting the Fusuma-e at the Honen-in Temple in Kyoto.
The room partition paintings that he has crafted amount to about 600 surfaces.

Insho in the process of making “Blue Dragon", the painting on the ceiling at Tofuku-ji Temple


Insho in the process of making “Buddhas of the Four Directions", the wall painting at Shitenno-ji Temple


Paintings on room partitions made during Taisho era - early half of Showa era

1925
Kyoto/ Shoin of Ryushoji Temple (sub-temple of Daitokuji Temple) Fusuma-e (paintings on the sliding partitions)(24 pieces)/Sugido-e (paintings on cedar-board doors)(8 pieces)
1931
Kyoto/Kuro Shoin of Ninnaji Temple Fusuma-e (paintings on the sliding partitions)(52 pieces)
1933
Kyoto/Main Hall of Tofukuji ceiling painting (1 surface)
1934
Kyoto/Shoshibo of Toji Temple Fusuma-e (paintings on the sliding partitions)(48 pieces)
1935
Nara/Shigisan Jofukuin Temple Fusuma-e (paintings on the sliding partitions)(40 pieces)
1936
Kyoto/Junjokan of Sanboin Temple (sub-temple of Daigoji Temple) Fusuma-e (paintings on the sliding partitions)(42 pieces)
1942
Wakayama/Konpon Daito of Koyasan Kongobuji Temple wall paintings(15 pieces)/pillar paintings (16 pieces)
1942
Osaka/Pagoda of Shitennoji Temple wall paintings(20 peaces)/pillar paintings (12 pieces)[It was burned down during a war.]

The quantity of works by Insho was not small; he kept on constantly creating new works. In 1942, wall paintings and pillar paintings at Koyasan Kongobu-ji Temple and Shitenno-ji Temple Hoto (treasure pagoda) were completed. Around the same time, he was dedicated to creation of a large-scale work at two temples. During those days Insho was working on several other exhibits and was facing his paintings without any rest.

When working on Buddhist paintings, he interpreted all the related Buddhist Scriptures and drew only after detailed research. In addition, when drawing dedicated art for temples, it is said that he had always purified himself, invoking Hannya Shingyo (hear sutra) while pouring water from the well on himself even in the middle of winter. Insho himself became a strict Buddhist believer and was absorbed in the creation of Buddhist paintings.

“Avalokiteshvara" 1937 first New Bunten Exhibition

Insho received attention as partition painter not only because of his gorgeous artistic style, contained decorativeness and the fact that he was good at working with big paintings and various painting styles, but also because of his deep knowledge of religious words and ideas that astonished the priests. At the same time, the reason why Insho who did not have a strong health was able to leave so many paintings on room partitions was because of his belief in religion. In other words, faith had given him strength.


3.Influence from overseas (Appearance of new colors /deformation in his art)

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