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26. Noro Kaiseki (1747-1828) & Dôjun Sôan (Joun dôjin) (dates unknown)
Nanga
Autumn landscape
Signed: Waibai Ryû & Joun dôjin dai
Seals: Waibai dôsha, Soan dōjun
Technique: sumi and some colours on paper 128,2 x 27,5
Date: summer of 1825
Mounting: dark grey satin damask
ivory rollers, 210 x 40,5
Box: Authorised in 1912 by Takamori Saigan (1847-1917) and Watanabe Kaseki (1852-1930)

The poem by Zhen Shanmin, a poet of the Song dynasty reads:

煙波秋草外,活計一漁篷。
淡月明寒葦、新霜醉曉楓。
身雖殊出處,道豈有窮通。
俯仰看人面,何如數過鴻。

Patches of fog beyond the autumn flowers.
Working with the sail on the fishing boat.
A pale full moon shines on the cold reeds.

At dawn the maples receive their new colour.
In several places people appear.
How will the many roads end?

Looking up and down, I see heads everywhere.
Are there more people than passing geese?
(HK)

Unlike most of his literati colleagues Kaiseki was well-to-do and could afford the best teachers. At the age of 21 he moved to Kyoto and studied for three years with Taiga (1723-76). They became good friends. After his return to his native Wakayama in 1793 to serve the daimyô as the supervisor of sake brewing, which later was extended to the supervision of the production of copper, sugar cane and timber.
During his travels he met a lot of famous literati throughout the country and became friendly with the circle of Rai San’yô (1780-1832).

Reference:
Rosenfield B. 67
Cahill p. 48
Roberts p. 64
Araki pp. 378-381

Takamori Saigan was a Nanga painter and a great admirer of Yosa Buson (1716-1783),
Watanabe Kaseki was the grandson of Watanabe Kazan (1793-1841) and successor to the Watanabe family headship.


Availability: On Request