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Lot Essay
PUBLISHED:
Kayama Matazo, Yomigaeru suiboku (The revival of ink painting), edited by Tsuruta Heihachiro, vol. 4 of Kayama Matazo zenshu/The works of Matazo Kayama (Tokyo: Gakushu Kenkyusha, 1990), pl. 29.
For a four-fold screen of the same view of moonlight on Mount Qilian, Gansu province, China painted in 1988 see National Museum of Modern Art, Tokyo, et al., Kayama Matazo ten/Matazo Kayama Exhibition, exh. cat. (Tokyo: Nihon Keizai Shimbunsha, 1998), pl. 55. The artist says of this work in the catalogue, "The desolate mountain range, which appeared to be made up of a countless number of sharp peaks, was an image of the eternal Earth, one untouched by any animal, a part of history that surpassed human events, giving me a sense of a brief glimpse of the true face of the Earth, a feeling that moved me greatly" (p. 117).
Kayama Matazo, Yomigaeru suiboku (The revival of ink painting), edited by Tsuruta Heihachiro, vol. 4 of Kayama Matazo zenshu/The works of Matazo Kayama (Tokyo: Gakushu Kenkyusha, 1990), pl. 29.
For a four-fold screen of the same view of moonlight on Mount Qilian, Gansu province, China painted in 1988 see National Museum of Modern Art, Tokyo, et al., Kayama Matazo ten/Matazo Kayama Exhibition, exh. cat. (Tokyo: Nihon Keizai Shimbunsha, 1998), pl. 55. The artist says of this work in the catalogue, "The desolate mountain range, which appeared to be made up of a countless number of sharp peaks, was an image of the eternal Earth, one untouched by any animal, a part of history that surpassed human events, giving me a sense of a brief glimpse of the true face of the Earth, a feeling that moved me greatly" (p. 117).