Artworks produced by Shohekiga Project
Shohekiga paintings were developed along with the shinden-zukuri architecture style (shinden is the main building of nobleman's residence) in the Heian period and the shoin-zukuri architecture style (shoin is a study and living room of samurai or nobleman's residence) in the Muromachi period. These paintings were also used in castle and temple architecture from the Azuchi-Momoyama period onwards. Initially, sliding doors were used to separate rooms. But later, magnificent and graceful sliding door paintings decorated shoin rooms were used to welcome guests, and also became a symbol of authority. Some artists also painted sliding door paintings in temples and other places as a sign of gratitude for their stay. It can be said that sliding door paintings have been established in the living space. Some of the sliding door and folding screen paintings are considered important artworks and are housed in famous overseas museums, such as the Metropolitan Museum of Art in New York and the Smithsonian National Asian Art Museum in Washington, D.C.
The Shohekiga Project attempted to learn from the past based on these historical episodes and to create 'space of hospitality' in the historical buildings.
Shohekiga paintings, created as the culmination of the Shohekiga Poject, were exhibited at the Shohekiga Exhibition held from 28 February to 14 March 2024 in Takehara Townscape Preservation District, Takehara City, Hiroshima Prefecture, Japan.
After the exhibition, the artworks were donated to Takehara City by Setonaikai Ecotourism Association in March 2024.
Since then, Takehara City's Industrial Promotion Division has exhibited the artworks at the "Sea Art Walk (Umi de tsunagaru art walk)" held from late April to the first week of May and "Path of Admiration (Shokei no michi)" in late October.
These shohekiga paintings created by the three artists who got inspired by nature and culture of Takehara are displayed in the historical buildings located in the Takehara Townscape Preservation District. The artworks connect the past with the present, enliven the spaces, and breathe new life into historical buildings.
(References) Obunsha's Dictionary of Japanese History, Third Edition; Digital Daijisen; Yamakawa's Dictionary of Japanese History, Revised New Edition; World Encyclopedia, Second Edition
Takehara Waves
Taiki Arita
Watercolors, acrylics, foil, sake brewing water, Takehara salt, bamboo charcoal, resin, found items on the beaches in Takehara
2024
The theme of this work is the waves of the Seto Inland Sea, which Takehara City faces.
During the history of Takehara, salt production and shipping trades prospered thanks to the blessings of the sea. I explored the current state of Takehara's sea and its relationship with humans through a sense of sight and hearing.
The rough drawing of a folding screen painting was created at four locations along the Seto Inland Sea coast, from east to west of Takehara City (Tadanoumi Tokoura, Tadanoumi Nagahama, Takehara Nagatoba, and Yoshina Town). The time from sunrise to sunset was divided into four periods to capture changes of the ocean depending on the time of day. The symbolic materials of Takehara, such as salt produced in Takehara, sake brewing water, and bamboo charcoal, were used to create the painting. As paintbrushes, I used bamboo brushes, shells, and plastic pieces found on the beaches.
Below the folding screen, I set up objects made of shells, driftwood, sea glass, ocean plastic, etc. collected from each beach, hardened with resin, and molded from plastic containers that were my own garbage. In addition, the sound of bare feet walking along the shore of the beach from one end to the other, and the onomatopoeia of waves made by bamboo leaves, were played when the painting was displayed.
Takehara Guardian Dieties
Yukari Ohira
Pigments, foil, and Takehara salt on Japanese washi paper
2024
This work was inspired by the Shinmeisai Festival, which began in various parts of Takehara City around mid-January 2024, when the residency began. Shinmei Festival is a fire festival held around the Lunar New Year in various locations in Takehara City to pray for a rich harvest, family safety, and good health. ‘Shinmei-san’, a bamboo or pine tree frame decorated gorgeously with colored papers and straws, are made every year at gatherings, neighborhood association meetings, school events, and others. The decorations vary depending on the regions and years, and each of those is an original Shinmei. The festival is passed down from generation to generation, and Shinmei is often affectionately called ‘Shinmei-san’. Suddenly, Shinmei appeared in the middle of towns, towered over me, and disappeared in an instant. Shinmei-san felt like a guardian deity protecting the land.
This town, protected by Shinmei, has a culture and scenery that have been passed down from generation to generation. The nature of the seamount, the history of salt production flourishing here, Fumeikaku, a building that symbolizes the town of Takehara that can be seen from anywhere in the town, and the historic townscape, all of which make it seem like various time axes have been folded together like geological strata. I created this work with the hope that people would walk through the town feeling the mysterious flow of time.
The Blessing Road
Kazuko Matsumoto
Plaster and pigments on board folding screen, buon fresco technique
2024
Although it is a technique that is not very familiar in Japan, I created this painting using a fresco technique, which has been called ‘eternal paintings’ in the West since ancient times. Fresco is a painting method that has been used to depict prayers and wishes on the walls of churches and castles.
During this residency, I felt that Takehara's rivers, temples, and bamboo forests are connected to the scenery of Kyoto, where I live. Among them, the old frosted window glass in the Matsusaka House in Takehara Townscape Preservation District left an impression on me. When I created this work, I imagined that the people involved in salt production in the past might feel the bright light of the Seto Inland Sea that reached through the frosted glass. The parts of the glass pattern that look like bird feathers and waves reminded me of ‘blessings’. I also felt that the sea ‘road’ on which Kitamae ships once passed along the Kamo River and delivered salt to other regions via the Seto Inland Sea might be connected to the children’s place: so I named this work ‘Blessing Road’. It would be a great pleasure if the head of the Matsusakas at the time, who was deeply knowledgeable about calligraphy, painting and Confucianism, was able to see this unique frescoed folding screen.
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