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2 For biographical details, see: Yui Kazuto 油 井 一 人 .Nijusseiki bukko nihongaka jiten 20 世 紀 物 故 日 本画 家 事 典 . Tokyo: Bijutsu Nenkansha 美 術 年 鑑 社 ,1998, p. 196. Some of the artist names he usedinclude Keimei 契 明 , Deigyū 泥 牛 , and Kōrin 晃 林 .3 See biographical information on Keisen: PaulBerry and Michiyo Morioka, Literati Modern: Bunjingafrom Late Edo to Twentieth-Century Japan: TheTerry Welch Collection at the Honolulu Academy ofArts. Honolulu: Honolulu Academy of Arts, 2008,pp. 306 – 8; for Keigetsu, see: Kyoto City Museum京 都 市 美 術 館 , ed. Kikuchi Keigetsu to sono keifu菊 池 契 月 とその 系 譜 . Kyoto: Kyoto Shimbunsha京 都 新 聞 社 , 1999.4 For some of the national exhibitions he was partof, see: Nittenshi Hensan Iinkai 日 展 史 編 纂 委 員 会 .Bunten, Teiten, Shin Bunten, Nitten zen shuppinmokuroku: Meiji 40-nen--Shōwa 32-nen: Nitten shishiryō 文 展 ・ 帝 展 ・ 新 文 展 ・ 日 展 全 出 品 目 錄 : 明 治 40年 -- 昭 和 32 年 : 日 展 史 資 料 . Tokyo: Nittenshi HensanIinkai 日 展 史 編 纂 委 員 会 , 1990, vol. 2, p. 18.Nr. 19 Daruma Portrait1 Three Daruma portraits from 1914 and 1917 aredepicted in: The National Museum of Modern Art,Kyoto 京 都 国 立 近 代 美 術 館 and Chikkyō Art Museum,Kasaoka 笠 岡 市 立 竹 喬 美 術 館 , eds. Tsuji Kakō Exhibition都 路 華 香 展 . Kasaoka 笠 岡 and Kyoto 京 都 :The National Museum of Modern Art, Kyoto 京 都国 立 近 代 美 術 館 and Chikkyō Art Museum, Kasaoka笠 岡 市 立 竹 喬 美 術 館 , 2006, pp. 96 and 106 – 72 This is a common way to depict the patriarch; seefor example Daruma paintings by various artistsin: Asai Kyōko 浅 井 京 子 , ed. Kyū-Tomioka Bijutiskanshozō: Zen shoga mokuroku 旧 富 岡 美 術 館 所 蔵 ・禅 書 画 目 録 . Tokyo: Waseda University Aizu YaichiMemorial Museum 早 稲 田 大 学 會 津 八 一 記 念 博 物 館 ,20073 One of the last paintings brushed by Kakō wasa portrait of this monk. For details, see: Paul Berryand Michiyo Morioka, Literati Modern: Bunjingafrom Late Edo to Twentieth-Century Japan: The TerryWelch Collection at the Honolulu Academy of Arts.Honolulu: Honolulu Academy of Arts, 2008, p. 266.See also: Ellen P. Conant, et al., Nihonga, Transcendingthe Past: Japanese Style Painting, 1868 –1968.Saint Louis: The Saint Louis Art Museum and TheJapan Foundation, 1995, p. 328.4 For biographical information on the artist, see thefollowing texts: Michiyo Morioka, »A Reexaminationof Tsuji Kakō’s Art and Career« in Paul Berry andMichiyo Morioka, Modern Masters of Kyoto: TheTransformation of Japanese Painting Traditions,Nihonga from the Griffith and Patricia Way Collection.Seattle: Seattle Art Museum, 1999, 40 – 54. Seealso references in Ellen P. Conant, et al., Nihonga,Transcending the Past: Japanese Style Painting,1868 –1968. Saint Louis: The Saint Louis Art Museumand The Japan Foundation, 1995; and Ōtsu CityMuseum of History 大 津 市 歴 史 博 物 館 , ed. ShirarezaruNihon kaiga 知 られざる 日 本 絵 画 (English title: UnexploredAvenues of Japanese Painting). Seattle andŌtsu: University of Washington Press, Ōtsu City Museumof History 大 津 市 歴 史 博 物 館 , 2001. See alsoPaul Berry and Michiyo Morioka, Literati Modern:Bunjinga from Late Edo to Twentieth-Century Japan:The Terry Welch Collection at the Honolulu Academyof Arts. Honolulu: Honolulu Academy of Arts, 2008,pp. 265 – 6.Nr. 20 Hearing Nothing, Seeing Nothing1 All three seals were used on or around Nantembō’seighty-fifth year. See Matthew Welch, The Paintingsand Calligraphy of the Japanese Zen Priest TōjūZenshū, Alias Nantembō (1839 –1925). PhD dissertation,University of Kansas, 1995, Appendix Two.2 Also Romanized as »sanjitsu jirō« and »mijirō.«See for example, Yokoi Yūhō, The Japanese EnglishBuddhist Dictionary (Tokyo: Sankibō Buddhist BookStore, 1991), pp. 580 –13 Jingde chuandenglu (Japanese: Keitoku dentōroku)『 景 徳 伝 燈 録 』(Shanghai: Shang wu yin shu guan,1935).4 See Welch, ibid, page 136.5 See Stephen Addiss. The Art of Zen. New York:Harry Abrams, 1989, p. 191.Nr. 22 Maeda Chikubōsai I1 For three more examples of his work, see our2006 publication, item12; the 2007 publication,item17; and the 2009 publication, item16.Nr. 23 Tanabe Chikuunsai I1 For four other examples of baskets by Chikuunsai II,see our 2006 publication, items nr.14 and nr.15; the2007 publication, item 20; and the 2008 publication,item19.Nr. 26 Incense Box with Nanten and the Full Moon1 For information on the Nadina, see: TerashimaRyōan 寺 島 良 安 , Wakan sansai zue 和 漢 三 才 図 絵 .2 vols. Tokyo: Tokyo Bijutsu 東 京 美 術 , 1970, vol. 2,p. 1198.Nr. 27 Writing Box with Fans and Autumn Grasses1 For many fine examples of Genji-related fans, see:Murasaki Shikibu. Le dit du Genji: Genji monogatari:Illustré par la peinture traditionnelle japonaise duXIIe au XVIIe siècle. 3 vols. Paris: D. de Selliers, 2007.Nr. 28 Writing Box with Books1 Kokin wakashū 古 今 和 歌 集 , poem number 345.Based on the translation in Helen Craig McCullough,Kokin wakashū: the First Imperial Anthology ofJapanese Poetry: with Tosa nikki and Shinsen waka.Stanford, CA: Stanford University Press, 1985, p. 83.Nr. 29 Tales of Genji Tebako Box1 The store is presently located in the Okazaki areaof Kyoto, which is also the location of period exhibitionsof objects from the storage collections ofthe studio. There is also a major store in Tokyo inthe Nihonbashi area.Nr. 30 Writing Box with the Hundred Kings1 See also the 18th century dictionary Wakansansai zue 和 漢 三 才 図 絵 、which lists the Shishi lionas the »leader of one hundred animals 百 獣 ノ 長 .«See: Terashima Ryōan 寺 島 良 安 , Wakan sansai zue和 漢 三 才 図 絵 . 2 vols. Tokyo: Tokyo Bijutsu 東 京 美 術 ,1970, vol. 1, p. 437.2 See the items by Mikami Jisaburō 三 上 治 三 郎 andthe studio in the recent important catalogue: TokyoNational Museum for Modern Art 東 京 国 立 近 代 美 術 館 .Nihon no āru nūvō 1900--1923: kōgei to dezain noshinjidai (Art Nouveau in Japan 1900--1923: The NewAge of Crafts and Design) 日 本 のアール・ヌーヴォー1900--1923 工 芸 とデザインの 新 時 代 . Tokyo: TōkyōKokuritsu Kindai Bijutsukan, 2005.118 119