KAZAN – A Superb Imagination at Work (in Miyagi)

Official site

The late Edo period painter Yokoyama Kazan (1781/4–1837) was active in Kyoto. Kazan remained unaffiliated and unswayed by painting world trends throughout his career, choosing instead to create his own free painting style and brushwork methods drawn from various traditions and styles. This approach won favor with the audiences of the day.
The Yokoyama family interacted with Soga Shōhaku. Kazan’s early opportunities to directly experience Shōhaku’s works led to his own personal study of Shōhaku’s paintings.
After studying under Ganku, he broadened his experience by studying the works of Goshun and adopting painting methods from various schools. These diverse experiences allowed him to freely choose brushwork styles that suited each occasion’s painting theme. Arranging even the most traditional of subjects in boldly new compositions, his brushwork’s modern, at times Western style could even be mistaken for Meiji or later works. Kazan reached his pinnacle achievement in his genre scenes and images of festivals, particularly thanks to their eyecatchingly accurate and detailed depiction of their subjects.
Kazan’s works greatly influenced other Edo period painters and he was known throughout Japan during his lifetime. After his death his son Yokoyama Kakei and his students Nakajima Kayō and Ozawa Kagaku carried on his painting style, establishing an independent position as the Yokoyama school within the Kyoto painting world. Kazan’s name appears in comparative listings of painters and in the novels of Natsume Sōseki, indicating how well known he was in the Meiji to Taishō periods. His talents were early recognized by researchers and collectors overseas, with many of his works today found in museums in America and Europe.
This exhibition is the first full retrospective of Kazan’s works, presenting examples from his earliest period to his final years and examining the diversity of his oeuvre in painting genre groupings. This display will spotlight all aspects of Kazan’s fascinating world, which despite his earlier fame is less known today. Along with its concurrent presentation of works by Soga Shōhaku and Kazan’s own students, the exhibition will also feature works from overseas collections, many making their debut appearance in a Japanese exhibition.


  • Period

  • Venue

    The Miyagi Museum of Art
    34-1 Kawauchi-Motohasekura, Aoba-ku, Sendai, Miyagi, JAPAN
  • Admission

    Adults 1,300yen(1,100yen)
    College students 1,100yen(900yen)
    Senior(65 and over) 700yen(560yen)
    High school students and under 650yen(500yen)

    *( ) reduced fees are available for groups of over 20 people

    For more details, visit the official site.

  • Closed days

    Mondays (except April 29 and May 6.), May 7

  • Opening hours

    09:30〜17:00 *Ticket counter closes at 16:30
  • Contact

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タータン 伝統と革新のデザイン(岩手展)

日本でも人気が高く、世代を超えて愛されている普遍的なデザイン、タータン。ファッションに限らず、日用雑貨や室内装飾等、あらゆるところで目にする一方、その定義や歴史などが紹介される機会は多くなかった。 タータンの起源は、中央ヨーロッパに住んでいたとされるケルト人にまでさかのぼる。スコットランドの北西部、ハイランド地方に定住したケルト人は、タータンと呼ばれる織物を日常着として用いていた。そこからタータンは、英国の歴史の中で特異な運命をたどり、18世紀にはハイランドの男性に対して着用が禁止される。しかし、ハイランド文化復興の動きによって数十年後にその禁令が解かれると、スコットランドを象徴する文化としてタータンが再び脚光を浴びるようになった。 また、タータンは身に着けることによりその人の出自や所属を示すようになった、世界でも珍しい織物。スコットランドの由緒ある氏族が身につけるクラン・タータン、地域に関わるディストリクト・タータン、王族のロイヤル・タータン等、いくつかに分類されるそのデザインは、スコットランド・タータン登記所に現在8,000種類以上も登録されている。 本展では、これまで日本ではあまり目にすることがなかったタータン生地約110点により、その多彩で洗練されたデザインを楽しむことができる。このほか、19世紀に活躍した諷刺画家ジョン・ケイの版画、現在活躍中のファッション・デザイナーによる服、日本とタータンの関わりを示す資料等約160点を通じて、その歴史や社会的、文化的背景を紹介し、様々な視点からタータンが持つ意味や魅力をさぐる。


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