List of Works

IKEGAMI SHŪHO: The Last Master of the Old School of Japanese Painting
Commemorating the 150th Anniversary of his Birth
Saturday, 25 May ― Sunday, 30 June 2024
・Artwork numbers do not necessarily correspond to the order in which they are exhibited.
・Exhibited works are subject to change for various reasons.
・Photography and filming is not permitted in the exhibition rooms.

No.

Display period
Through
11 JunePROLOGUE
1

○
○

○

4

CHAPTER 1
5

○

6

○

7

○

8

ArtistTitle

Year of
Creation

Materials

Size (cm)Collection

Ikegami Shūho and Hishida Shunsō: Nihonga’s Old and New Schools

○

2
3

From
13 JuneIkegami Shūho

Fine Autumn Weather (Autumn
Scenery)

1907

Color on silk

137.0 × 79.0

Kitano Museum of Art

Ikegami Shūho

Taoist Immortal Liu Nu

1915

Color on silk

152.3 × 69.8

Private Collection

Hishida ShunsōPrincess Fuse (Tokiwazu)

1900

Color on silk

146.6 × 67.5

Nagano Prefectual Art
MuseumHishida Shunsō

The Spirit of the Plum Treec.1901

Color on silk

124.5 × 69.5

Nagano Prefectual Art
MuseumFrom Kokuzan to Shūho○

Ikegami Shūho

The Toad Immortal

1883

Ink on paper

133.3 × 62.6

Takatō Museum of Arts○

Painting: Ikegami
Shūho,
Calligraphy:
Ikegami Shūka

Shōjō (Noh Play)

1896

Color and ink
on paper155.3 × 366.0

Takatō Museum of Arts

Araki Kanpo

Raccoon Dog

19thcentury

Oil painting on
canvas55.0 × 67.0

Tokyo National Museum○

Araki Kanpo

Flowers and Birds of the Four
Seasons

1906

Color on silk

125.4 × 71.8
(Each)The Museum of theImperial Collections,
Sannomaru Shozokan

9

○

○

Ikegami Shūho

Willow Kannon

1914

Color on silk

154.0 × 55.5

Private Collection

10

○

○

Ikegami Shūho

The Sixteen Good Deities

1896

Color on paper

103.4 × 90.9

Seifukuji Temple (Ina City)

11

○

○

Ikegami Shūho

Defeating the Demons of Mt. Ōe

1893

Color on paper

168.0 × 346.0(Each)

Iiyama Rikusō, Inc.

12

○

○

Ikegami Shūho

Saint Nichiren Takes Refuge

1911

Color on silk

145.2 × 87.6

Northern Culture Museum

CHAPTER 2
13

○

○

14

15

The Essence of Shūho: Works Shown at Government-Sponsored Exhibitions○

Ikegami Shūho

Early Winter

1910

Color on paper

167.0 × 364.0(Each)

National Museum ofModern Art, Tokyo

Ikegami Shūho

Wild Pheasants by a Mountain
Stream / Dominant over the Eight
Directions

1934

Color on silk

195.0 × 86.0
(Each)

Yokohama Museum of Art

Ikegami Shūho

Deep Water on a Sunny Day (Ravinewith Autumn Foliage)

1914

Color on silk

168.4 × 372.0(Each)

Tanaka Honke Museum

16○

Ikegami Shūho

Evening Moon

1916

Color on paper

159.5 × 360.0(Each)

National Museum ofModern Art, Tokyo

17○

Ikegami Shūho

Flowers and Birds of the Four
Seasons

1918

Color on paper

239.4 × 103.5(Each)

Nagano Prefectual Art
Museum

○Ikegami Shūho

Picture Scroll of the Kiso River(Heaven / Man)

1921

Color on paper

Heaven: 63.3
× 726.5 / Man:
63.2 × 725.5

Nagano Prefectual Art
Museum18○

TitleYear of
Creation

Materials

Size (cm)Collection

Ikegami Shūho

The Wind in the Pines and a Pair of
Cranesc.1914–
1916

Color on goldleafed silk

166.4 × 154.4(Each)

Mizuno Museum of Art

No.

Through From
Artist11 June 13 June

19

○

20

○

Ikegami Shūho

Evening Snow

Unknown

Color on silk

68.1 × 85.3

Mizuno Museum of Art

21○

Ikegami Shūho

Doves amid Cherry Blossoms / Quailamid Autumn Grasses and Flowers

1921

Color on goldleafed silk

168.0 × 165.0(Each)

Nerima Art Museum

22○

Ikegami Shūho

Guo Ziyi / Green Pine and White
Cranes / Fukurokuju

Unknown

Color on silk

144.0 × 57.0
(Each)

Komagane City Museum

23○

Ikegami Shūho

Flowers of the Nation

1924

Color on goldleafed paper

186.6 × 434.8(Each)The Museum of theImperial Collections,
Sannomaru Shozokan

Ref.

○

Takatō Museum of Arts

Magazine Shūkan Josei

24○

Ikegami Shūho

Chu Lian / Pear Blossoms andMynas / Aronia and Parrot

Unknown

Color on silk

152.5 × 57.3
(Each)

Private Collection

25○

Ikegami Shūho

Pine, Bamboo, and Camellia

1926

Color on goldleafed silk

208.0 × 421.0

Mizuno Museum of Art

26○

Ikegami Shūho

Midsummer

1933

Color on goldleafed silk

208.0 × 421.0

Mizuno Museum of Art

27

○

○

Ikegami Shūho

Peach Tree and Argus Pheasants /Pine Tree and White Hawk

1928

Color on woodpanel

166.3 × 81.9
(Each)

Australian Embassy Tokyo

28

○

○

Araki Kanpo

Peonies and Peacock / Banana
PlantsUnknown

Color on woodpanel

165.5 × 81.5
(Each)

Australian Embassy Tokyo○

Ikegami Shūho

Deer Playing in the Snow

1915

Color on silk

168.2 × 71.6

Northern Culture Museum

29
30

○

○

Ikegami Shūho

Cattle at Pasture

1929

Color on silk

138.8 × 50.7

Private Collection

31

○

○

Ikegami Shūho

Laozi Crossing the Barrier

1931

Color on silk

144.2 × 50.8

Private Collection

32

○

○

Ikegami Shūho

Drizzling Rain

1931

Color on silk

141.0 × 51.0

Private Collection

33

○

○

Ikegami Shūho

White Falcon

Unknown

Color on silk

81.7 × 124.5

Jōenji Temple (Ina City)

34

○

○

Ikegami Shūho

Painting Seals

35

○

○

Ikegami Shūho

Green Birds and Red Fruit

1929

Color on silk

238.0 × 215.0

Jōenji Temple (Ina City)

36

○

○

Ikegami Shūho

Autumn Rain

1932

Color on silk

161.0 × 177.5

Nagano Prefectual Art
Museum37○○

Ikegami Shūho

Fine Autumn Weather

1934

Color on silk

293.3 × 147.8

Institute for Research in
Humanities, Kyoto
University

38

Nerima venue
Ikegami Shūho
only

Fine Autumn Weather (Full-Sized
Study)

1934

Color on paper

267.0 × 120.0

Nagano Prefectual Art
MuseumCHAPTER 3

Takatō Museum of Arts

Shūho and Drawing from Life: Kanpo’s Instruction and the Foundation of a “High-Definition” Painter

39

○

○

Ikegami Shūho

Birds (Brambling, Skylark, YellowThroated Bunting)1892

Color on paper

27.5 × 19.5

Takatō Museum of Arts

40

○

○

Ikegami Shūho

Birds (Eurasian Siskin [Male andFemale], Bohemian Waxwing)

1892

Color on paper

19.5 × 27.5

Takatō Museum of Arts

41

○

○

Ikegami Shūho

Bird (A Type of Bird of Paradise)

1892

Color on paper

27.5 × 19.5

Takatō Museum of Arts

42

○

○

Ikegami Shūho

Birds (Narcissus Flycatcher, Grey
Wagtail)1892

Color on paper

27.5 × 19.5

Takatō Museum of Arts

43

○

○

Ikegami Shūho

Birds (Long-Billed Plover, Kentish
Plover)1892

Color on paper

19.5 × 27.5

Takatō Museum of Arts

44

○

○

Ikegami Shūho

Bird (Lesser Sand Plover)

1892

Color on paper

27.5 × 19.5

Takatō Museum of ArtsNo.

Through From
Artist11 June 13 June

Title

Year of
Creation

Materials

Size (cm)Collection

45

○

○

Ikegami Shūho

Birds (Oriental Reed Warbler,
Chestnut-Cheeked Starling, Blueand-White Flycatcher)

1892

Color on paper

19.5 × 27.5

Takatō Museum of Arts

46

○

○

Ikegami Shūho

Cormorant

1892

Color on paper

27.5 × 19.5

Takatō Museum of Arts

47

○

○

Ikegami Shūho

Water Rail1892

Color on paper

19.5 × 27.5

Takatō Museum of Arts

48

○

○

Ikegami Shūho

Red-Billed Blue Magpie

1892

Color on paper

19.5 × 27.5

Takatō Museum of Arts

49

○

○

Ikegami Shūho

Emerald Dove

1892

Color on paper

19.5 × 27.5

Takatō Museum of Arts

50

○

○

Ikegami Shūho

Male Bohemian Waxwing

1895

Color on paper

19.5 × 27.5

Takatō Museum of Arts

51

○

○

Ikegami Shūho

Cassowary (African)

1890

Color on paper

27.5 × 19.5

Takatō Museum of Arts

52

○

○

Ikegami Shūho

Six Small Birds, Butterfly, and Cicada

1891

Color on paper

19.5 × 27.5

Takatō Museum of Arts

53

○

○

Ikegami Shūho

Steller's Sea Eagle

1892

Color on paper

27.5 × 19.5

Takatō Museum of Arts

54

○

○

Ikegami Shūho

Mice

Unknown

Color on paper

22.0 × 35.0

Takatō Museum of Arts

55

○

○

Ikegami Shūho

Duck

1892

Color on paper

27.5 × 19.5

Takatō Museum of Arts

56

○

○

Ikegami Shūho

Common Moorhen

1916

Color on paper

28.0 × 39.0

Takatō Museum of Arts

57

○

○

Ikegami Shūho

Bird (Black Kite)

Unknown

Color on paper

39.0 × 55.0

Takatō Museum of Arts

58

○

○

Ikegami Shūho

Pheasant

Unknown

Color on paper

36.5 × 66.0

Takatō Museum of Arts

59

○

○

Ikegami Shūho

Peacock

1894

Color on paper

22.4 × 34.9

Takatō Museum of Arts

60

○

○

Ikegami Shūho

Toads

1890

Color on paper

19.0 × 29.7

Takatō Museum of Arts

61

○

○

Ikegami Shūho

Mountain Hawk-Eagle

1891

Color on paper

27.5 × 19.5

Takatō Museum of Arts

62

○

○

Ikegami Shūho

Peacock

1890

Color on paper

38.0 × 27.0

Takatō Museum of Arts

63

○

○

Ikegami Shūho

Banana Plant

1894

Color on paper

35.5 × 22.5

Takatō Museum of Arts

64

○

○

Ikegami Shūho

Pears and Mantises

Unknown

Color on paper

55.5 × 71.0

Takatō Museum of Arts

65

○

○

Ikegami Shūho

Amaranthus Tricolor

Unknown

Color on paper

28.4 × 18.1

Takatō Museum of Arts

66

○

○

Ikegami Shūho

Peonies

1896

Color on paper

28.6 × 18.2

Takatō Museum of Arts

67

○

○

Ikegami Shūho

Hydrangea

Unknown

Color on paper

71.0 × 55.5

Takatō Museum of Arts

68

○

○

Ikegami Shūho

Chickens

Unknown

Color on paper

24.0 × 33.0

Takatō Museum of Arts

69

○

○

Ikegami Shūho

Hollyhocks (Red)1890

Color on paper

71.0 × 55.5

Takatō Museum of Arts

70

○

○

Ikegami Shūho

Narcissus, Chinese Bellflower

Unknown

Color on paper

59.3 × 47.0

Takatō Museum of Arts

71

○

○

Ikegami Shūho

Evening Primrose

1896

Color on paper

28.0 × 18.3

Takatō Museum of Arts

72

○

○

Ikegami Shūho

Morning Glories

Unknown

Color on paper

28.4 × 18.5

Takatō Museum of Arts

73

○

○

Ikegami Shūho

Korean Morning Glories

Unknown

Color on paper

35.5 × 22.5

Takatō Museum of Arts

74

○

○

Ikegami Shūho

MilletUnknown

Color on paper

35.5 × 22.8

Takatō Museum of Arts

75

○

○

Ikegami Shūho

IrisesUnknown

Color on paper

28.1 × 18.1

Takatō Museum of Arts

76

○

○

Ikegami Shūho

Four O'Clocks

Unknown

Color on paper

28.1 × 18.3

Takatō Museum of Arts

77

○

○

Ikegami Shūho

FigureUnknown

Pencil on paper

29.4 × 170

Takatō Museum of Arts

78

○

○

Ikegami Shūho

Nudes

Unknown

Ink on paper

54.6 × 72.8

Takatō Museum of Arts

79

○

○

Ikegami Shūho

Nudes

Unknown

Ink on paper

54.6 × 72.8

Takatō Museum of Arts

80

○

○

Ikegami Shūho

View Toward Nishikoma from
Katayama

1893

Color on paper

35.6 × 22.7

Takatō Museum of ArtsNo.

Through From
Artist11 June 13 June

Title

Year of
Creation

Materials

Size (cm)Collection

81

○

○

Ikegami Shūho

Realistic Sketch of a Hamlet inMusashi Province

Unknown

Color on paper

35.6 × 22.8

Takatō Museum of Arts

82

○

○

Ikegami Shūho

View of Houses in Takatō

1890

Color on paper

54.5 × 72.7

Takatō Museum of Arts

83

〇

〇

Ikegami Shūho

Scrolls of Sketches by the Head of
Denshindō

1912–
1941

Color on paper

27.5–28.0 ×
2100.0 (Each)

Yokohama Museum of Art(Gift of Ikegami Shūichi)

84○

Ikegami Shūho

Shōki

1910

Color on paper

108.0 × 40.0

Private Collection

85–
92

○

○

Ikegami Shūho

Notebooks (Records of Works
Produced)

1917–
1944

○

Ikegami Shūho

Pheasant Beneath a Cherry Tree

Unknown

93
94

○

○

Ikegami Shūho

Sketchbooks

95

○

○

Ikegami ShūhoAlbum of Studies

CHAPTER 4
96

Color on silk

104.6 × 61.8

Private Collection
Takatō Museum of Arts

Color on paper
Unknown

Ink on paper

23.6 × 16.2

Nagano Prefectual Art
MuseumShūho and Folding Screens: The Essence of Painting
Ikegami Shūho

Herons in a Bamboo Forest

1913

Color on paper

168.3 × 364.5(Each)Jōenji Temple (Ina City)○

Ikegami Shūho

Paulownias and Phoenixes

1923

Color on goldleafed silk

170.9 × 348.2(Each)Jōenji Temple (Ina City)○

97

Takatō Museum of Arts

98

○

○

Ikegami Shūho

Picture Scroll (Study for Folding
Screens)

Unknown

Color on paper

47.3 × 2039.7

Nagano Prefectual Art
Museum99○○

Ikegami Shūho

Picture Scroll (Study for Folding
Screens)

Unknown

Color on paper

46.5 × 2440.0

Private Collection

EPILOGUE

Shūho’s Later Years: An Undiminished Creative Drive
Nagano Prefectual Art
Museum100○○

Ikegami Shūho

StudiesUnknown

Ink on paper

101

○

○

Ikegami Shūho

Butterflies in Flight

1937

Color on paper

Ref.

○

○

Ikegami Shūho

Shūho Room (Tofūtei Restaurant)
and Seisui Room (One Hundred
Steps Staircase), Meguro Gajoen

1932

102

○

○

Ikegami Shūho

A Deer Calling Deep in the
Mountains

Unknown

Color on silk

249.5 × 116.3

Nagano Prefectual Art
Museum103○○

Ikegami Shūho

Sun and Shower

1941

Color on silk

178.0 × 228.0

Museum of Contemporary
Art Tokyo

104

○

○

Ikegami Shūho

Divine Wind

1943

Color on paper

175.0 × 370.0(Each)

Yasukuni Jinja Yūshūkan
Museum105○○

Nakamura Randai
Painting Seal (Koki)
II

2.5 × 2.0 × 4.1

Takatō Museum of Arts

Unknown

117.0–118.0 ×
163.0–207.0(Each)

Iiyama Rikusō, Inc.

Hotel Gajoen Tokyo

PROLOGUE
Ikegami Shūho and Hishida Shunsō: Nihonga’s Old and New Schools
Ikegami Shūho (1874–1944) and Hishida Shunsō (1874–1911) were the same age. While there is norecord of interaction between the two, they were born in the same region and, though driven to
pursue art for different reasons, both moved to Tokyo in the same year to study painting in earnest.
Their first steps as painters succinctly represent the two directions available to those seeking tomaster the fine arts at the time. Shūho joined a premodern-style painting school for those aiming toacquire painting skills through a master-disciple relationship. Shunsō, on the other hand, entered theTokyo School of Fine Arts, which had just opened in 1889. Rather than relying on apprenticeship, it
offered a modern course of instruction based on learning diverse techniques from instructors ofvarious schools and the reproduction of old paintings. The different routes taken by the two correlate
directly with the division that then split the painting world: that between an “old school” that adhered
to traditional painting styles and a “new school” that sought to create new Nihonga. When thegovernment-sponsored Ministry of Education Art Exhibition (Bunten), modeled after the Salon in
France, was established in 1907, conflict between the old and new schools over the selection of jury
members further highlighted the divide.
What separated the “old school” and the “new school”? We explore this question here bycomparing the works of Shūho and Shunsō.

CHAPTER 1
From Kokuzan to Shūho
In 1889, after graduating from Takatō School, Kunisaburō moved to Tokyo at the age of 15,
accompanied briefly by his father, and became the first pupil of Araki Kanpo. For the next four years,
he applied himself to rigorous training as a live-in apprentice. The art name Shūho (秀畝) takes its
first character from his father’s pseudonym Shūka (秀花) and its second from his teacher’s art name
Kanpo (寛畝).
Shūho’s remaining works include some signed with the name Kokuzan, which he used prior tojoining Kanpo’s studio, that demonstrate a proficiency in the fundamentals of brushwork and reflect
both his natural dexterity and the understanding and guidance of his father and grandfather. He is
said to have begun using the name Kokuzan around 1888, but confirmed examples such as The Toad

Immortal [No. 5], which he produced in 1883 at the age of nine, suggest the need for further study.
In this chapter, we examine works from Ikegami’s Kokuzan period through the time he began
using the name Shūho.

CHAPTER 2
The Essence of Shūho: Works Shown at Government-Sponsored Exhibitions
Shūho exhibited his paintings not only at government-sponsored exhibitions but also at shows heldby the Japan Art Association, the Japan Painting Society, Kanpo’s painting school Dokugakai, and his
own painting school Denshindō. He placed particular emphasis on those submitted to governmentsponsored exhibitions, which were regarded as the most important, putting forward many
experimental works that differed from those he presented elsewhere. Although the paintings that
Shūho submitted to government-sponsored exhibitions are still considered his most important works,
the whereabouts of many are unfortunately now unknown.
Shūho first submitted work to a government-sponsored exhibition at the 2nd Ministry of
Education Art Exhibition (Bunten) in 1908. Selected for exhibition every year thereafter, at the 4th
Bunten (1910) he was awarded third prize for the first time for Early Winter [No. 13], which waspurchased by the government. He later achieved the remarkable feat of winning three consecutive
Tokusen prizes for Evening Moon [No. 16] at the 10th Bunten (1916), Towering Peaks after the Rain
(Shunrei ugo) at the 11th, and Flowers and Birds of the Four Seasons [No. 17] at the 12th. Notably,
Flowers and Birds of the Four Seasons, a lavishly decorative work inspired by Momoyama Period
masters such as Kanō Eitoku and Kanō Sanraku, also incorporated elements of the drawing from life
to which Shūho had dedicated himself so single-mindedly since beginning his apprenticeship,transforming the traditional bird-and-flower painting into something fresh and more modern.
Commissioned by Baron Fujita Heitarō to commemorate the wedding of Crown Prince Hirohito(later Emperor Shōwa) in 1924, Flowers of the Nation [No. 23, Nagano venue only] continues to be
used by the Imperial Household today as a decoration for welcome functions. Paintings on
cryptomeria door panels [No. 27] produced for the residence of Marquis Hachisuka in 1928 depict, infinely executed brushwork, a white hawk on one side and argus pheasants on the other. Suchdecorative paintings for palaces and mansions were an important part of Shūho’s work as a leading
master of traditionalist “old school” painting.

CHAPTER 3
Shūho and Drawing from Life: Kanpo’s Instruction and the Foundation of a “HighDefinition” Painter
Shūho’s rigorous training under Araki Kanpo included not only the reproduction of model paintings
but also a particular emphasis on the practice of drawing from life. Perhaps because Shūho himself
was familiar with painting from a young age, he seems to have excelled not only at realisticallyrendering plants, animals, landscapes, and people but also at instantly grasping their distinctive
characteristics and, much like perfect pitch, seamlessly incorporating such insights into his depictions.
Due to Kanpo’s experience with Western-style painting, his instruction incorporated elements ofanatomy. Shūho’s many remaining sketches and the “high-definition” depictions seen in his finishedworks can be said to have been built on the foundation of Kanpo’s teachings.
The subjects of Shūho’s drawings from life include animals such as birds and deer, plants such as
morning glories, lilies, and banana plants, and sketches of people and nude figures. The little
sketchbooks he always carried with him contain lively depictions of passersby, festival scenes, geisha
and actors, and the students at his Denshindō painting school.
Shūho is said to have studied Western-style painting for six months, initially keeping this a secretfrom Kanpo. Ultimately, Kanpo persuaded him to give it up, but because Shūho had learned
watercolor painting, his sketchbooks include shading and depictions in silhouette that differ from his
Nihonga work.
In this chapter, we look at some of the many drawings from life that Shūho produced so diligently
beginning from his days as an apprentice.

CHAPTER 4
Shūho and Folding Screens: The Essence of Painting
Most people didn’t paint such large works, but I generally painted two pairs of six-panel folding
screens.
(Ikegami Shūho, Kōjutsu hikae [A Dictated Record], 1937)
The above is Shūho’s reminiscence on his participation in government-sponsored art exhibitions,
important annual presentations at which he consistently exhibited two pairs of folding screens. Inaddition to bird-and-flower paintings, he also produced historical paintings, landscapes, and otherworks in accordance with his interests and concerns at the time. In response to the growing numberof exhibitors, however, beginning with the Ministry of Education Art Exhibition (Bunten) in 1916 therules were changed to limit any exhibitor to a single pair of folding screens. Despite this restriction,
Shūho continued to frequently exhibit folding screens at editions of the later Imperial Art Academy
Exhibition (Teiten) and New Ministry of Education Art Exhibition (Shin Bunten).
In modern times, the character of the folding screen has been less that of a home furnishing andmore that of a large-format medium that would catch the eye in a venue filled with many other works.
The whereabouts of many of Shūho’s folding screen submissions to the Bunten and Teiten exhibitions
are unknown, but we can get a sense of what they looked like from a picture scroll compiling Shūho’s
studies for folding screen paintings that includes those for more than twenty works submitted to suchgovernment-sponsored exhibitions [No. 98–99]. Considering that Shūho also produced folding screen
works for other exhibitions as well as under commission, he no doubt created a vast number of suchworks.
For this exhibition, we have prepared a viewing space with tatami flooring to enable visitors toexperience folding screens up close as furnishings.

EPILOGUE
Shūho’s Later Years: An Undiminished Creative Drive
Shūho’s creative drive was undiminished even after he passed the age of sixty. Indeed, he may havebeen busier than ever between the annual exhibitions, his painting school, his own solo exhibitions,and burgeoning commissions. The largest works of his later years include his murals for Meguro
Gajoen and his paintings commemorating Imperial Rescript Day, which were produced as invocations
for victory in the Pacific War.
Construction on Meguro Gajoen began in 1931 on the site of what is now Hotel Gojoen Tokyo.
Many Nihonga painters were involved in producing works to decorate its interiors. At the hotel today,
it is possible to view the Shūho Room, for which Shūho produced transom and ceiling paintings, aswell as his ceiling panels in a room off the One Hundred Steps Staircase, a Minato City designatedcultural property. Please enjoy viewing these works through the video produced for this exhibition.
At the same time, during the final two years of his life Shūho, like other artists, was swallowed
up by the tide of the times. Divine Wind (Kamikaze) [No. 104], a major work from Shūho’s final yearsthat depicts the thirteenth-century Mongol invasions of Japan, was produced to commemorate
Imperial Rescript Day and presented as an offering to Yasukuni Jinja shrine. The flames rendered ingold accentuate the tension of the raging waves. Shūho used the 古希 (koki, meaning “seventiethyear”) seal [No. 105], seen on Divine Wind, for but a single year, showing it proudly to his son Shūichi
and using it only on works with which he was particularly pleased.
Shūho passed away on 26 May 1944, ending a seventy-year life dedicated to the pursuit ofpainting.