A Deeper Perspective on “Invisible Faith” 　Tengshing Kazama

 

Thank you for taking the time to engage with my artwork. I have written this text to offer deeper insight into its meaning and context, and I hope it enhances your experience.

 

The Purpose of Artistic Expression

　What is the ultimate purpose of artistic expression?”
To explore this question, I find myself both an artist from Hokkaido and a Buddhist monk.

 

The Christian Influence on Japanese Art
The Birth of a “Christian-Like” Aesthetic and Culture

　Western-style painting (yoga) was introduced to Japan during the Meiji era (1868–1912), along with the use of oil paints. As Japanese society rapidly Westernized, Western painting became the dominant trend in the art world, leaving a lasting impact on modern Japanese art.

　To fully grasp Western painting, Japanese artists of the time had to study not only its techniques but also the historical and philosophical foundations of the West, including Christian thought. As a result, it is easy to imagine that Christian artists played a crucial role in shaping the foundations of modern Japanese art.

　In Hokkaido, Western culture had a particularly strong influence after the Meiji era. The development of Hokkaido art was shaped in part by networks formed through Christianity, fostering sincere and deeply rooted artistic expressions influenced by a unique, Christian-like aesthetic and culture.

　To explore this historical influence and connection, I will highlight three key figures: Hayashi Takejiro, Matano Daishiro, and Kishida Ryusei—the latter of whom had a significant impact on Matano.

 

Hayashi Takejiro　林 竹治郎

　Born in Miyagi Prefecture, Hayashi was baptized as a Christian at the age of 18. He graduated from the Tokyo Fine Arts School (now Tokyo University of the Arts) and dedicated his career to teaching, spending 28 years at Hokkaido Sapporo First Junior High School (now Hokkaido Sapporo Minami High School) and 13 years at Fuji Girls’ High School.

　As an influential educator, Hayashi mentored many significant artists, including Migishi Kotaro, Matano Daishiro, and Nakahara Teijiro. His masterpiece, The Morning Prayer, was the only work from Hokkaido selected for the first Bunten Exhibition—Japan’s first public art competition.

Matano Daishiro　俣野 第四郎

　Born in Hakodate, Hokkaido, Matano moved to Sapporo at the age of 5 and studied under Hayashi Takejiro at Hokkaido Sapporo First Junior High School. During his fourth year, he fell ill and had to take a year off from school—a period that deepened his interest in both painting and literature.

　Matano maintained a close friendship with Migishi Kotaro from their school days. In 1921, the two moved to Tokyo together and enrolled in the Tokyo School of Fine Arts.

　Profoundly influenced by Kishida Ryusei, Matano pursued his art with great intensity despite recurring illness. He continued painting passionately until his untimely death at the age of 25.

Kishida Ryusei　岸田 劉生

　Born in Ginza, Tokyo, Kishida was baptized at 15 and initially trained as a pastor before pursuing art. He studied under Kuroda Seiki, often referred to as the father of modern Western-style painting in Japan.

　Early in his career, Kishida was influenced by Western painting styles, striving to capture the “inner beauty” of his subjects. Over time, he shifted toward Eastern aesthetics, embracing hikin-bi (“Eastern realism-like beauty”)—a subdued, mysterious, and sometimes grotesque style.

　A charismatic and influential figure among young artists, Kishida left a lasting impact on modern Japanese art. He passed away at the age of 38, leaving behind masterpieces such as Portrait of Reiko.

 

 

Artwork Description and Notes

 

“The Morning Prayer” 　「朝の祈り」

　This painting was created in 1906 (Meiji 39) during the Russo-Japanese War. When exhibited at Bunten—Japan’s first public art competition—it was titled Conscious and Unconscious (Ushin Mushin).

　The painting depicts a mother and her three children gathered in prayer around a low dining table, accompanied by a cat. The person placing their hand on the Bible is a boarding student, but the scene itself reflects the artist Hayashi’s own daily family worship.

　On the wall, a portrait and a military sword can be seen, while a cross is subtly incorporated into the corner of the portrait’s frame.

 

“Still Life”

　In 16th- and 17th-century Netherlands, demand for religious paintings declined. As a result, artists began isolating elements that had traditionally been part of religious compositions—such as flowers and fruits used as offerings—and depicting them as independent subjects.

　Because still-life objects could be freely arranged, painters focused on achieving refined and harmonious compositions. Additionally, by capturing fleeting moments of perishable natural elements, they conveyed the concept of impermanence.

　Alongside portraiture and landscape painting, still life remains one of the major genres in art and continues to be a significant subject in contemporary works.

　A Different Case :
　In Italy, still-life painting dates back to ancient Roman times. Although it fell out of prominence for a period, it regained popularity during the Renaissance, marking a revival of interest in the genre.

  

“Butsudan and Offerings” 

　The butsudan (Buddhist household altar) is a uniquely Japanese cultural tradition. Various cultural influences from China were adapted and evolved over time, giving rise to distinct Japanese customs and practices—mizuhiki (traditional decorative cords) being another example.

　During the Edo period (1603–1868), the danka system (a temple patronage system) played a significant role in establishing the custom of placing a butsudan in the tokonoma (alcove) at home to honor one’s ancestors. This tradition remains deeply rooted in Japanese culture today.

 

　Mizuhiki : A traditional Japanese decorative cord made from twisted colorful paper, used for gift wrapping, particularly in formal ceremonies such as weddings and funerals. The artwork “Invisible Faith” is primarily created using mizuhiki. 

　Danka System : A system established during the Edo period in which temples were responsible for managing family registers and ensuring religious affiliation.

 

 

① A Christ Figure

　This piece was created using mizuhiki under the hypothetical question:
“What if images of Christ had been preserved as mingei (folk art) in Japan?”

　Mingei : A form of folk art—traditional handcrafted objects that were an integral part of everyday life for common people. In modern times, their artistic and cultural value has been rediscovered and reevaluated.

 

②③ Zushi (small altar)　厨子

　Originally, zushi were small altars used by aristocrats to enshrine Buddhist statues and other sacred objects. Over time, this practice spread to common households and eventually evolved into the butsudan—a Buddhist household altar used to honor one’s ancestors.

 

④⑤ Kin Butsudan (Golden Altar)　金仏壇

　The kin butsudan originated in Jodo Shinshu, one of Japan’s Buddhist sects, as a way to represent the Pure Land Paradise (Jodo). Today, gold is commonly used in butsudan regardless of sect.

 

⑥ Christian Home Altar

　Since the butsudan developed within a Buddhist context, it is traditionally referred to as a “Buddhist altar.” However, similar altars exist in other faiths, including Christian home altars and Shinto altars, which share a similar structure and purpose.

 

  

Translated by Megumi Sano