Proco is known as the "Chicken Painter." He draws numerous depictions of chickens, including those facing forward and backward, proudly standing or sitting. The lanterns are meticulously drawn with countless dots, giving the surface of the jadeite stone a true-to-life appearance. The screens feature variously positioned roosters and hens, each charmingly depicted. Motifs of pine and plum blossoms are also incorporated. The work skillfully uses the richness and thinness of ink. For example, the rooster's tail feathers and pine needles are dynamically drawn, while the chicken feathers are delicately rendered, allowing the ink's texture to shine through. The lanterns on the right screen are intricately dotted, revealing subtle tonal changes that convey the solidity and texture of the stone. Though based on sumi ink, accents of yellow, red, and white are added, enhancing the overall composition despite the small canvas size. The author, Itō Proco, was an active painter during the middle period of the Edo era in Kyoto. He valued what he saw with his own eyes and often painted familiar subjects, specializing in chickens. Known as the "Chicken Painter," Proco kept chickens in his own garden and carefully observed and painted them. These chickens may have been his own.
若冲は「鶏の画家」と知られ、多くの鶏図を描いている。正面向きや後ろを向いたもの、雄々しく立つ姿や座る姿など、雌雄の鶏と雛のさまざまな姿態を克明に描き分けている。石燈籠は、大小の無数の点で描かれて、御影石の表面が真に迫ってあらわされている。 正面向きや後ろ向きなど様々な向きの雄鶏（おんどり）と雌鳥（めんどり）が左右一対の屏風に可愛らしく描かれており、松と梅のおめでたいモチーフも取り入れられています。 この作品は墨(すみ）の濃淡（のうたん）を巧みに使い描かれています。例えば、雄鶏の尾羽や松の葉は勢いよくダイナミックに描写されている一方で、鶏の羽毛は丁寧に描かれ、墨のかすれやにじみが生かされています。右の屏風に描かれている石燈籠（いしどうろう）は、よく見ると大小の無数の点で描かれていることがわかります。微妙な濃淡の変化をつけることで石の立体感や質感が表現されているのです。水墨を基調としていますが、梅の花や鶏の鶏冠（とさか）や羽毛などに黄・赤・白の色付けがされており小さい面積ながらもアクセントになっています。 作者の伊藤若冲は江戸時代中期、京都で活躍した画家です。自分の目で見ることを大切にしていた若冲は花や鳥など身近な題材をよく描いており、中でも鶏を得意としていました。「鶏の画家」として知られた若冲は自分の庭で鶏を飼っており、よく観察し写生をしていました。この鶏たちも若冲に飼われていた鶏かもしれません。
View the original at Japan Search →A weapons statute that contains the most important art registry in the country. Article 2 defines a sword by measurement: a blade of fifteen centimetres or more for a sword, spear or naginata, five and a half for a dagger. Article 14 then carves out an exception. The prefectural board of education registers old firearms of value as art or antiques, and swords of value as art, on the basis of an appraisal by registration examiners appointed for their scholarly knowledge.
The cool part. A Japanese sword is lawful to own because it has been certified as art. Not because it was disarmed, not because it was licensed as a weapon. The judgement is made by the board of education, and Article 14 then requires the board to notify the prefectural public safety commission of what it has decided. The culture side rules, and the police are informed afterwards. Fail the appraisal and the same object becomes contraband.
Verify at e-Gov 法令検索 →Use it Palette for a single-colour run: one ink, heavy stock, nothing else on the sheet.
Description source: museum curator text, translated — not generated