127.0 x 55.4cm image; 194.0 x 70.0 x 75.4cm scroll [height x width x rod]
In this painting flowers of all seasons such as wisteria (spring), poppies (summer), bush clover and bellflower (autumn) are combined as if to celebrate a timeless world of flowers. Yet one cannot miss the loss of petals on the poppy which holds the centre of the painting - an unmistakable sign of impermanence. It is this awareness, subtly expressed in works of art, that resonates in the mind of the cultivated Japanese. Kiitsu, a later Rinpa school artist, has used a characteristic Rinpa technique of dropping colour onto another while still wet to create a suffused effect, known as 'tarashikomi'.
The Asian Collections, AGNSW, 2003, pg.232.
Khanh Trinh (Editor), Kamisaka Sekka: dawn of modern Japanese design, Sydney, 2012, 55 (colour illus.). cat.no. 23
'Edo Painting Schools', The Asian Collections Art Gallery of New South Wales 2003, 2003, 232-233 (colour illus.). The colour illus. on page 233 is a detail of this work.
'How Asian artists depict nature' pg. 29., Look Mar 2002, Mar 2002, 29 (colour illus.).
Edmund Capon (England; Australia, b.1940) (Editor), Jan Meek (Australia) (Editor), Portrait of a Gallery, Sydney, 1984, 112 (colour illus.).
Kamisaka Sekka - Dawn of modern Japanese design, Art Gallery of New South Wales, 21 Jun 2012–26 Aug 2012.