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.
Place where the work was made
hanging scroll; colour on silk
127.0 x 55.4 cm image; 194.0 x 70.0 x 75.4 cm scroll
Signature & date
Signed l.r., in Japanese, ink [inscribed] "Seisei Kiitsu" [and artist's seal]. Not dated.
Not on display
Where the work was made
Shown in 1 exhibition
Kamisaka Sekka - Dawn of modern Japanese design, Art Gallery of New South Wales, Sydney, 21 Jun 2012–26 Aug 2012
Referenced in 4 publications
Khanh Trinh (Editor), Kamisaka Sekka: dawn of modern Japanese design, Sydney, 2012, 55 (colour illus.). cat.no. 23
Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, 'Edo Painting Schools', Sydney, 2003, 232-233 (colour illus.). The colour illus. on page 233 is a detail of this work.
Jill Sykes (Editor), Look, 'How Asian artists depict nature', pg. 29, Sydney, Mar 2002, 29 (colour illus.).
Edmund Capon and Jan Meek (Editors), Portrait of a Gallery, 'Asian Art', pg. 106-113, Sydney, 1984, 112 (colour illus.).