More than 100 years ago, under the patronage of businessman Ohara Magosaburo, Western-style painter Kojima Torajiro collected many Western paintings alongside his own artistic work, laying the foundation for what is now the Ohara Museum of Art.
A lecture shining a spotlight on his little-known achievements was held at the Kurashiki City Art Museum on March 8, 2026.
The lecture and discussion explored how Torajiro absorbed not only Western paintings but also diverse cultures such as ancient Egypt (hereafter referred to as “Egypt”) and China, and incorporated them into his own creative work and collecting activities.
Here is a report on the lecture, which offered a glimpse into Torajiro’s little-known side as a messenger of cross-cultural exchange.
The information presented is current as of the article’s publication in April 2026. Please note that it may differ from current information.
About the Lecture
In the first half of the lecture, Atsushi Miura, Director of the Ohara Institute of Art Research and Director of the Ohara Museum of Art, a specialist in Western art history, and Kyoko Yamahana, Director of the Kurashiki Archaeological Museum and an Egyptology expert, introduced little-known aspects of Kojima Torajiro from their unique perspectives.
In the second half, a discussion was joined by Kojima Kaitaro, Torajiro’s grandson and Director of the Kake Museum of Art. The panel engaged in a lively, multifaceted discussion of Torajiro’s rare talent and sensibility for blending Eastern and Western cultures.
Kojima Torajiro’s Many Facets and His Role as a “Cultural Boundary Crosser”
In his lecture, Director Miura redefined Torajiro not merely as a “painter” or a “collector” who built the Ohara Museum of Art’s collection, but as a “cultural boundary crosser.”
Alongside being a painter, Torajiro also had the qualities of what we would now call a multimedia creator, working as a designer, photographer, and ceramic artist, among other roles. He traveled east and west across the world—not only to the West (Belgium and France), but also to China, Korea, and Egypt—and incorporated diverse cultures into his own creative work.
His Transformation into a “Painter of Light” Through Study Abroad and His Unique Expression
Torajiro’s style was influenced by his studies in Europe, particularly by Luminism in Belgium (an expression of light close to Neo-Impressionism). His work changed dramatically from the dark tones of his pre-study-abroad period to bright colors, earning him the title “Painter of Light.”
As seen in his representative work “Belgian Girl in a Kimono,” he combined Japanese kimono with Western painting techniques. It is said that rather than simply imitating Japonisme, which was popular overseas at the time, he brought a unique perspective as a Japanese artist.
Japonisme
A term referring to the Japanese aesthetic and influence of Japanese art that became popular in Europe, particularly France, from the latter half of the 19th century to the early 20th century. It had a significant influence on Impressionist artists and others.
The special exhibition “A Journey Through Masterpieces from the Ohara Museum of Art: Torajiro’s Dream,” held at the Kosetsu Museum of Art in Nakanoshima (Osaka City) through Sunday, March 29, 2026, was also mentioned. In addition to masterpieces from the Ohara Museum of Art collection that Torajiro had collected, the exhibition also featured many works painted by Torajiro.
Director Miura said that among them, “Spring Light,” which depicts a goat and plum blossoms in bright colors, was especially popular with visitors.
Deep Insight into Ancient Near Eastern Civilizations and Meticulous Copies
Director Yamahana explained that even before Torajiro actually visited Egypt, he had actively incorporated ancient Near Eastern motifs into his own creations.
A kimono with a design painted by Torajiro in 1915 features Assyrian reliefs, Roman-style figures, and Egyptian hieroglyphs copied so accurately that they can be deciphered, demonstrating Torajiro’s exceptional visual memory and drawing ability.
With the sun at its center, the kimono depicts the “Western world” and “Eastern world” symmetrically. The motifs mentioned above were designed to evoke the West (Egypt, Rome, and Mesopotamia).
Eastern motifs include Indonesia’s Garuda (known in Japan as Karura) and water buffalo, used for farming throughout Asia.
“The Fusion of Eastern and Western Civilizations” in Architecture and Decoration
Torajiro’s former studio, Muisonso, still stands in Sakazu, Kurashiki City.
The Japanese-style building within it, “Muidou,” combines Egyptian-style lions and lotus flowers, Islamic-style patterns, and Chinese elements.
Director Yamahana explained that these decorations were not mere imitations, but were adapted through Torajiro’s unique sensibility, with attention to “bilateral symmetry” and “repeating patterns,” making them works that fused Eastern and Western civilizations on Japanese soil.
The Exchange of Eastern and Western Cultures and the Pursuit of “Red”
In the discussion joined by Kojima Kaitaro, it was explained that Torajiro did not simply bring Western culture back to Japan. He also reaffirmed the influence Eastern beauty had on the West, as seen in Japonisme, and engaged in a “two-way exchange” by bringing it back to Japan.
One example discussed by Director Miura and Kojima Kaitaro was the influence of Eastern ceramics on Western Art Nouveau artists, including how Torajiro actually brought their works back to Japan.
It was also noted that a striking “red” appears in common across Torajiro’s works and collected items. Various perspectives were offered on the origins of his sense of color, including the influence of Japan Red, bengara, produced in his hometown of Nariwa-cho, Takahashi City, and his deep knowledge of dyeing.
Finally, it was agreed that a comprehensive approach involving experts in fields such as Western art, archaeology, and ceramics is essential to uncovering the full picture of Torajiro, and that his potential remains profound and far from fully understood.
From the Writer
Through the lecture, I felt that a new side of Torajiro had come to light, beyond his widely known roles as a Western-style painter and collector.
What particularly caught my attention was his feelings for his hometown of Nariwa-cho, Takahashi City. The suggestion that the “red” Torajiro favored may have been influenced by the “Japan Red” created by bengara produced in Nariwa-cho was very intriguing.
Also, regarding the Garuda (Karura) depicted on the kimono, I sensed a connection to Sarutahiko-no-Mikoto, who appears in “Bitchu Kagura,” a local performing art that also originated in Nariwa-cho.
Sarutahiko-no-Mikoto is a deity characterized by a distinctive red mask and is said to be the prototype for the tengu. As I listened, I let my imagination run, wondering whether there might be a connection with Karura, said to be the prototype for the karasu-tengu (crow tengu).
I look forward to the undiscovered aspects of Torajiro as a “cultural border-crosser” being revealed through multifaceted perspectives in the future.
Kojima Torajiro, East and West: Tracing the Path of a Life Spent Racing Through the Era — Event Information
| Name | Kojima Torajiro, East and West: Tracing the Path of a Life Spent Racing Through the Era |
|---|---|
| Date | March 8, 2026 (Sunday) 3:00 p.m.–4:30 p.m. |
| Location | Kurashiki City Art Museum Auditorium |
| Admission (tax included) | Free |
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