What brought Kojima Torajiro to public attention was a work from his student days called “The Garden of Compassion.”
However, student Kojima Torajiro was a harsh judge of his own work, and felt the same way about “Waterwheel in the Village” and “Going to School,” two of his other major works from that period.
Usually, artists do not record their thoughts about and process of creating a work in detail, or very little of such material survives.
However, while a student, Kojima Torajiro sent many letters to Ohara Magosaburo, who supported him as a scholarship student. These letters allow us to trace his creative process.
Here is an introduction to his works through “Letters from Student Kojima Torajiro.”
The information presented was current when this article was published in August 2024. Please note that it may differ from current information.
Overview of the 44th Kurashiki Mirai K-juku Special Exhibition, “A Collection of Letters Preserved by the Ohara Family: Letters from Student Kojima Torajiro”
The 44th session of Kurashiki Mirai K-juku was a seminar held regularly at Ohara House Katalyzer. It was held on Saturday, July 13, 2024, from 1 p.m.
The lecture explained the Special Exhibition: A Collection of Letters Preserved by the Ohara Family: Letters from Student Kojima Torajiro, held from Tuesday, July 9, to Sunday, August 4, 2024.
The lecturer was Mizushima Hiroshi, a curator at the Yurinkai Public Interest Incorporated Foundation.
The lecture lasted about an hour, followed by coffee and a friendly question-and-answer session.
The lecture covered the following topics:
- Meeting Kojima Torajiro
- The creative process behind “Waterwheel in the Village”
- The creative process behind the breakthrough work “The Garden of Compassion”
- The creative process behind “Going to School”
Meeting Kojima Torajiro
Among the people in Kojima Torajiro’s life, perhaps the most important was Ohara Magosaburo, whom he met as a student. Kojima Torajiro was one year younger than Ohara Magosaburo, and they remained close throughout their lives.
The two met when Kojima Torajiro, then studying at the Tokyo School of Fine Arts (now Tokyo University of the Arts), submitted an application for financial assistance and became a scholarship student.
Businessman Ohara Magosaburo operated a scholarship program.
On September 3, 1902, Torajiro applied for a monthly scholarship of six yen to cover his tuition. It is thought that this may have been when he first met Ohara Magosaburo.
After his scholarship was approved, the first letter from Torajiro was a receipt notification sent to the Ohara family on October 8 of that year.
The letter was very simple, saying little more than “I have received it,” but its contents grew richer as his relationship with Magosaburo deepened.
The creative process behind the major work “Waterwheel in the Village”
The major work “Waterwheel in the Village” is in the collection of the Ohara Museum of Art.
“Waterwheel in the Village” was exhibited at the Tokyo Prefectural Industrial Exhibition, held in 1907.
As its title suggests, “Waterwheel in the Village” depicts a watermill, with a young woman seated opposite a woman holding a baby.
The scene is set along the Nariwa River in Okayama Prefecture, where Torajiro was born.
The letters describe in detail his decision to paint a watermill on the Nariwa River and his plans to return to his hometown. One person who appears frequently in the letters of student Kojima Torajiro is Kuroda Seiki.
Kuroda Seiki was Torajiro’s mentor. He evaluated his work, suggested revisions, and encouraged him to exhibit it.
Kuroda Seiki’s comments in the letters can be summarized as follows:
- It is competently painted (high praise)
- The figure originally painted on the stone steps should be removed
- High praise for the fingers of the parent and child depicted
- The mother’s face has a roughness to it, which is praised
- High praise for Torajiro’s attempt at figure painting
- He was encouraged to exhibit the work at the following year’s (1907) exhibition
When you look at the actual work, there is indeed no figure on the stone steps, but it makes you wonder what kind of person had been painted there.
It is curious how knowing what Torajiro’s mentor praised about the work makes you think, “I see what he means,” when you look at it.
Kuroda Seiki also seems to have thought highly of Torajiro for taking on figure painting at a time when landscape painting was more common.
Torajiro seems to have been less interested in exhibiting at the exhibition, but the letters show that he was genuinely pleased by Kuroda Seiki’s high praise.
I lacked the ability, and the work ended in failure. It was a complete failure. Measured against high ideals, I consider it truly pitiful and worthless.
I will immediately revise the work in accordance with my teacher’s advice.
From the explanatory text, excerpted from Torajiro’s letter to Magosaburo dated October 5, 1906
However, his own assessment was extremely low. In his letters, he wrote things like “I lack the ability,” “failure,” and “worthless,” showing that Kojima Torajiro was striving for something greater.
He also wrote that he would promptly revise the work in accordance with his mentor’s advice (meaning guidance or explanation), and reported in detail on his difficulties finding models at the start of production and his request to purchase a frame upon completion.
However, “Waterwheel in the Village,” which Torajiro struggled over and called a “failure,” was highly praised at the exhibition.
The creative process behind the breakthrough work “The Garden of Compassion”
The breakthrough work “The Garden of Compassion” is in the collection of the Museum of the Imperial Collections, Sannomaru Shozokan.
This work also won first prize at the 1907 Tokyo Prefectural Industrial Exhibition. Together with its purchase by Emperor Meiji, it became a work that led Ohara Magosaburo to decide to send Torajiro to Europe to study.
Kojima Torajiro subsequently traveled to Europe three times. His studies in painting led to the purchase of artworks, which in turn became an important foundation for the later Ohara Museum of Art.
The painting depicts life at an orphanage: soft sunlight falls on a woman caring for a sick child, while other children watch anxiously nearby.
The work was created at the Okayama Orphanage, Japan’s first orphanage, founded by Ishii Juji.
Ishii Juji was particularly important among the people in Torajiro’s life. His daughter Tomo later became Kojima Torajiro’s wife.
Resolve to create and choosing a subject
Letters from that time record his resolve to create a work for exhibition and to strive to surpass “Waterwheel in the Village,” which he had already completed.
After much deliberation, Torajiro finally decided to focus on orphans, among the most vulnerable people. The idea came from seeing orphans in his hometown of Okayama and in Ueno, Tokyo, where he was based as a student.
Behind the scenes at the start of production
Torajiro had chosen orphans as his subject, but was still unsure which orphanage to paint at. He asked Magosaburo which of the candidate locations—Kamakura in Kanagawa Prefecture, Jomo in Gunma Prefecture, or Okayama—would be best, and seems to have ultimately chosen the Okayama Orphanage.
It seems that Torajiro could consult Magosaburo about anything, including the expenses involved in creating the work.
Naturally, it made sense to discuss the necessary expenses, but he sent detailed letters about the location and accommodation costs, composition and model fees, and art supplies.
It is astonishing that such vivid details about the creative process have survived.
Even before production began, he had already conceived a composition with six or seven children. The fact that he wrote, “There is no budget for model fees,” suggests that he faced considerable difficulties even in the preparation stage.
The letters also reportedly say, “I dedicate my work to Magosaburo.” They revealed to me his passion for the work, his deep trust in Magosaburo, and the depth of his affection for him.
Struggles during production
Kojima Torajiro stayed at the Okayama Orphanage and finally began work on the painting, but things did not go as he had hoped, and he sent letters expressing his frustrations.
This may sound like complaining, but this is the first time I have undertaken a work like this. Things are not going as I had hoped, but I am devoting all my energy to the work.
Though I vow not to repeat yesterday’s failure, day after day ends in failure.
Still, believing that these failures are steps on the path to success, I deeply lament my own lack of ability.
From the explanatory text, excerpted from Torajiro’s letter to Magosaburo dated January 25, 1907
This was “Torajiro’s first work created for exhibition,” and his letters describe his anguish and frustration. Even so, he seems to have kept painting, believing that failure would lead to success.
Another letter reportedly describes how, while staying at the orphanage, Torajiro heard the orphans singing hymns at Christmas from the second floor and was so moved that he wept. It conveyed his feelings for the children and his humanity.
Looking closely at the painting, you can see a picture of Christ behind the orphans. The work and letters also reveal the close ties Ishii Juji and Ohara Magosaburo had with Christianity.
Behind the scenes at completion
The completion of “The Garden of Compassion” can apparently be traced through a letter written after Torajiro took the work to Tokyo and received Kuroda Seiki’s critique.
Compared with “Waterwheel in the Village,” the critique seems to have suggested very few revisions—just something like, “The area outside the glass window should be made a little brighter.”
However, it seems there was a question of who would be listed as the exhibitor for “Garden of Compassion.”
Ishii Juji asked that it be submitted under the name of the Okayama Orphanage, and Kojima Torajiro reportedly agreed, saying, “As long as the work can be of use, I don’t mind how it is done.” Kuroda Seiki, however, seems to have thought differently.
Since Torajiro had worked so hard to complete it, Kuroda apparently recommended exhibiting it under the name “Kojima Torajiro.” He also wrote that “if it wins an award, the name of the Okayama Orphanage will ultimately become known to the world.”
It seems Kuroda Seiki was confident it would win an award.
From this series of exchanges, I learned that Kuroda Seiki held the work in very high regard.
Torajiro asked Ohara Magosaburo to decline Ishii Juji’s request on his behalf.
As Torajiro himself simply cannot bring himself to refuse the Okayama Orphanage, I would be most grateful if Magosaburo could convey this to Mr. Ishii, though I realize this is very discourteous.
Please understand that this request is not Torajiro’s own, but comes entirely from Professor Kuroda.
As the submission deadline is fast approaching, please contact the Okayama Orphanage as soon as possible to decline.
Professor Kuroda instructed me to give the painting the title “Okayama Orphanage,” or something to that effect.
Excerpt from Torajiro’s letter to Magosaburo dated February 28, 1907, explanatory text
I learned about this previously unknown exchange surrounding the exhibition of “Garden of Compassion,” famous as Kojima Torajiro’s breakthrough work, and discovered a valuable behind-the-scenes story about the work that launched his career.
The work was purchased by Emperor Meiji, but news of the purchase did not reach Torajiro right away, and he himself does not seem to have been particularly interested in it.
The seminar also introduced the purchase price.
The letter says, “I heard from an acquaintance that it fetched 350 yen, but it isn’t mine, so the money can go to the donation fund.” Torajiro’s lack of concern about money is another noteworthy point.
The works and artists listed above it were already well-known at the time, so it was apparently remarkable that the name of student Kojima Torajiro appeared among them.
This work led Torajiro to receive permission from Magosaburo to study in Europe, which later paved the way for his overseas art collecting.
The Creation Process of His Masterpiece “Going to School”
His masterpiece “Going to School” is held by Nariwa Museum. Torajiro painted it in Nariwa after returning there immediately following his award at the Tokyo Industrial Exhibition mentioned above.
The theme is said to be “for the weak,” and it depicts two girls on their way to school. Personally, it is my favorite of Torajiro’s works.
A letter from the beginning of the work’s creation says that it depicts two girls returning home after finishing their lessons at school, that an elderly man and a child appear in the painting, and that the subjects were chosen from families that were not very well-off.
There’s a contradiction here, isn’t there? The title is “Going to School,” but the letter says “after finishing their lessons…,” which would mean “Going Home from School.” It seems to be a valuable document for understanding this inconsistency.
The elderly man and child were apparently removed at Kuroda Seiki’s suggestion.
Last night, I visited Professor Kuroda and delivered the brocade mat. He asked me to convey his heartfelt thanks.
〜Omitted〜
Of the two children, he said the younger one wearing a hat seemed interesting. He said that removing the old man and the child beside him would improve the overall harmony.
〜Omitted〜
So I will remove the old man and child and make some changes to the background.
At this time of year, I cannot see the strong summer light, which is inconvenient. In any case, as the work is unfinished, I do not think I can be very satisfied with it.
I think that by spending another summer on this work, I will be able to complete the painting.
Excerpt from Torajiro’s letter to Magosaburo dated November 14, 1907, explanatory text
The letter says, “another summer…,” but it is dated November 14, 1907. Torajiro was heading to Paris to study abroad the following January, so the painting may have been nearly complete.
Letters from around this time also discuss his language studies in preparation for studying abroad.
The letter also says “not well-off…,” but judging from the actual painting, the girls’ clothes seem to be those of a well-off family.
I thought it was enjoyable to ponder the inconsistencies between the letters from the start of the work’s creation and the finished painting.
It seems he also struggled to find models before completing the work. He reportedly wrote, “The younger model simply won’t come,” and “The other model is off today too, playing around instead of coming.”
This seminar showed me that Kojima Torajiro was always troubled by his models, but I imagine painters in general faced problems like these to some extent.
It was very informative to learn about the creator’s struggles and the story behind the work.
After the seminar, I saw foreign tourists at the book cafe where it was held, which also showed how much interest there is in Kurashiki.
From the Writer
“Letters from student Kojima Torajiro” were exhibited for the first time at this event, and most of the information they contain was previously unknown.
Kojima Torajiro lived a short life of 47 years, but through his many letters he left us valuable information for the present day.
The phrase “many letters” might sound rather daunting, but Torajiro was diligent about writing, wasn’t he?
Thanks to “the diligent letter-writer Kojima Torajiro,” this seminar gave us an enjoyable opportunity to learn not only details about his masterpieces and breakthrough works, but also about the historical background, Torajiro’s character, and the people around him.
There still seem to be many things that are not yet known.
Why not visit a session of Kurashiki Mirai K-juku, held at Ohara House Katalyzer, which provides opportunities for learning like this?
The next session will be held on Saturday, August 24, 2024, and will feature a lecture by Hyota Echizenya.
The sessions cover a variety of topics and are held once a month. You might discover something new if you go.
After attending this seminar, I decided to go and see Kojima Torajiro’s works again.
Articles about Ohara House Katalyzer
44th Kurashiki Mirai K-juku: “A Collection of Letters Remaining in the Ohara Family,” Letters from Student Kojima Torajiro Information
| Name | 44th Kurashiki Mirai K-juku: “A Collection of Letters Remaining in the Ohara Family,” Letters from Student Kojima Torajiro |
|---|---|
| Date | July 13, 2024 (Saturday), from 1:00 p.m. |
| Location | 1-2-1 Chuo, Kurashiki City |
| Website | Ohara House Katalyzer |
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Ohara Museum of Art: Waterwheel in the Village