Ink bleeds into soft gradients where mountain mist dissolves—each stroke holds the weight of a breath. Yohei III’s birds, mere dashes of charcoal, suggest movement caught mid-flight rather than form.
Why do the darkest marks feel lighter than the empty paper around them?
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https://clevelandart.org/art/2022.151
Before entering into his apprenticeship with Yohei II, Yohei III trained as a painter in Osaka. He continued to paint throughout his career as a ceramist. Yohei IV authenticated this painting as having been done by his father in a box lid inscription dated to the summer of 1919 . The signed inscription by Yohei III in the painting’s upper right gives the title <em>Rain Clearing Over a Summer’s Mountai</em>n and is accompanied by his Imperial Household Artist seal. His signature seal is found in the lower left on the grassy riverbank. The composition follows a basic literati painting convention: it is divided into a foreground, middle ground, and background, with trees in the front, a temple in the middle, and mountains at the back. The brushwork, too, with its ovals of inkwash and dry-brushed dots and lines, has the casual feel of a painting made for one’s own amusement or dashed off for a friend. <br><br>As part of his ceramic practice, Yohei III also made roller ends to be placed at either end of the wooden dowel around which the lower part of a hanging scroll mounting is wrapped. These served both as weights for the painting and as knobs for handling it when rolling and unrolling. The pair here, <a href="http://www.clevelandart.org/art/2022.152"><u>CMA 2022.152</u></a>, is made of porcelain with a green glaze.
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