明治〜昭和初期の日本画の大家。和歌山生まれ。狩野芳崖、橋本雅邦に師事、さらに東京美術学校に学ぶ。後に同校卒業後助教授に就任。校長の岡倉天心が辞職した際同校を去り、日本美術院設立に参画。1903～1905年にかけて英国に留学し、欧州各地を巡る。その後、横山大観と共に日本美術院を再興した。1917年旧宮内省帝室技芸員となる。大和絵、琳派、宋元画の手法を究め、その卓抜した筆技は近代日本画家中屈指といえる。

Shimomura Kanzan was a master of Japanese painting who lived during the early Meiji to early Showa period. Born in Wakayama Prefecture, Kanzan studied painting under the tutelage of Kano Hogai and Hashimoto Gaho, and also attended the Tokyo Art School (present-day Tokyo University of the Arts). After graduating from the Tokyo Art School, he served as an associate professor there. Following the resignation of Okakura Tenshin, the school’s principal, Kanzan also left the school and participated in the establishment of the Japan Art Institute. From 1903 to 1905, Kanzan studied in the United Kingdom, visiting many countries in Europe. He subsequently worked with Yokoyama Taikan to reorganize the Japan Art Institute. In 1917, Kanzan was appointed an imperial art officer of the then Imperial Household Ministry. He studied various painting styles, including the traditional Japanese painting style, the Rinpa style, and the old Chinese painting style, and his painting skills are considered to be outstanding among modern Japanese painters.

下村観山の弱法師

重要文化財。6曲1双・絹本金地着色、東京国立博物館蔵。盲目の弱法師俊徳丸が、梅の花の咲く四天王寺の庭で、彼岸の落日に向かって極楽浄土を観想する。袖に降りかかる梅の花びらまでも仏の施行と感じる俊徳丸の悟りの境地が主題である。謡曲『弱法師』の1場面を絵画化した作品である。能に通じていた観山らしく、能面を思わせる面貌とともに能楽的情緒を漂わせている。

Commentary on Kanzan's Yoroboshi (Beggar Monk)

Important cultural property; Two six-panel screens(left and right); colors on gold-leaf silk; in the possession of the Tokyo National Museum. This painting depicts Shuntokumaru, a blind beggar monk, facing the setting equinox sun and meditating on paradise among blooming plum flowers in the garden of the Shitennoji Temple. The theme of the painting is the state of nirvana attained by Shuntokumaru, who feels grateful for the grace of Buddha to the extent that he even feels gratitude for the plum petals falling on his sleeves. This painting depicts a scene from the Noh play entitled Yoroboshi. Well-versed in Noh plays, Kanzan painted Shuntokumaru’s face like a Noh mask and also captured the atmosphere of a Noh play in the painting.