SASAGAWA Shunsō (boku-ga artist)

Hasagi (稲架木) trees, which are planted to hang harvested rice on to dry, are now only seen in protected areas. SASAGAWA Shunsō loves hasagi and frequently depicts this motif.
Haruka-naru Furusato (遥かなるふるさと) (2011)

　

Located almost exactly in the centre of Honshu, Japan’s main island, Niigata Prefecture stretches along the Sea of Japan. It is a nature-rich region blessed with numerous rivers and mountains. Summers are hot, and its heavy wintertime clouds bring much snow, but due to its fertile soil and the characteristics of its terrain and climate, Niigata boasts the highest rice production in Japan.

Artist SASAGAWA Shunsō (笹川 春艸) was born and raised in Niigata, and continues to draw inspiration from its rich seasonal changes. Myōkō Mountain, rural landscapes, hasagi*, seasonal flowers, winter scenery… She captures the vibrant moments of her homeland with a warm and direct gaze, expressing them with exquisite brushwork and delicate gradations of ink.
*Hasagi (稲架木/ハサギ) : a tree which is planted to hang harvested rice on to dry. Nowadays, they are only seen in protected areas.

　

　　

A Twist of Fate

SASAGAWA’s journey to becoming a boku-ga* artist is quite unique.
She started out as a science teacher at a junior high school, but at the age of 53 she had to leave her teaching job of 33 years (before reaching retirement age, which was 60 at the time) to care for her ailing mother-in-law. This became a turning point for her later on.

“My husband’s mother was always sick. In the end, I couldn’t go to work anymore. Having dealt with over forty rambunctious junior high school students on a daily basis, taking care of one elderly lady was easy (lol). But caregiving is really tough, and I did feel down at times. It so happened that an old classmate of mine, Mr. MIYAMOTO, was a boku-ga teacher, so I decided to learn from him.”

This is how she began studying under MIYAMOTO Sakai (宮本 沙海) and later under WANG Zijiang (王 子江). SASAGAWA, who laughingly describes herself as “a pesky student who didn’t listen to the teacher,” shows a glimpse of a mischievous girl in her demeanour.
“Sometimes in my self-run class I will say, “Okay, now we’re going to have a science lesson. This has three stamens and three petals, a multiple of three. Don’t draw anything inaccurate.” I don’t draw things exactly as they are, but there’s a difference between simplifying by knowing versus not knowing at all.”

My father, who was also present during this interview, was one of her former students at the junior high school and is currently a new student in her boku-ga class. He laughed, saying that Ms. SASAGAWA would thoroughly check the accuracy of the skeletal structure and movements of the animals in his drawings.

Despite her playful nature, her paintings convey not only a deep affection for her subjects, but also a highly refined and polished impression.
*Boku-ga (墨画) : One category of Sumi-e (墨絵) ink painting that emphasises traditional techniques and styles. (Suiboku-ga (水墨画) ink-wash painting and Bokusai-ga (墨彩画) ink and colour painting are subcategories of Boku-ga.)
　

　

Boku-ga Painting is a Series of Challenges

Hasagi-tachi (はさぎたち) (2023)

　　　

At the end of the 12th century, Zen Buddhism and Zen culture were brought to Japan from China. During the Muromachi period (1336–1573), the shogunate’s patronage of Zen Buddhism led to the development of wabi-cha*1, Buddhist vegetarian cuisine (精進料理 shōjin ryōri), and Zen art. In the realm of shan shui*2, the appearance of the famous gasō*3, and Zen monk Sesshū (雪舟), led to the establishment of a distinctively Japanese style of ink-wash painting.
*1 Wabi-cha (侘び茶) : A tea ceremony style that encapsulates the spirit of wabi-sabi.
*2 Shan shui (山水画) : Traditional Chinese landscape painting.
*3 Gasō (画僧) : A Zen monk who excelled at ink painting.

　

1. Jyaku (寂) (2021)
2. Taijun (待春) (2007)
A work depicting camellias, the flowers that announce spring.
3. Tōkō no kata (凍光の潟)
received the Prime Minister’s Award at The All Japan Sumi-e Art Exhibition, now exhibited at Niigata Prefectural Government
“The winter scenery of the Jōetsu region, where the snow falls heavily, is just like an ink-wash painting,” says SASAGAWA. Indeed, one can almost breath in the frigid air.

　

According to SASAGAWA, understanding the characteristics of ink and mastering the brush takes about three to four years.
“First, I choose the subject I most want to depict, then boldly start painting. Then, I gradually dilute the ink with water and paint distant objects. If you apply dark ink over light tones, the lighter colour tends to come through. Layering makes the colours dull. The black doesn’t come out clean. You can’t cheat. I learned this from my masters.”

Furthermore, ink begins to deteriorate immediately after grinding. Due to hydrolysis, separation of soot and gelatin-glue (膠 nikawa), the ink colour worsens quickly and becomes ‘dirty’ when penetrating the paper. Therefore, it is necessary to finish each painting in a single sitting.
“I don’t pick up the brush until I’m ready. I don’t think too much while painting. Like a swordsmith, I face a blank sheet until my mind is made up. If I feel something uncomfortable halfway, I crumple the paper and start over from the beginning. That’s why I paint many sheets.”

For large pieces like folding screens, SASAGAWA completely finishes one side in one sitting, then finishes the other side on another day. She paints several sheets for both the left and right sides, selects the ones that balance well, and assembles them into a folding screen.
“When it comes to the size of a zenshi paper (全紙: traditional washi paper size, about 70cm x 135cm), the concentration and brushwork are different. It’s impossible to paint each one exactly the same. I combine pieces that satisfy me and arrange them into a folding screen. The thrill of it is indescribable. It’s one of the reasons that keeps me going. It’s always a challenge. There’s no room for getting stuck in a rut.”

The solo exhibition she held at the House of Culture of Japan in Paris (MCJP) in 2006 was also a significant challenge.

　

　

Her First Exhibition in Paris　

By the time SASAGAWA had the opportunity to exhibit in Paris, she had already held solo exhibitions in Hawaii and had also participated in exhibitions in Monaco, Korea, China, and Rome. One day, somewhat unexpectedly, discussions began about holding a solo exhibition at the MCJP. However, various challenges, including changes in the directorship, nearly derailed the plan. Despite everything, with the help of friends, the Jōetsu City community, various newspapers, and support groups, the necessary funds were secured.

The exhibition, held for about 10 days, featured 25 artworks. Among them was “Dawn at Iguazu (イグアスの暁)”, a piece of special significance to SASAGAWA; it had won a bronze medal at the Le Salon exhibition held by the Societe des Artistes Français in 2004, as well as 24 boku-ga, including two selected for Le Salon, and a bridal kimono with irises These artworks warmly welcomed visitors.

　

1. Iguazu no Akatsuki (イグアスの暁: Iguazu at Dawn) (2004)
At the age of 53, her sister NAKAJIMA Kuni bravely traveled alone to Brazil as a Catholic supporter, dedicating herself to assisting the Japanese-Brazilian community. Despite facing adversity, she lived courageously with faith in her heart. SASAGAWA projected the life of her late sister, who persevered through many hardships, into her artwork. This piece, inspired by her sister’s life, earned SASAGAWA a bronze medal at the Le Salon exhibition in 2004.
2. A bridal kimono (1995)
This is a different piece from the one exhibited. This costume, created for the daughter of a former student, features paulownia flowers.
3. Jakkō no sato (寂光の郷) (2003)
This painting of Yamakoshi Village was completed just before the 2004 Niigata Chūetsu earthquake occurred. The quake caused significant damage, and the village was isolated due to landslides. All residents were forced to evacuate.

　

At the venue, SASAGAWA gave a demonstration of boku-ga painting. However, unexpected events unfolded. In the photos, she is surrounded by spectators, wearing kimono, brush in hand, ready to paint on washi paper.
“I look composed in the photos, but I was actually quite panicked. During the demonstration, I was sweating profusely. It wasn’t from nervousness; I just couldn’t paint properly. I tried to paint sunflowers, but instead of smoothly finishing the petals in one stroke, the brush strokes got interrupted, the brush was not running as smooth as I was used to. It wasn’t until I returned to Japan that I realised it was because of the different water.”
In Niigata Prefecture, the water is soft with a hardness factor of only about 50 mg/L, whereas in Paris, it’s as high as 270 mg/L, similar to Evian, making it very hard. When using soft water with few minerals, ink particles move easily, allowing for smooth strokes. Hard water interferes with finely ground ink particles, preventing them from moving properly.

This setback aside, the demonstration was a great success, drawing a crowd of over a hundred people. Despite lack of promotion, news of the event spread via word-of-mouth, and over 1,000 visitors attended during the exhibition period. The guestbook filled with heartfelt comments became a cherished treasure for SASAGAWA.

　

　

Regional Contribution and Fostering the Next Generation Through Boku-ga

Since 1993, SASAGAWA has been running an ink painting workshop called Hōboku-kai (芳墨会) to teach boku-ga.
Every year, she also holds exhibitions to showcase her students’ achievements.
“I have many students over 70. Your father is a newcomer and one of the younger ones (lol).” (My father is in his early 70s though.)

In 2010, SASAGAWA launched the Jōetsu Suiboku-ga Festival (上越水墨画フェスティバル), and served as an executive committee member and vice-chairman for ten years. After the COVID-19 pandemic, the executive committee took over the festival following its 10th anniversary in 2021. In 2023, the festival was renamed the Niigata Suiboku-ga Festival (にいがた水墨画フェスティバル) and continues as an annual open-call exhibition.
“It doesn’t matter if you draw sitting at a kotatsu* or wherever else; anything goes as long as it’s an ink painting. Over 1,000 people come to this rural area to see the exhibition. I think it contributes a bit to the community,” SASAGAWA said.
*Kotatsu (こたつ) : A traditional low table used in winter. They have an electronic heater beneath and a thick blanket under which people gather, relax and warm themselves, and chat, watch TV, drink tea, etc.

“The winter scenery of the Jōetsu region, where the snow falls heavily, is just like an ink-wash painting,” says SASAGAWA. With the desire to make Jōetsu the home of ink-wash paintings, she holds outreach classes for children and students throughout Niigata Prefecture, continually sharing the charm of ink painting with people of all ages.

Despite her busy schedule, SASAGAWA continues her boku-ga painting actively. She was recognised as a permanent member of Le Salon in 2007. In 2019, she presented a folding screen (shōju sen-nen), which took over a year to create, to Pope Francis during his visit to Japan. Currently, she is enthusiastically preparing artworks for her next Le Salon exhibition.

　

Shōju sen-nen (松寿千年) (pair of six-panel folding screens) (2019, collection of the Vatican City State)

　

　

A Wish for Peace

In 2004, “Dawn at Iguazu” won a bronze medal at the Le Salon exhibition. This artwork depicts the world’s largest waterfall, which spans the border between Brazil and Argentina.

It portrays the life of her late sister, NAKAJIMA Kuni, who as a Catholic supporter dedicated herself to assisting Japanese descendants in Brazil.

“War should never be the answer. The people, the citizens do not desire such things.”

Times of poverty and deeply rooted social customs, her mother’s unwavering efforts to protect her family, Japanese and Japanese-Brazilian individuals enduring harsh conditions in foreign lands, and her sister Kuni, who lived with faith and supported them are all memories vividly alive.
SASAGAWA’s transition to becoming an artist coincided with her sister’s relocation to Brazil at the age of 53. Whether mere coincidence or fate, it is a mysterious turn of events.

Within the gentle and beautiful scenes SASAGAWA portrays is profound dedication to family, compatriots, and a strong desire for peace.

　

　

1. SASAGAWA Shunsō　　2. Haru no Oto (春の音) (2005, received the Foreign Minister’s Award at The All Japan Sumi-e Art Exhibition)　　3. Fuji (藤) (2015)　　4. Shun-en (春宴) (2003)　　5. Reihō Myōkō (霊峰妙高) (2010)　　6. Reizan sōshun (霊山早春) (2020)　　7. Boshū gansei (暮秋鴈聲)　

　

　　

　　

　

LINKS

HOMEPAGE
https://www.sasagawa.website/
　
Instagram
https://www.instagram.com/sasagawa_shunso/

　　

　　　

 

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