Footnotes

• 鳥居強右衛門図　木村武山筆　一幅　絹本着色　20世紀前期
  
  In Buzan's painting, Torii is shown crucified upright, in contrast to the original 16th century banner, now housed in the Tokyo University library. The Takeda troops loom menacingly at the base of the crucifix, while Torii gazes resolutely into the distance, his fists clenched in defiance. The linear structure of the torso, with single curved outlines illustrating the pectoral muscles and the curve of the stomach, as well as the definition of the muscular limbs recall the ink outline employed in the physical depiction of Suneemon in Ochiai's banner, but the Nihonga technique of ink and delicate washes of colour on silk give the body a more realistic, three-dimensional feel, adding to the pathos of the scene. The fore-shortening of his body, as well as the one point perspective of the crucifix also indicate Buzan's familiarity with Western pictorial conventions through his extensive artistic training. And, the 'waterscape' which appears to be thoroughly permeated with liquid vapour, wonderfully executed along the bottom section is reminiscent of the famous morotai or hazy style of Yokoyama Taikan and Hishida Shunsō.
  
  Born in Ibaraki Prefecture, Buzan studied under the Nanga painter Sakurai Karyō, and moved to Tokyo in 1890, studying at the Kaisei school, as well as Kawabata Gyokushō's school. He entered the Tokyo School of Fine art in 1891 and graduated in 1896. He won a prize for a painting he entered into the Japan Painting Association Fair in 1898, and became a full member of the Nihon Bijutsu-in (Japan Art Institute) in 1906. The artist's work is in the collection of the Museum of Fine Arts, Boston and the Tokyo National Museum.
  
  Kimura Takeo (circa 1908-1987) was a Japanese style painter and studied under his father. He actively submitted his works to the Inten.