Japanese Art and Tomikichiro Tokuriki (Culture Amid War)
Lee Jay Walker
Modern Tokyo Times
The artist Tomikichiro Tokuriki (1902–1999) was born in the cultural city of Kyoto. Accordingly, it is easy to imagine Tokuriki being inspired by the spiritual and historical richness of Ise Grand Shrine, the sacred heights of Mount Koya, the refined traditions of Nara, and the timeless pilgrimage routes of the Kumano Kodo that bless this part of Japan.
Initially, Tokuriki focused on Nihonga art under the tutelage of Tsuchida Bakusen (1887–1936) and Yamamoto Shunkyo(1871–1933). However, under the guidance of Hiratsuka Unichi (1895–1997), he gradually turned toward the world of printmaking, where his artistic voice found a more distilled and enduring expression.
Yet Tokuriki’s life was not untouched by turmoil. Like many Japanese artists of his generation, he witnessed the brutality and upheaval of war. In this light, his gentle depictions of nature and religious themes can be seen as more than aesthetic choices—they become quiet sanctuaries. Within them lies a subtle effort to veil trauma, while simultaneously expressing a deep yearning for peace, continuity, and a return to cultural roots.
As noted by the British Museum, Tokuriki was “the last of a long line of traditional-style painters,” yet one who embraced woodblock prints early and rose to prominence within the Kyoto Sōsaku Hanga movement. His academic journey—through the Kyoto City School of Fine Arts and Crafts and later the Kyoto City Specialist School of Painting, from which he graduated in 1924—anchored him firmly in tradition while allowing him to evolve artistically.
In the final print, two figures quietly enjoy the ephemeral beauty of cherry blossoms. Their shared moment evokes a gentle intimacy, where time appears to slow beneath the falling petals. Cherry blossoms, so deeply embedded in Japanese culture, radiate a warmth that transcends even the gloomiest of days—reminding the viewer of both the fragility and enduring beauty of life.
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