Branches of weeping willow pervade the whole surface and extend towards the edges, with some reaching the ground and some swinging in the wind. These might be the branches of the trunk on the right bottom, as well as branches of other willows out of the painting surface. Murakami Kagaku represents the co-existing dimly darkness and hazy lightness not only through thin and thick applications of ink, but also through the use of aluminum paste. To Kagaku, it is because of the difference in length and thickness of lines that there is a meaning for each line being in their respective positions. As Kagaku puts it, although there is no clear sign on the Pacific Ocean, ships sail on it according to decided routes, instead of going through any one. Kagaku makes an analogy between the ships on the Pacific Ocean and his lines, stating that even though they seem to be in complete chaos, there are determined positions for each line on this small surface. This painting of weeping willow is a rare work of Kagaku, who was not a prolific artist and hardly painted the subject.

Murakami Kagaku (nihonga painter; 1888–1939)
Osaka-born nihonga painter. His real name is Takeda Shin’ichi. Graduated from Kyoto Municipal Special School of Painting. Selected to exhibit at Bunten (Ministry of Education Art Exhibition) and given the tokusen (special prize that grants entry without examination in the following year) privilege in 1916. Dissatisfied with Bunten’s idealism and founded Kokuga Sosaku Kyokai (Association for the Creation of National Painting) with Tsuchida Bakusen, Ono Chikkyo, Sakakibara Shiho, and Nonagase Banka in 1918. Moved to Ashiya and Kobe due to worsening health. Led a recluse life away from the art world ever since. Concentrated on the subjects of Buddhism and the Rokkosan mountains, his works possess a meditative and spiritual tone.