Depicted is probably a gate of a temple. A bloomed-in-full cherry tree is now aged and gnarled, as well as no longer favored by visitors, yet it is still in the struggle for living now. Each fact enhances this lonely temple a sense of solitude. The tranquility-shrouded atmosphere is so overwhelming that even the audience are pervaded. The title of this work Bansho (evening bell) is somewhat associated with the imagery of the poem by an anonymous composer from the recognized Shui-wakashu, the third Imperial anthology of waka poetry. The poem roughly described, “[In] a mountain temple, an evening bell [tolls]. The sound ends a day again, [and I] hear it with sorrow.” A frightened weasel suddenly running away and the veil of mist enveloping in the upper part of the painting seem to denote to the sound of the evening bell.

Produced in a rare size, as if a scene derived from a classical handscroll, this masterpiece was also a submission together with the works such as San’en (three monkeys) and Eguchi no kimi (courtesan of Eguchi) to the first exhibition, in November of 1924, of Tanko-kai, a group established by Yokoyama Taikan, Takeuchi Seiho, Kawai Gyokudo, Shimomura Kanzan himself, and others.

Shimomura Kanzan (nihonga painter; 1873−1930)
Wakayama-born nihonga painter. His real name is Seizaburo. Graduated from the Tokyo School of Fine Arts. Disciple of Kano Hogai and Hashimoto Gaho. Participated in the establishment of Nihon Bijutsuin (Japan Art Institute) and was active with Yokoyama Taikan and Hishida Shunso, later made efforts to the revival of it. Appointed Tokyo School of Fine Arts professor. Designated as an Imperial Court Artist.