Student Artwork Guide
Copyright This work is in the public domain. Itō Jakuchū died in 1800; copyright lasts 70 years after the artist’s death, so it ended in 1870.
In context
Old Pine — Itō Jakuchū
The original measures 101 × 40 cm (height × width), drawn here beside an adult of average height.
Shaded: the lifetime of Itō Jakuchū (1716–1800) ▲ this work, 1796
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Measured from the image
Main colour
Espresso #4c4237
Catalogued palette
About this artwork
Old Pine — Itō Jakuchū
The trunk of an old pine tree bends across the lower part of the painting, its contorted branches and pine boughs filling the frame with the spiky brushwork characteristic of Jakuchū’s mature painting style. The background is filled with a light ink wash, leaving fine white unpainted areas around the branches and pine needles. The luminous outlining, in combination with the unstained knots and front edge of the tree trunk, creates a sense of seeing the tree at night bathed in full moonlight.The painting is signed “Beito’ō hachijūsan-sai ga” (Painted by Beito’ō, aged 83). The “Beito’ō” signature indicates that the work was painted in the final phase of Jakuchū’s long career, when he kept a painting studio in front of the Sekihōji Temple, south of Kyoto. There he sold quickly executed ink paintings to support himself after the disastrous Kyoto fire of 1788 left him in financial ruin. Because he would exchange a quickly executed painting for a to (about four gallons) of rice, he began to call himself Beito’ō (Old Rice-Measure Man).
Artist and museum
Born in Kyoto, Japan
Born in 1716 amidst the bustling Nishiki market district of Kyoto, Ito Jakuchu emerged as one of Japan's most original and captivating artists. Unlike many of his contemporaries who followed established artistic lineages, Jakuchu’s path was uniquely shaped by his family’s prosperous mercantile background and a deeply personal engagement with Zen Buddhist philosophy. His father, Ito Genzaemon, was a successful grocer, providing young Jakuchu with a comfortable upbringing that allowed him to pursue his burgeoning talent for painting from an early age. This commercial environment, however, also instilled in him an awareness of societal shifts and the growing influence of Kyoto’s merchant class—a perspective that would subtly inform his artistic vision. Though expected to eventually take over the family business, Jakuchu's passion lay elsewhere, a pull towards capturing the essence of life through brush and ink. After his father’s passing when he was 23, Jakuchu briefly managed the shop before entrusting it to his brother, finally dedicating himself fully to the pursuit of art.
Ito Jakuchu's artistic style stands as a fascinating blend of meticulous realism and playful experimentation. While deeply rooted in traditional Japanese subjects—particularly birds, flowers, and landscapes—he infused his work with an innovative spirit that set him apart from many of his contemporaries. He gained prominence alongside Maruyama Okyo for his realistic depictions, yet Jakuchu ventured beyond mere imitation of nature. His paintings are characterized by vibrant colors, dynamic compositions, and a willingness to challenge conventional perspectives. Chickens, in particular, became a recurring motif in his oeuvre, elevated from humble farm animals to subjects worthy of profound artistic exploration. He wasn’t simply painting what he saw, but rather exploring the inherent vitality and character within each creature. Beyond birds, Jakuchu's work often reflects Zen Buddhist themes—a contemplative stillness, an appreciation for impermanence, and a reverence for the natural world. His famous Bean Vine, for example, is not merely a botanical study but a meditation on growth, decay, and the interconnectedness of all things. His masterful polychrome renderings – doshoku sai-e – are particularly celebrated, showcasing an extraordinary attention to detail and a vibrant palette rarely seen in Japanese painting of the period.
The influence of Zen Buddhism on Jakuchu’s art is undeniable. He became a lay brother (koji) at Kyoto's Shokoku-ji temple, immersing himself in Zen principles that emphasized direct experience, intuition, and the search for enlightenment through contemplation. This spiritual grounding profoundly shaped his artistic approach, fostering a sense of detachment from worldly concerns and an unwavering focus on capturing the essence of his subjects. It is said he even received special permission to study classic Chinese paintings within the temple’s collection, absorbing centuries of artistic tradition while simultaneously forging his own unique path. While Jakuchu may have initially studied under Ōoka Shunboku, a Kano school artist specializing in bird and flower painting, he quickly surpassed conventional training, developing an idiosyncratic style that defied easy categorization. His willingness to break with established norms aligned him with the “Lineage of Eccentrics” – a movement highlighted by Nobuo Tsuji’s influential book Kisō no Keifu (Lineage of Eccentrics). This work championed artists who challenged artistic conventions, solidifying Jakuchu's place as a pivotal figure in Japanese art history.
Despite his talent and dedication, Ito Jakuchu remained relatively unknown during his lifetime. It wasn’t until the 20th century that his work began to receive widespread recognition, largely thanks to Tsuji's scholarship which revolutionized perceptions of Edo period painting. Tsuji’s championing of Jakuchu as a key figure within the “Lineage of Eccentrics” sparked renewed interest in his art and established him as one of Japan’s most important and innovative painters. His influence can also be seen in the development of Ukiyo-e, the popular genre of woodblock prints, demonstrating a broader impact on Japanese artistic culture. Jakuchu's willingness to experiment with perspective, color, and subject matter paved the way for future generations of artists to challenge conventions and explore new creative possibilities. A biography penned by Zen monk Daiten Kenjo in 1766 offers valuable insight into Jakuchu’s artistic philosophy, revealing his deliberate avoidance of human figures—a choice that underscores his focus on the natural world and its inherent beauty. Today, Ito Jakuchu is celebrated not only for his technical skill but also for his unique vision, a testament to the enduring power of an artist who dared to forge his own path and capture the spirit of his time with unparalleled originality.
Five Hundred Arhats: A monumental work showcasing Jakuchu’s extraordinary skill and dedication.
Hanshan and Shide (Kanzan and Jittoku): Demonstrates his ability to capture the essence of Japanese culture and folklore.
Crabs and Peonies: A quintessential example of his characteristic style, blending meticulous detail with vibrant color.
Bean Vine: A sumi-e masterpiece embodying Zen philosophy and showcasing intricate details.
Two Cranes: Exemplifies his artistic prowess in depicting avian subjects with grace and precision.
Old Pine: A striking work demonstrating his masterful brushwork (101 x 40 cm, silk).
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Look closely
Old Pine — Itō Jakuchū
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