Changes

In [[1908]], he founded the Tansei association, which produced ''[[Nihonga]]'' paintings of Okinawan subjects. Yamaguchi submitted a number of his own paintings to exhibitions held by the [[Japan Painting Association]] (''Nihon bijutsu kyôkai'').

In [[1908]], he founded the Tansei association, which produced ''[[Nihonga]]'' paintings of Okinawan subjects. Yamaguchi submitted a number of his own paintings to exhibitions held by the [[Japan Painting Association]] (''Nihon bijutsu kyôkai'').

Yamaguchi submitted a six-fold [[byobu|screen painting]] to the sixth [[Bunten]] exhibition in [[1912]] depicting a scene of the Ryukyuan king. The work was admitted into the first class of ''[[Nihonga]]'' works in the exhibition. While a number of Okinawan artists were showing in major national exhibitions at this time, Yamaguchi was in a meaningful sense appropriating their position, representing Okinawa but doing so as a Japanese person, with works in a Japanese style. The screen painting was likely based on direct observation of the [[Ryukyu investiture crown]], [[Engaku-ji]], and other elements of [[Ryukyu Kingdom]] heritage; it was harshly criticized, however, by Okinawan art critics such as ''[[Ryukyu Shimpo|Ryûkyû Shimpô]]'' writer Sueyoshi Bakumontô<!--末吉麦門冬--> who asserted that it didn't reflect Ryukyuan spirit and was totally lacking in Ryukyuan character.

Yamaguchi submitted a six-fold [[byobu|screen painting]] to the sixth [[Bunten]] exhibition in [[1912]] depicting a scene of the Ryukyuan king. The work was admitted into the first class of ''[[Nihonga]]'' works in the exhibition. While a number of Okinawan artists were showing in major national exhibitions at this time, Yamaguchi was in a meaningful sense appropriating their position, representing Okinawa but doing so as a Japanese person, with works in a Japanese style. The screen painting was likely based on direct observation of the [[Ryukyu investiture crown]], [[Engaku-ji]], and other elements of [[Ryukyu Kingdom]] heritage; it was harshly criticized, however, by Okinawan art critics such as ''[[Ryukyu Shimpo|Ryûkyû Shimpô]]'' writer [[Sueyoshi Bakumonto|Sueyoshi Bakumontô]]<!--末吉麦門冬--> who asserted that it didn't reflect Ryukyuan spirit and was totally lacking in Ryukyuan character.

{{stub}}

{{stub}}