development. A foundation was set up based on the Komura fortune and now managed the library and occasionally sponsored lectures, chamber music concerts, and the like.
The building itself dated from the early Meiji period, when it was built to serve double duty as the family library and guesthouse. In the Taisho period it was completely renovated as a two-story building, with the addition of magnificent guest rooms for visiting writers and artists. From the Taisho to the early Showa period, many famous artists visited the Komuras, leaving behind mementos—poems, sketches, and paintings—in gratitude for having been allowed to stay here.
"You'll be able to view some selected items from this valuable collection in the second-floor gallery," Miss Saeki adds. "Before World War II, a vibrant local culture was established less through the efforts of local government than those of wealthy connoisseurs such as the Komura family. They were, in short, patrons of the arts.
Kagawa Prefecture has produced quite a number of talented tanka and haiku poets, and one reason for this was the dedication with which the Komura family founded and supported the local art scene. Quite a number of books, essays, and reminiscences have been published on the history of these fascinating artistic circles, all of which are in our reading room. I hope you'll take the opportunity to look at them.
"The heads of the Komura family down through the years have been well versed in the arts, with an especially refined appreciation of the truly excellent. This might have run in the blood. They were very discerning patrons of the arts, supporting artists with the highest aims who produced the most outstanding works. But as you're surely aware, in the arts there is no such thing as an absolutely perfect eye. Unfortunately, some exceptional artists did not win their favor or were not received by them as they deserved to be. One of these was the haiku poet Taneda Santoka. According to the guestbook, Santoka stayed here on numerous occasions, each time leaving behind poems and drawings. The head of the family, however, called him a 'beggar and a braggart,' wouldn't have much to do with him, and in fact threw away most of these works."
"What a terrible waste," the lady from Osaka says, apparently truly sorry to hear this. "Nowadays Santoka fetches a hefty price."
"You're exactly right," Miss Saeki says, beaming. "But at the time, he was an unknown, so perhaps it couldn't be helped. There are many things we only see clearly in retrospect."
"You got that right," the husband pipes in.
After this Miss Saeki guides us around the first floor, showing us the stacks, the reading room, the rare-books collection.
"When he built this library, the head of the family decided not to follow the simple and elegant style favored by artists in Kyoto, instead choosing a design more like a rustic dwelling. Still, as you can see, in contrast to the bold structure of the building, the furnishings and picture frames are quite elaborate and luxurious. The carving of these wooden panels, for instance, is very elegant. All the finest master craftsmen in Shikoku were assembled to work on the construction."
Our little group starts upstairs, a vaulted ceiling soaring over the staircase. The ebony railing's so highly polished it looks like you'll leave a mark if you touch it. On a stained-glass window next to the landing, a deer stretches out its neck to nibble at some grapes. There are two parlors on the second floor, as well as a spacious hall that in the past was probably lined with tatami for banquets and gatherings. Now the floor is plain wood, and the walls are covered with framed calligraphy, hanging scrolls, and Japanese-style paintings. In the center, a glass case displays various mementos and the story behind each. One parlor is in the Japanese style, the other Western. The Western-style room contains a large writing desk and a swivel chair that look like someone's still
The building itself dated from the early Meiji period, when it was built to serve double duty as the family library and guesthouse. In the Taisho period it was completely renovated as a two-story building, with the addition of magnificent guest rooms for visiting writers and artists. From the Taisho to the early Showa period, many famous artists visited the Komuras, leaving behind mementos—poems, sketches, and paintings—in gratitude for having been allowed to stay here.
"You'll be able to view some selected items from this valuable collection in the second-floor gallery," Miss Saeki adds. "Before World War II, a vibrant local culture was established less through the efforts of local government than those of wealthy connoisseurs such as the Komura family. They were, in short, patrons of the arts.
Kagawa Prefecture has produced quite a number of talented tanka and haiku poets, and one reason for this was the dedication with which the Komura family founded and supported the local art scene. Quite a number of books, essays, and reminiscences have been published on the history of these fascinating artistic circles, all of which are in our reading room. I hope you'll take the opportunity to look at them.
"The heads of the Komura family down through the years have been well versed in the arts, with an especially refined appreciation of the truly excellent. This might have run in the blood. They were very discerning patrons of the arts, supporting artists with the highest aims who produced the most outstanding works. But as you're surely aware, in the arts there is no such thing as an absolutely perfect eye. Unfortunately, some exceptional artists did not win their favor or were not received by them as they deserved to be. One of these was the haiku poet Taneda Santoka. According to the guestbook, Santoka stayed here on numerous occasions, each time leaving behind poems and drawings. The head of the family, however, called him a 'beggar and a braggart,' wouldn't have much to do with him, and in fact threw away most of these works."
"What a terrible waste," the lady from Osaka says, apparently truly sorry to hear this. "Nowadays Santoka fetches a hefty price."
"You're exactly right," Miss Saeki says, beaming. "But at the time, he was an unknown, so perhaps it couldn't be helped. There are many things we only see clearly in retrospect."
"You got that right," the husband pipes in.
After this Miss Saeki guides us around the first floor, showing us the stacks, the reading room, the rare-books collection.
"When he built this library, the head of the family decided not to follow the simple and elegant style favored by artists in Kyoto, instead choosing a design more like a rustic dwelling. Still, as you can see, in contrast to the bold structure of the building, the furnishings and picture frames are quite elaborate and luxurious. The carving of these wooden panels, for instance, is very elegant. All the finest master craftsmen in Shikoku were assembled to work on the construction."
Our little group starts upstairs, a vaulted ceiling soaring over the staircase. The ebony railing's so highly polished it looks like you'll leave a mark if you touch it. On a stained-glass window next to the landing, a deer stretches out its neck to nibble at some grapes. There are two parlors on the second floor, as well as a spacious hall that in the past was probably lined with tatami for banquets and gatherings. Now the floor is plain wood, and the walls are covered with framed calligraphy, hanging scrolls, and Japanese-style paintings. In the center, a glass case displays various mementos and the story behind each. One parlor is in the Japanese style, the other Western. The Western-style room contains a large writing desk and a swivel chair that look like someone's still
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