Although small in size, traditional forms of shikishi (square pieces of paper) and tanzaku (narrow strips of paper) have been meticulously prepared as works of art for the purpose of appreciation. On the other hand, sketching and rough sketches remain unpolished raw materials. Seihō has skillfully interwoven a unique charm between these two.

Haiku also plays a significant role in expressing the emotions of the journey. Often, Seihō avoids rigidly fitting within the seventeen-syllable framework, allowing the free flow of poetic thoughts. The graceful and spirited brushstrokes, guided by a light and lively touch, truly unite writing and painting. This refined handwriting elevates the commonplace item of picture postcards, meant for popular practical use, into a splendid independent work of art. Furthermore, without excessive structure or restraint, occasionally diverting intentionally or leaving it fragmented, there is an intriguing simplicity, unadorned and unpolished. In this lies the human essence of Seihō. 

The refreshing impression created during the journey by freely drawing with a yatate brush* dipped in a travel inkstone, whether casually on the road or formally in the studio, embodies a taste distinct from the bundled shikishi booklets drawn before. It is said to emit the purest artistic fragrance, the most fresh and vibrant expression within Seihō's oeuvre.

In other words, this can be considered a form of artwork that has yet to be officially recognized and has been neglected. I applaud the initiative to reevaluate and recognize such overlooked art forms. Taking it upon myself, without measuring its significance, I have contributed my thoughts to this venture.

Begging your forgiveness, Ken'ichi Kanzaki

*A yatate is a Japanese portable writing set, containing a traditional Japanese bamboo brush and an ink pot filled with cotton or silk which holds liquid sumi ink. 

形は小さくても、式紙や短冊は美術品としての鑑賞の目的に沿ふた形を傳統的に整へて居るが、寫生や下図は未だ錬磨しない素材としての鑛璞である。その兩者の間を千鳥掛けに縫つてるやうな特趣を、栖鳳は拓き出してる。俳句が又その旅情披瀝の一重役を果してるが、往々にして強るて十七字の枠に嵌めないで、俳想の横流に任せたとでも云ひ度いやうな文句に出会ふ。そして輕快瀟洒に馳驅された雅致に富む筆跡が、文字通り書画を一如たらしめ、絵葉書といふ大衆的實用品を、立派に獨立した美術品として仕上げてる。

殊更に構へず、凝りもせねば練りもせず、時には故意にそらし碎いた、素面不梳的らぬおもしろさ。そてには人間栖鳳の俤が漾ふ。

矢立筆を旅硯に霑して描き流した旅中の瑞々しい印象、それは尠くも畫室に正座して描いた式紙短册の纏つた味以前の、栖鳳の作品中最も新鮮潑刺とした純乎たる藝術的香氣を放つものと言へやう。

謂はば、未だ公認されないで放置してあつた美術品の一形式、夫れを改めて認識する爲めの檢討資料とも云ふべき此の計劃を贊喜するの餘り、敢て自ら、量らず一役買つて微衷を錄した。 

乞諒  神崎憲一

Table of Contents and Commentary, First Edition

Transcription and translation of preface by Michiaki Kawakita

栖鳳旅寿々里

河北倫明 

近代の画家中, 名人の 名がふさわしいのは竹内栖鳳にとどめをさすとしたのは識見高い鏑木清方どあつたが, まことにそのとおり栖鳳画の軽快瀟洒の筆風は自由自在, おのずから雅趣つきないものがある. まして, この絵葉書五〇点は, 書画一如のなかに溢れる旅情をふくみ. 旅人栖鳳の飾らない人間味が漂う. 内容は, 明治の渡欧期の珍品にはじまり, 大正期の中国旅行をはさんで, 国内各地の風物が俳味ゆたかに展開されている. 色紙や短冊とはま違つた無類の美術品である.  

(美術評論家)

Seihō's Traveling Inkstone [Pictures]

Michiaki Kawakita 

Among modern painters, the discerning Kaburaki Kiyokata asserted that the title of 'master' is most fitting for Takeuchi Seihō. Indeed, Seihō's paintings possess a lively and elegant brushwork, freely expressing a natural and refined charm. Moreover, this collection of fifty picture postcards is filled with a sense of travel expressed through the unity of calligraphy and painting. The unpretentious humanity of Traveler Seihō is distinctly felt. The content ranges from rare items from Seihō's Meiji era European journey, through his travels in China during the Taisho period, to the picturesque scenes from various places in Japan. It is an unparalleled work of art, distinct from shikishi or tanzaku, rich in poetic sentiment.

(Art Critic)