小村雪岱／Komura Settai

小村雪岱（1887〜1940）は、大正から昭和の戦前期にかけて活躍した美術家です。装丁や挿絵、舞台美術など、多彩な分野において優れた作品を残し、意匠の天才として時代を先導した雪岱は、現在のグラフィックデザイナーの先駆けともいえる存在です。

1887年、現在の埼玉県川越市に生まれますが、幼くして両親と離別し、叔母の家に身を寄せたのち、書家の安並賢輔に養子として引き取られました。絵を描くことに興味を持った雪岱はやがて画家を志すようになり、初めは荒木寛畝（あらきかんぽ、1831〜1915）の塾に通い、1904年からは東京美術学校日本画科で下村観山（1873〜1930）に師事しました。旧派の寛畝と新派の観山から、それぞれ古典絵画の基本を学び、美術学校を卒業してからは國華社（こっかしゃ）において仏画、絵巻、浮世絵の模写に従事するとともに、資生堂の意匠部において商品や広告のデザインを担当しました。こうした経験によって、伝統的な型や構図、風俗考証に関する知識が自然と身につき、また、そのようにして培ってきた筆づかいや素養が、彼の画風に品格や清廉さを与えるようになりました。

装丁家、挿絵画家としての雪岱を語るうえで欠かせないのが、小説家である泉鏡花（1873〜1939）の存在です。画号である「小村雪岱」は鏡花が授けたものであるばかりでなく、鏡花の作品『日本橋』で雪岱が手がけた装丁は、装丁家としては初めての仕事ながら好評を博し、彼の出世作となりました。引く手あまたとなった雪岱はその後、生涯にわたって二百数十冊にも及ぶ装丁や、新聞小説の挿絵などを手がけたほか、30代後半からは舞台装置の制作にも携わるようになります。それらは、言うなれば引き立て役の分野ですが、雪岱の意匠はいずれも作品の世界観を壊すことなく、しかし異彩を放ちながら、一目で彼の絵であると分かるような個性をきらめかせており、その誠実な仕事ぶりも相まって、多くの小説家、脚本家、役者たちに愛されました。

大衆文化に属し、また戦時下に没したという経緯のため、これまで美術史では取り上げられることが少なかった雪岱の作品は、芸術をより広い視野で捉えようとする昨今の風潮から、その類まれな画業が再評価の機運を高め、改めて人々を魅了しています。

Settai Komura (1887-1940), was an artist who thrived during the Taisho and Showa eras in the pre-war period. Demonstrating excellence across various fields, including book design, illustrations, and stage set design, Settai left behind remarkable works and is regarded as a design genius who pioneered the era. His contributions place him as a precursor to contemporary graphic designers.

He was born in 1887 in what Kawagoe City is now, Saitama Prefecture. He faced early separation from his parents. After a brief period under the care of his aunt, he was later adopted by the calligrapher Kensuke Yasunami as his foster child. Developing an interest in painting, Settai eventually aspired to become an artist. In the beginning, he attended a school run by Kanpo Araki (1831-1915). From 1904, he studied under Kanzan Shimomura (1873-1930) at the Japanese Painting Department of the Tokyo Fine Arts School. He learned the fundamentals of classical painting from the traditional style of Kanpo and the innovative style of Kanzan. After graduating from art school, he worked at Kokka Sha, engaging in the reproduction of Buddhist paintings, emakimono (handscrolls), and ukiyo-e. Additionally, he was responsible for product and advertising design at Shiseido’s design department. Through these experiences, he naturally acquired knowledge of traditional forms, compositions, historical accuracy, and the brush skills cultivated in this way came to imbue his artistic style with dignity and purity.

To narrate the importance of Settai as a bookbinder and an illustrator, it is essential to consider the presence of the novelist Kyoka Izumi (1873-1939). The art name “Settai Komura” was not only bestowed by Kyoka, but also the bookbinding work undertaken by Settai for Kyoka’s work “Nihonbashi” received acclaim, marking his debut as a bookbinder and establishing his reputation with success. Having become widely sought after, Settai went on to craft over two hundred book bindings and illustrations for newspaper novels throughout his lifetime. In his late thirties, he also became involved in the production of stage sets.
These fields may be considered supporting roles, but Settai’s designs, without disrupting the artistic essence of the works, radiate a distinctive brilliance. Each design unmistakably carries his unique personality, and coupled with his sincere craftsmanship, he garnered the affection of numerous novelists, scriptwriters, and actors.

Due to its belonging to popular culture and the circumstances of perishing during wartime, Settai’s works have been less frequently examined in art history. However, in light of the recent trend to perceive art from a broader perspective, his exceptional artistic achievements are gaining renewed appreciation. Once overlooked, his remarkable paintings are now captivating people anew.