The purpose of this paper is to clarify the characteristics of birds-eye view drawing “Untitled [The Elementary School at the Foot of Mt. Asama]” which is drawn by Michizo Tachihara. This paper analyzes the location and the subject of his work, and investigates the similarities with Paul Cézanne's “Montagne Sainte-Victoire”. The conclusions are as follows.
 1. We clearify Elementary School is located in Karuizawa-Seibu elementary school.
 2. Tachihara studied deeply Cézanne's paintings through the “Shirakaba” and Rilke.
 3. The drawing of Elementary School and “Montagne Sainte-Victoire” have many similarities such as the shape of the mountain ranges and the overlap of the foregrounds and background.

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In “Cezanne’s Doubt,” Merleau-Ponty claims that Cézanne’s paintings reveal inhuman nature. Although this is the reason Merleau-Ponty highly values Cézanne’s pain- tings, it remains unclear what he specifically means by this claim. This paper, therefore, aims to clarify what it means to reveal inhuman nature and what features of Cézanne’s paintings contribute to this. This paper begins by examining Merleau-Ponty’s view of the perception of familiar things, emphasizing that we are fixated on the environment and establish bodily space. I then argue that, according to Merleau-Ponty, revealing inhuman nature involves suspending the perception of familiar things and allowing what one experiences in perception to appear as it is. Next, I show that, for Merleau-Ponty, Cézanne does not sketch with lines but with colors, employing a coloring technique called “modulation,” which brings order to the sequence of colors. In Merleau-Ponty’s view, Cézanne paints, with modulation, the landscape in its totality as he perceives it, where things and space are becoming distinct. I thus conclude that to reveal inhuman nature means to make one’s perceptual experience appear as it is, and Cézanne’s paintings’ coloring technique is contributive to this process.

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