19th Century Japanese Screen for Tea-Ceremony, Ink Bamboo and Plum on Gold Leaf

Unknown artist Rabbits and Horsetail Reeds Painted in the Year of the Fire Dog, 1826 or 1886. 19th century. The scene depicted here is set under moonlight, with two hares hi...

Kano Naonobu (1607-1650) Plum Tree and Birds Six-fold Japanese Screen. Ink and slight color on paper. In this evocative ink work spread over a six-panel folding screen, we see the consummation of the elegance and refinement of the Edo Kano school. This 17th century screen is a rare surviving example of a large-scale bird and flower painting by Kano Naonobu, the younger brother of Kano Tanyu...

Suzuki Shonen (1848-1918) Meiji period (1868-1912), late 19th century. Twisted pines Pair of six-fold screens. Ink on a gold leaf ground. Sig...

Hawks on plum and pine Soga Nichokuan (active circa 1625-1660) Pair of six-fold screens. Ink, mineral pigments, gofun, gold and speckled gold leaf on paper. Upper seal: H...

Bamboo in moonlight Gamo Rakan (1784-1866) Hanging scroll, ink on silk. Dimensions: Scroll: 201 cm x 58 cm Image: 137 cm x 45 cm In this early 19th century work by Gamo Rakan a light ink wash applied to the silk background silhouettes the moon and suggests the atmosphere of early evening. Even though it is a literati subject, Rakan’s bamboo is quite realistic with a strong decorative style. The painting finds its inspiration from Chinese Ming dynasty painters who often used a single-tone, jet black stroke to emphasize the calligraphic nature of bamboo. In a different era, decorative would have been seen as somewhat unrefined. But increasingly in the Edo period, it was the hallmark of high style. The Japanese people, in particular the rising merchant class, had gradually become apathetic toward the traditional Sesshu and Kano schools of painting. Chinese professional and amateur painters living in the port of Nagasaki during the 18th century had a profound effect on Japanese painting and the freshness of their style and its decorative appeal contributed greatly to its popularity. Gamo Rakan’s teacher, Tani Buncho...

Birds & Flowers of the Seasons Pheasants & Plum in Snow Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature: Chikanobu Seal: Shateki Offered here is an unframed ‘kacho-e’ painting by the 19th century Japanese Takamatsu domain painter Kano Chikanobu. There are 8 individual paintings available, which originally would have been part of a set of 12. ‘Kacho-e’ literally means ‘pictures of birds and flowers’. In reality it covers a wide range of natural motifs including birds, fish, insects and small animals in combination with flowers, grasses or trees. The theme has a long history in Japanese painting. It is one of three painting genres, the other two being landscape and figure, which derive from Chinese academic painting classification. As one of the accepted types of painting to be shown in official residences, scenes of birds, flowers and animals were rife with metaphorical reference as well as physical beauty. In these paintings Chikanobu has made conspicuous use of brilliant pigments and meticulous brushwork. The rocks, water, trees, blossoms, and birds are treated as stylized formal elements in a grand design. All of the components contribute to the patterned effect and tactile richness of the surface. Beyond their highly decorative qualities, the subject of some of the paintings are also an allusion to imperial allegiance; the pheasants are symbolic of bravery and steadfastness, peacocks represent divinity and power, and the phoenix paired with paulownia a just and benevolent ruler. Cranes and turtles symbolize longevity, and the lush, full bloom of the peony flower represents wealth and opulence. Paintings of native Japanese birds and flowers were appreciated primarily for their evocation of the seasons and the traditional poetic emotions associated with them. This is the case with the spring scene of cherry blossoms and birds and the winter scene of narcissus, nandina and sparrows. The rich expression of flower and bird paintings...

Mineral pigment on gold leaf.

Spring landscape by an unknown painter of the Rinpa school, 19th century, six-panel ink painted on gold leaf on rice paper. The flowers are made with the "gofun" technique, natural or pigmented white oyster powder. Rinpa (? ?, Rinpa) is one of the major historical schools of Japanese painting. the style was consolidated by the brothers Ogata Korin (1658–1716) and Ogata Kenzan...

Paravento a sei pannelli di scuola giapponese Kano: paesaggio con bellissime ed eleganti gru vicino al fiume, con alberi di pino e sakura. Dipinto a mano con pigmenti minerali ed inc...

A striking low and wide two-panel furosaki’byôbu (tea-ceremony room divider) painted with two bright white dragons (ryû) flying amidst swirling black clouds. The left dragon holds a ...

We have a unique Japanese aesthetic sense. And only we can introduce unique items through our purchasing channels in Japan and the experience we have gained so far, in such a way that no one else can imitate. It is an ink painting written after the Meiji era. The biggest attraction of this work is that it uses Chinese characters to create paintings. To explain in detail, it is written here in Chinese characters as "un-ryu" . "Un" is a cloud and "ryu" is a dragon. These are embodied and drawn by comparing them to the meaning of Chinese characters. And the clouds depict the clouds hanging over the mountain, and the dragon depicts the climbing toward the mountain. Humorous paintings...

Late Edo period 19th century Japanese six-panel landscape screen featuring a cypress tree over a flowering hibiscus with a pair of hototogisu birds. Kano school painted with ink and ...