Kano Tanshin Paintings and Screens

Antique Japanese small table top four panel folding screen. Wood block print on paper. First quarter 20th century. Perfect to use as wall art.

Large Japanese Meiji period six-panel screen depicting a winter landscape with a Chinese sage visiting friends in a country villa. Ink and vivid color pigments on mulberry paper mounted to a gilt background. Painted in the 19th century Kano school...

Stunning late 19th century Japanese Meiji period six panel byobu screen featuring a deep blue waterscape with pheasants and ducks. Made in the Kano sch...

Antique Byobu Four Panel Screen. Japan, late 19th to early 20th century. Taisho period.

Unfolded size: 1700 x 1700 x 20 mm Foldable: 850 x 1700 x 40 mm, 7kg Estimated size after packaging (sandwiched between 5 mm plywood): 13 CM x 95 CM x 185 CM Weight　20 KG A beautifu...

A super nice Meiji period 19th c Japanese Chamber Screen. Also usuable as wall mounted screen. Stunning piece!

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...

Cherry Blossoms Kano Sanrakuki (1898-1981) Showa period, circa 1930 2-panel Japanese Screen Color, gofun and gold leaf on paper Against a backdrop of gold-leafed ground, the lichen covered trunk and branches of the life-sized cherry blossom tree reach out and beyond the confines of the pictorial surface. The overall composition has a feeling of flatness which draws emphasis to the surface and the three-dimensionality of the cherry blossoms. Painstakingly built-up layers of thickly applied shell-white gofun detail the voluminous blossoms and cover large areas of this tour-de-force of Japanese Nihonga painting. By simplifying the background, minimizing the number of colors and depicting the blossoms with such heavy relief, the artist has emphasized the stunning presence of the cherry tree. The type of tree depicted is the Yae-Zakura; a double-layered type of cherry blossom famed for its beauty and strength. When we think of Japanese cherry blossoms, the first thing that comes to mind is Somei Yoshino variety, which has a single flower with five almost white petals. This type is fragile and easily blown away by strong wind or rain. Most of the double-flowered cherry blossoms begin to bloom when the Somei-Yoshino falls, and the flowering period lasts longer than that of the Somei-Yoshino. Kano Sanrakuki originally studied painting at the Kyoto City Arts and Crafts School under the tutelage of Yamamoto Shunkyo...

Japanese Kano school screen with pine tree, camellias, cherry blossom and Chinese figures in the landscape, circa 18th century. Materials: Pigmen...

Nice four-panel Japanese screen painted on vegetal paper, depicting a landscape with a red maple, flowers and birds. The size is very refined and easy to place in a design project.

Pines and Cranes Anonymous. Kyoto Kano School. Late 17th/early 18th centuries, circa 1700. Pair of six-panel Japanese folding screens. Ink, gofun, pigment and gold leaf on paper. This bold composition presents two pine trees extending to the left and right across a gold leaf background. One tree is silhouetted against a green ground, golden clouds obscuring its true size, the other stretches across a stylized waterway. The pines are paired with Manchurian cranes with red crests and snow white plumage. Both have been highly auspicious motifs in East Asia since Chinese antiquity. Here the artist utilized fluid and instinctive ink brushstrokes to define the trunk, branches and tail feathers, in strong contrast to the precision and sharp angularity of the crane’s legs and beaks. The adoption of this vast metallic painting support required an unerring sense of design and composition, so that the negative space surrounding motifs could imply context for the otherwise floating pictorial elements. The brushwork detailing the trunks of the pines, the exaggerated dimensions of the pine trees and the strength and dynamism of the composition are all reminiscent of Kano Eitoku...

Horses Kano Tanshin Morimasa (1653-1718) Two-panel tea-ceremony Japanese screen or furosaki Ink on gold leaf, late 17th-early 18th century Measures: H 55 cm x W 182 cm The Kano school was closely aligned with the warrior class in Japan. The samurai, who lived in a closed and rigid hierarchical society established by the Shogunate, were drawn to the energy and freedom horses symbolize; Kano school artists commonly depicted the equine creatures as they are here, in unfettered and carefree family groups. China originally introduced horse paintings to Japan; the works typically focused on capturing the essence of horses in their various environments and often involved integrating human figures into the images. Kano Tanshin Morimasa (1653-1718) was the son of Kano Tanyu...