Edo Paintings

Impressive pair of 17th century Japanese Edo period Rinpa school screens made in the manner and style of Autumn Grasses by Tawaraya Sotatsu (1570-1640). Beautifully decorated with wi...

Kano School painting showing ancient pine, exotic birds, peonies, azalea and cherry tree in bloom on far right. Early Edo period painting, (1614 -...

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...

The following is a work of art depicting the ``Horai Landscape,'' a land of peach, created by the master artist [Rosetsu Nagasawa] A painter from the late Edo period. There are conf...

[Authentic work] ◆ Seiki Yokoyama ◆ Landscape ◆ Rural landscape ◆ Japanese painting ◆ Shijo school ◆ Hand-painted ◆ Paperback ◆ Hanging scroll ◆ Seiki Yokoyama [Art yearbook appra...

Beautifully painted Condition GOod 45x 36 cm Period 19th century

[ Authentic work] ◆ Kogyo Terasaki (Hiroyo Terasaki) ◆ Tie no Tsuki ◆ Toriya Hatayama Box ◆ Double box ◆ Handpainted ◆ Paperback ◆ Hanging scroll ◆ Kogyo Terasaki (Hiroyo Terasaki) ...

Product Description 　　The item below was hand-painted by Mitsufumi Tosa.It 　　depicts a torii gate at the rising sun, making it perfect for New Year's and auspicious occasions. [Tosa...

Lovely painting with carved frame. Balinese style. Very well made. Very nice shaped. Condition Overall Condition some small usage signs to frame. Size 790x995mm Period 20th century

[Authentic Artwork] ◆ Chikuson Tajika ◆ Autumn Landscape ◆ Master: Naoiri Tanomura ◆ Oita Prefecture ◆ Hand-Painted ◆ Silk Mounted ◆ Hanging Scroll ◆ Delve into the artistry of Chik...

Beautifully painted Condition Good condition. Size. 88x 69 cm

◆ Ukiyo-e ◆ Beautiful woman painting ◆ Japanese painting ◆ Hand-painted painting ◆ Silk ◆ Hanging scroll ◆ This work is drawn by hand and on...

Beautifully painted Condition Good condition. Size. 88x 69 cm

This is a ``Rising Sun and Pine Tree'' drawn by Kano Baisho. It is an item with a solemn taste and presence, and I think it would be a good idea to display it at New Year's, the fir...

Lovely painting with carved frame. Balinese style. Very well made. Very nice shaped. Condition Overall Condition some small usage signs to frame. Size 1920 x 1050mm Period 20th cent...

[Authentic work] ◆Tanomura Chokunyu ◆Ink painting landscape ◆Japanese painting ◆Handpainted ◆ Paper ◆ Hanging scroll ◆ Chokunyu Tanomura 1814 (Bunka 11) - 1907 (Meiji 40) [Art yearbook appraised value 8 million yen] "A child prodigy in painting, Tanomura Chokunyu originally modeled himself after the style of the famous Tanomura Chikuden (1777-1835), who had adopted him at the age of eight. After Chikuden's death, Chokunyu took up an intense study of imported Chinese paintings." Paul Berry in: Literati Modern, p.136.) - The certificate box was inscribed by Tajika Chikuson (1864-1922), one of Chokunyu's key disciples. Around 1840, he studied Confucianism under Kotake Shinozaki in Osaka, deepened his friendships with Heihachiro Oshio and Tessai Tomioka through sencha, and began to be recognized as a painter. Furthermore, in 1862, he founded and hosted the Seiwan Tea Ceremony (a sencha tea ceremony), which achieved great fame. In 1868, he moved to Kyoto and participated in the establishment of the Kyoto Prefectural Painting School (opened in 1880), serving as its principal and making efforts to foster the next generation.Furthermore, in 1996, he established the Japan Nanga Association with Tessai and others, and established the Japan Nanga Association, which was established in modern Japan. He made a great contribution to painting and the southern painting...

Product Description This piece 　　depicts a beautiful woman with her skirts 　　rolled up as she hunts for clams on a shallow shore , 　　giving it an indescribably impressive expression....

　[Raisho Nakajima] lived from 1796 to 1871, at the end of the Edo period and early Meiji period. A person from Otsu, Omi Province (Shiga Prefecture). His name is Ziqing. His names i...

Tanomura Takeda's handwritten self-portrait hymn "Painted Landscape" with himself working in a hut Takeda Tanomura and depicts fields and mountains in spring, 　　and is accompanied by a self-written waka poem that is thought to be about the scene. [Tanomura Takeda] A painter from Takeda Village, Naoniri District, Bungo Province (present-day Takeda City). His family was born as the second son of Ken'an, who had been a samurai physician in the Oka domain for generations. He first studied medicine, but preferred learning over medicine, and studied Chinese studies under Kimizan Karahashi, a He also learned painting techniques from Buncho Tani, and after returning to Japan, he served as the president of a domain school. He resigned his post in 1812 and traveled between Keihan and Osaka, where he interacted with Raizanyo, Shinozaki Kotake, Urakami Gyokudo, Okada Yonezanjin, Unka Shonin, Aoki Mokubei...

[Authentic work] ◆ Akihiko Okamoto ◆ Winter forest landscape ◆ Japanese painting ◆ Hand-painted ◆ Paper ◆ Hanging scroll ◆ Okamoto (Sukehiko Okamoto) Sukehiko Okamoto [Art yearbook ...

[Authentic Artwork] ◆ Nagamachi Chikuseki ◆ Landscape ◆ Edo Period ◆ Mitsuishi Origin ◆ Kagawa Prefecture ◆ Handwritten ◆ Paperback ◆ Hanging Scroll ◆ k891 ◆ Nagamachi Chikuseki Explore the artistry of Chikuseki Nagamachi...

This is a pair of Edo period pieces, each with a beautiful ``cherry blossoms and swallow'', ``Fuji and rising dragon'', and ``wild geese'' . ■Silk book, handpainted ■Condition: 　　T...

TheItem below was painted approximately 300 years ago by Kano Chikanobu. In the center is a depiction of a deer hermit, on the right is a landscape of a tower that gives a sense of ...

The following is a work depicting a picture of bamboo in the snow, drawn by Sodo Tae (Taizo). 　　　[Tae Sodo] 　　1870 (Meiji 3) - 1939 (Showa 14) 　　Agricultural manager, politician, an...

　"Early Summer Colored Waterfall" is a work drawn by Sekiran Okumura as you can see. 　　The brilliance of the fresh greenery and the cool, powerful presence of the waterfall are overw...

Kano Osanobu (狩野養信) Osanobu Kano (born August 18, 1796; died June 12, 1846) was the ninth painter of the Kobikicho Kano School in the Edo period. His common name was Shozaburo. His ...

Product Description This is a work drawn by Matsutoshi Suzuki on New Year's Day, 1903, as you can see. The figure of the zodiac ``Snake'' and a jewel are depicted, and a poem of prai...

Eishin Kano's Ebisu/Great Country Map, double-width/comes with an old box. The auspicious statues of Ebisu and Daikoku are standing in a double-width hanging scroll with a smiling fa...

The following is a beautiful work of Fuyo drawn by Hasegawa using a skillful brush. 　　　[Hasegawa] 　　1822-1879 Painter from the late Edo period to the Meiji period. 　　*Painter born...

Japanese two panel screen: Amorous Cranes and Turtles. In Japan, cranes symbolize fidelity as they mate for life and turtles symbolize longevity. Additionally, this screen also has the Japanese motif of sho-chiku-bai, or the three friends of winter (pine, plum, and bamboo). So called the three friends of winter because all three flourish during the cold months. This screen was originally fusuma doors...

Beautiful set of 6 large kakemonos from 19th century Japanese mythology. Paper support with a canvas pasted on the paper Wonderful set that is part of Japan's history and beliefs When not hung, the Kakemonos are rolled up. circa 1800 - Japan - Edo Period A kakemono translates as "object to hang". In Japan this refers to a painting or calligraphy, most often done on silk or paper framed in a scroll that was intended to be hung on walls or in public lighting. This particular form, which allows them to be in a roll, dates back to the Tang dynasty in China (this would be related to the copying and preservation of ancient Buddhist texts). A Kami is a deity or spirit worshipped in the Shinto religion. A Yokai is a spirit, ghost, demon, or strange apparition from the creatures of Japanese folklore. Each of these kakemonos represents a unique story: - A kami, a Japanese deity, is shown painting a rainbow. Indeed, he performs the action with his right hand while his left hand holds a kind of basket with three pots of paint. This kami has a rather closed attitude. He is standing in a dark and tormented sky. Below this figure, 8 villagers are dressed in traditional Japanese clothes. Their faces are softened. They are not afraid of the elements made by the kami above their heads. - A character with an unreal look is holding a kind of jar with his two hands, which he spills on human figures above. This being is floating in the air, probably a character from mythology, perhaps Susanoo. Underneath, villagers on umbrellas. They are trying to protect themselves as best they can from what is falling on them. One of them is carrying baskets with fish on her shoulders. A character in the background is thrown forward and falls. - On this kakemono, the god Raijin, dressed in a white and blue outfit, strikes the sky with his two drum hammers to create lightning and its thunderous sound. Surrounded by Tomoe and a long red scarf, Raijin, enraged and with dishevelled hair, creates a dark and violent storm. The villagers seem frightened by this meteorological phenomenon. One of the villagers can be seen fainting in the arms of a man. This scene may seem chaotic, but Japanese legend tells us that once a field is struck by lightning, the harvest is good. - On this kakemono, we see an unreal-looking figure holding a fan, as if he were sweeping away the bad weather, or simply producing gusts of wind. He is probably the kami of wind and air, Shina tsu-hiko. The figures below him seem surprised by so much wind. An umbrella flies away on the left, the women hold their hair and scarf, the clothes are caught in the power of the wind, there is even a woman on the ground on the bottom left. - This Kakemono represents a short moment. This Raiju is a yokai (ghost spirit...

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 ...

19th century mid-Edo period Japanese four-panel miniature screen. Depicting a beautifully painted Chinese blue and green landscape in the Nanga School...

Omori Soun (b. 1704) Chrysanthemums - One Hundred Flowers A Pair of Six-fold Japanese Screens. Ink, color, gofun and gold leaf on paper. Dating ...

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...

A Japanese silk Suijaku hanging scroll beautifully presented in a custom wood shadow box frame from Edo period (circa 18-19th century). The scroll, surmounted on golden brocade was painted in fine details with gouache, ink and gold powder highlight, served as a Suijaku mandala for the worshippers. Honji Suijaku is a complicated religious concept uniquely developed in Japan. It mixed and hybrid the Buddism deities with native shinto spirits (known as Kami), which were seen as local manifestations (the suijaku, literally means a "trace") of Buddhist deities (the honji literally the original ground). The original idea may lie with the synergetic strategy to spread Buddism by making it more relatable to the local population who had already worshiped Shinto gods. The paradigm, adopted in the 10th century from an orignal Chinese concept, remained a defining feature of Japanese religious life up to the end of the Edo period (1868). Instead of being confined to deities, its application was often extended to historical figures as shown on this scroll. This long hanging scroll depicts an arrangement of 21 figures including Buddhism and Shinto deities as well as two historical figures on the bottom. Each figure was name-tagged in Kanji for easy identification by the worshippers. It was used in the temple or shrine so that when the worshipper prayed in front the mandala, they prayed simultaneously to all the deities. On the very top, sits Nyorai-Kojin, a hybrid deity of Nyorai Buddha and Kojin, the kaki for fire, stove and kitchen. From the top to bottom and left to right, here is the list of the deities: Kanon with Thousand Hands, Kanon with Willow Branch, Monju Bosatsu...

Kaiho Yusetsu (1598-1677) Tiger and Dragon Early Edo Period, Circa 1650 A Pair of Six-fold Japanese Screens. Ink and slight color on paper. Dimensions: Each screen: H. 171 cm x W. 380 cm (67.5’’ x 149.5’’) In this pair of early Edo period Japanese screens a group of tigers prowl in a bamboo grove whipped with fierce wind, while a dragon claws through clouds and mist. The dragon embodies elemental qualities - looming out of the mist, the coils of its body disappearing in the clouds. The dragon is calling for rain, symbolizing spring which is considered the fountain of life. On the other side, the tigers calls for the wind, symbolizing autumn which is considered the end of life. Tigers were familiar motifs within Japanese art from ancient times though the animals were imaginary to the people in the 17th century. While dragons and tigers are usually associated as sacred and ferocious, in this painting, both animals have rather amusing expressions. The tigers appear to glare at the dragon with cat-like eyes, and the look on the swirling dragon’s face appears almost affectionate - lending a playful flair to an otherwise magnificent theme. The tiger and dragon are cosmological symbols of the balancing forces in the world. Screens such as this were originally meant to express the fluctuating nature of the world. For Japanese in the early Edo period, they likely suggested the powers of the cosmos. In Japan the tiger and dragon motif was originally absorbed into the circles of Zen monasteries before spreading into the secular world. The theme especially appealed to the military classes with the Kano school, the official painters to the Shogun and the samurai, being the leading contributors. The painter of this pair of screens, Kaiho Yusetsu (1598-1677), was closely patronized by the third Shogun Tokugawa Iemitsu. In his later years he worked with Kano school artists...

This is a picture of a cat drawn by a person named "Toshizumi Nitta" from the end of the Edo period to the beginning of the Meiji period. She is a very simple and cute cat. He is a vassal of the Tokugawa Shogunate, born in Ota City, Gunma Prefecture (southern part of Gunma Prefecture). He was related to the Tokugawa family and lived in a large mansion in the Ota clan in Gunma prefecture. However, the Nitta family's territory was very small, and they were by no means a wealthy vassal. He seems to have lived quite poorly. So he painted cats and sold them to people. The Nitta family continued to draw pictures of this cat for four generations. "Nitta toshizumi" is equivalent to the fourth generation. During the Edo period, sericulture was thriving in the Kanto region. Cats were said to be the gods of silkworms, as they drive away mice, the natural enemies of silkworms. It was the Nitta family who drew such a cat on paper, pasted it in the silkworm chamber, and sold it as a mouse repellent. There were also other monks who painted pictures of cats, but the Nitta family in particular was related to the Tokugawa family, so people believed that paintings of cats had special powers. , a lot of paintings...

Cranes Anonymous, Kano School. Edo period, second half of the 17th century. Pair of six-panel screens. Ink, pigment gofun and gold l...

Mori Tetsuzan (1775-1841) Pheasants and Cherry Blossoms Two-fold Japanese screen. Ink, color, gofun, gold and silver on paper. A two-fold Japanese bir...

Birds & Flowers of the seasons Pheasants & Plum in Snow Unframed painting. Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature...

Spectacular 19th century Japanese late Edo period six-panel byobu screen depicting Yoshitsune and Benkei, two heroes of Japanese folklore. Crafted in ink and natural color pigments on mulberry paper with thick gold leaf borders on each panel. The character Yoshitsune is seated under a blossoming cherry tree in full armor holding a fan. The warrior priest or monk Benkei is depicted kneeling on a leopard skin...

Three Friends of Winter Nakajima Raisho (1796-1871) Late Edo period, circa 1850 Ink and gold leaf on paper. This is a double-sided Japanese Furosaki or tea-ceremony screen from the mid 19th century; bamboo and plum on the front, young pines the back. It by Nakajima Raisho, a master painter of the Maruyama school in the late Edo and early Meiji periods. In this work Raisho combines exquisite ink brushwork with large open spaces of brilliant gold-leaf to inspire the viewers imagination. Rather than naturalism, he is searching for the phycological impression of the motifs, resulting in abstraction and stylization. His simplification of the motifs the result of looking to capture the inner nature of the objects. This art motif is known as Sho Chiku Bai, or the Three Friends of Winter. Evergreen pine connotes steadfastness, bamboo suggests both strength and flexibility, while plum blossoms unfurling on snow-laden branches imply hardiness. Combined, this trio is emblematic of Japanese new year. Chinese literati were the first to group the three plants together due to their noble characteristics. Like these resilient plants flowering so beautifully in winter, it was expected of the scholar-gentleman to cultivate a strong character with which he would be able to show the same degree of perseverance and steadfastness even during times of adverse conditions. The screen would have been placed near the hearth of a room used for the Japanese tea ceremony, shielding the fire from draughts and also forming a stimulating and decorative backdrop behind the tea utensils. It would have been used in the Hatsugama, or first tea-ceremony of the new year. Nakajima Raisho (1796-1871) originally studied under Watanabe Nangaku before entering the school of Maruyama Ozui. He was the highest ranking Maruyama school painter at the end of the Edo period and was known as one of the ‘Four Heian Families’ along with Kishi...

Birds & Flowers of the Seasons Pheasants & Plum in Snow Unframed painting. Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature...

Unpei Kameyama (1821-1899) A view of black (American) ships in the bay of Uraga Senminato, Miura district, June 1853 The Japanese text reads: ‘The seventy-six old men for the Kitamura-clan, drawn in 1897 on request of Yoshisada Kitamura, Himeji, the black ships which so much changed the fate of Japan, enjoy please this masterpiece by Harima Shonin Bisei who brings back memories of his young days.’ Watercolour on paper, laid down on cardboard, H. 44.5 x W. 115.5 cm Provenance: Collection of Yoshisada Kitamura, Himeji Yoshisada Kitamura (1838-1899), the son of a farmer in the village of Ogawa, in the district of Harimakashikihigashi, studied under Matajiro Otaka and got heavily involved in the anti-Shogunate movement. He was active in several military incidents against the Shogunate. After the Meiji restoration, he served the Meiji government as a local official in the Himeji domain. Kameyama Unpei was a Confucian scholar, a Shinto priest...

The 19th Century Six-Panel Japanese folding screen "Byōbu" usually used in the most important Japanese house to stop wind and also to separate different space of the same big room de...

Birds & flowers of the seasons Pheasants & plum in snow Unframed painting. Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature...

Poppies & Butterflies Ink, pigment and gofun on silk Igarashi Chikusa (1774-1844) Signature: Chikusa Ran Zen Upper Seal: Ran Shuzen Lower Seal: Kyoho Dimensions: Scroll: H. 68” x W. 18” (172cm x 45cm) Image: H. 38.5’’ x W. 12.5’’ (98cm x 32cm) This composition shows elegant images of poppies and the butterflies that are inevitably drawn to them. It captures a momentary glimpse into a world both visually dazzling and startlingly realistic. The painting is infused with sensitivity and attention to seasonal change and weather conditions. The thin and fragile poppies are beautifully depicted with brilliant colors and the butterflies are similarly infused with life. The painting is on silk which requires extremely precise painting skills as no element once painted can be removed. Poppies were a favorite subject of Rinpa school artists through the ages. Originally they were somewhat abstracted but by the age of Sakai Hoitsu...

Birds & Flowers of the Seasons Pheasants & Plum in Snow Unframed painting. Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature...

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...

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...

An absolutely charming pair of Japanese Tosa School six-panel folding screens painted with the "One Hundred Boys at Play" motif, featuring a multitude...

Birds and flowers of the four seasons Early to mid-19th century Ink, pigment and gofun on silk Unidentified artist Signature: S...

19th century Japanese Edo period six-panel screen painted in Haboku (splashed ink) style. Depicts Four Seasons landscape scenes with two portraits of Chinese sages. One sage is trave...

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...

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...

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...

Birds & flowers of the seasons Pheasants & plum in snow Unframed painting. Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature...