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19th Century Japanese Screen Pair. Tiger & Dragon by Tani Bunchu.

$32,000per set
£24,465.70per set
€28,179.55per set
CA$44,841.81per set
A$50,061.67per set
CHF 26,231.56per set
MX$612,803.92per set
NOK 333,141.07per set
SEK 314,109.73per set
DKK 210,306.86per set

About the Item

Tani Bunchu (1823-1876) Tiger and Dragon A pair of six-panel Japanese screens. Ink on paper. In this grand pair of Japanese Ryuko-zu screens the tiger crouches low to the ground, a sign that the yin earth is the tiger’s territory. Bamboo bends in the force of the wind, said to be created by the tiger’s mighty roar. The tiger’s strength is a quiet power, held in its coiled posture. The dragon, on the other hand, is full of active energy. It emerges out of the yang heavens. Its energy causes rain clouds to swirl and whips the water below into wild waves. The tiger and dragon are ancient symbols of yin and yang, forces that combine to make up the universe. Japan’s early artistic treatment of tigers is usually highly stylized and this example by Tani Bunchu is no exception. With no indigenous specimens to study, artists of the pre-modern period constructed their notions of the tiger from skins imported into the country. This has resulted in a rather cat-like depiction of this noble creature, capturing the essence of the animal rather than striving for realism. The Japanese dragon, like its Chinese ancestor, is an ancient mythical creature that is very different from its malevolent, treasure-hoarding Western equivalent. The Asian dragon’s origin predates written history, but had achieved its present form of a long, scaled serpentine body, small horns, long whiskers, bushy brows and clawed feet by 9th century Tang ink painting. By this time it was part of Buddhist mythology as a protector of the Buddha and Buddhist law. These traditions were adopted by the Japanese and the character for dragon is much used in temple names. In painting for the Japanese Zen sects, especially, depictions of dragons and tigers were frequently paired and appeared often on the walls and screens of monastic dwelling chambers. The motifs spread from Zen circles into the secular world and especially appealed to the military classes, tigers serving also as symbols of strength and virility. Tani Bunchu (1823-1876) was a painter of the Tani Buncho school. He learned painting techniques from his father, Tani Bunji (1812-1850), and was an active painter in Edo and Tokyo from the end of the Edo period to the Meiji period. Tani Bunji succeeded his father Tani Buncho (1763-1840) as head of the family. Bunji passed away at the young age of 38, and there are only a few paintings left by him. Tani Buncho was a highly eclectic and influential painter working in Edo in the late 18th and early 19th centuries, who mastered a wide variety of historical painting styles from China and Japan.
  • Dimensions:
    Height: 70.5 in (179.07 cm)Width: 144 in (365.76 cm)Depth: 0.75 in (1.91 cm)
  • Sold As:
    Set of 2
  • Style:
    Edo (Of the Period)
  • Materials and Techniques:
  • Place of Origin:
  • Period:
  • Date of Manufacture:
    Circa 1850
  • Condition:
    Refinished. Wear consistent with age and use. This pair of screens were remounted and restored at some stage during the first half of the 20th century.
  • Seller Location:
    Kyoto, JP
  • Reference Number:
    1stDibs: LU2472339757662

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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...
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