Framed Korean Jakhodo Tiger and Magpie Folk Painting One of the Four

A Korean Folk Art painting watercolor on silk mounted with brocade border and framed. The watercolor was likely dated from late 19th century to the tur...

A Korean Folk Art painting mounted as a hanging scroll. The watercolor on paper was likely dated from 1930s-1940s. The work depicts a "Jakhodo" theme (...

A Korean folk Shamanism watercolor on textile matted with woven brocade and presented in a wood frame with an oriental style metal hanging hardware. The painting was estimated to be from early 20th century circa 1910-1930s. It depicts Guan Yu (160-220AD), a legendary Chinese warrior and general from Eastern Han Dynasty. Long worshiped in China as a deity, across all three major religions, Guan Gong...

A Korean folk painting watercolor on linen (silk) with a cloth mat and walnut wood frame. The work is in the shamanistic style and depicts the Tao...

Korean Minhwa Spotted Leopard Snarling Magpie and another Magpie flying in the pine tree Minhwa, Korean folk paintings, portray the simple and unaffecte...

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

Vintage Pichhavai painting on fabric of Krishna playing is flute with Radha and female Gopis gathered by his side. The colors, details and facial ex...

Anonymous. Korean, 17th century. Joseon period. Hanging scroll. Ink on paper. Seal: Shinso Dimensions: Scroll: H. 200 cm x W. 31 cm (79” x 12”) Image: H. 122 cm x W. 29.5 cm (48” x 11.5”) The grapevine came to China and then Korea from western Asia via the silk road trade routes. By the mid-Joseon period, it was one of the most popular subjects for Korean literati painters. Grapevines were painted as a singular subject or, less commonly, in combination with squirrels, which are associated with children due to their playful nature. Together, grapevines and squirrels embody wishes for abundant offspring and wealth. For the Korean literati artist the twisting vines, curling tendrils and round, plump grapes provided ample opportunity for expressive "brush play”. In this painting the artist has abstracted the scene and is seemingly unconcerned with discontinuities and proportion. Vines spring up from nowhere, grapes hang in random clusters and the squirrel’s head appears as if twisted backwards. For the vines and leaves we can feel a sense of speed in the brushstrokes, imparting a dynamic feel which is at once intense and animated. This contrasts dramatically with the countless tiny strokes of ink which realistically capture the texture of the squirrel’s fur...