Immortal He Xiangu Painting on Canvas, China, 19th Century Asian Art

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...

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Imperial portrait on paper.

Evolving from the Korean tradition of tomb mural painting came the Buddhist practice of “taenghwa,” or hanging-painting, a form of religious painting that included hanging scrolls, framed paintings and wall murals. Influenced by Chinese and Central Asian Buddhist art...

A Chinese Qing Dynasty period painting from the 19th century of an ancestral group portrait in custom frame. Immerse yourself in the rich tapestry of Chinese history with this Qing Dynasty period painting, an ancestral group portrait from the 19th century that masterfully captures the essence of traditional Chinese society and family hierarchy. This vertical painting, housed in a custom composition wood frame with plexiglass, is a testament to the time-honored artistry of Qing Dynasty artists. Crafted on parchment paper, the painting displays generations of ancestors in a systematic, frontal arrangement. The chromatic spectrum of their robes - blues, reds, greens, golds, blacks, and oranges - adds vibrant depth to the ancestral tribute. Civil officials are distinguished by bird-adorned buzi, an emblem of their rank. In line with tradition, the portrait hierarchy descends from top to bottom - the older generation presides at the top, followed by subsequent generations. The men are positioned on the right, the women on the left, reflecting the societal norms of the period. Bordering the parchment, a silk frame contributes an elegant finish. Display this painting above a credenza, console table, or enfilade, and it promises to enhance any interior space with its captivating allure and cultural resonance. This Qing Dynasty painting...

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