Japanese Edo Screen Kano School Isle of Immortals

Fantastic 19th century Japanese Edo/Tokugawa period two-panel byobu screen featuring Chinese children frolicking on a garden terrace with a pavilion and large pine tree. Made in the ...

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 ...

Interesting 19th century Japanese Edo period six-panel byobu screen depicting the thirty six immortals of poetry (Sanjurokkasen). Each portrait is accompanied by their poems. The poe...

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...

Japanese Kano School Edo period two-panel screen depicting flowering prunus and bamboo on a rock formation, with colorful birds next to a body of water. ...

Embark on a journey through the tranquil beauty of a Japanese screen from the Edo period, crafted by the illustrious Kanō Tsunenobu, a master of the Kanō school and nephew to Kanō Ta...

Phoenix and Peacocks. A pair of six-panel Japanese folding screens by Tsunetake Yotei (n.d.) First half of the 18th century. The signature reads 67 year old Tsunetake. The seals read: -Tsunetake no in, -Yotei, -Seishin Dimensions: Each screen – H. 69” x W. 149” (176 cm x 378 cm) A pair of Kano Grand Picture (Waga) screens depicting phoenix and peacocks rich with symbolic meaning. Dating to the first half of the 18th century, from the Kobikicho Kano school in Edo, this pair of folding...

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...