Japanese Kyoto Embroidered Screen

This is a very elegant and simplistic Japanese lacquered calligraphy box that dates to the mid-20th century. The minimal refined designed box includes the brush and other required wr...

This is an impressive Okimo of a rabbit in a resting position. The bronze is very well cast in the form of a realistic rabbit. The bronze is signed on the bottom of one foot, as shown in photo. It is thought that having a rabbit in the house would bring good luck; meaning: we all need one! This guy would make the perfect desk accessory or book shelf eye-catcher. ***In Japanese culture rabbits are one of the signs of the Japanese zodiac. They are considered lucky as the Japanese kanji...

This is a good example of a traditional Japanese Hokai shell storage box for the Kai-awase game. This box is well-detailed in chased brass appliques and makie. The box is in overall ...

This is a very good set of 10 Japanese Imari hand painted dinner plates that date to the Meiji period. All 10 plates are in very good original condition, showing only hints of use. T...

Ink painting of bamboo on nicely patinated silver leaf. Dated 1919, Signature reads: Seikoku.

Edo Period Kyoto Screen Period: Edo period Size: 343 x 176 cm (134.6 x 69 inches) SKU: RJ69/2 This stunning Edo period screen depicts typical scenes of...

Edo Period Kyoto Screen Period: Edo period Size: 343 x 176 cm (134.6 x 69 inches) SKU: RJ69 This stunning Edo period screen depicts typical scenes of d...

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...