Japanese Painting, Framed Panel, 17th Century Falcon by Mitani Toshuku

Mitani Toshuku (1577-1654) “Falcon” Wall panel, ink and light color on paper. Upper seal: Mitani Lower seal: Toshuku Dimensions: Each 118.5 cm x 51 cm x 2 cm (46.5” x 20” x .75”) Individual falcon paintings by Mitani Toshuku (1577-1654), an early artist of the Unkoku School. Founded by Unkoku Togan (1547–1618), a master of the Momoyama period, the Unkoku school enjoyed long lasting patronage in southern Japan. Togan was a retainer of the Mori family in present day Yamaguchi prefecture. Members of the school considered themselves to be in the artistic lineage of Sesshu Toyo...

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...

Japanese two-panel screen: Gibbons of Folklore, Edo period (17th century) Kano School painting of gibbons in Japanese fables. The left panel represents a Japanese fable of a monkey a...

An important Chinese 17th century early Qing Dynasty "Water and Land Ritual" painting, mineral pigment and ink on silk, mounted as a scroll, framed and glazed. The painting depicting groups of heavenly court officials and deities descending from the clouds to participate in the Liberation Rite of Land and Water. The figures all wear full, sumptuous robes, complete with hats indicating their station. The blue, green, red, black and white of the robes decorated with gilt dragon and geometric designs. This painting is interesting in that it incorporates Daosit deities and heavenly officials coming down to participate in the Buddhist rite. There are five distinct groups of figures, each with a small inscribed plaque. Some of the groups are identified as Tian Xian, or Heavenly Immortals. The group at the bottom left are identified as the Sanguan Dadi, or Three Great Emperor-Officials. The Emperor of Heaven is dressed in blue robes with gilt painted dragons. The Emperor of Water wears black robes. The Emperor of Earth wears yellow robes...