Japanese Style Four Panel Screen Flock of Cranes in Pine

Distinctive Japanese style four panel folding Byobu screen depicting a turquoise river mountain landscape. The painting is titled "One Sail Following The Wind" on the top left side. Appears to be a Korean...

19th century mid-Edo period Japanese four-panel miniature screen. Depicting a beautifully painted Chinese blue and green landscape in the Nanga School...

Early 19th century late Edo period Japanese four-panel screen depicting examples from the 24 paragons of filial piety. Painted in the Kano School style featuring figures in colorful,...

Early 19th century Japanese Edo/Tokugawa period four panel folding byobu table screen featuring peony, prunus, and magnolia. Painted with ink and natural color pigments on silk with ...

Japanese two panel screen: Amorous Cranes and Turtles. In Japan, cranes symbolize fidelity as they mate for life and turtles symbolize longevity. Additionally, this screen also has the Japanese motif of sho-chiku-bai, or the three friends of winter (pine, plum, and bamboo). So called the three friends of winter because all three flourish during the cold months. This screen was originally fusuma doors...

In Japan, cranes symbolize fidelity as they mate for life and turtles symbolize longevity. Additionally, this screen also has the Japanese motif of sho-chiku-bai, or the three friends of winter (pine, plum, and bamboo). So called the three friends of winter because all three flourish during the cold months. This screen was originally fusuma doors...

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...

A pair of six-fold Japanese screens from the 17th century depicting a flock of cranes arriving at their wintering grounds. The expansive scene is heavily atmospheric. The cranes are...