Meiji Period Painted Golden Screen with Cranes by Mochizuki Gyokkei from 1906

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Meiji Period Painted Golden Screen with Cranes by Mochizuki Gyokkei from 1906

About the Item

A striking pair of Meiji period six-panel folding screens by Mochizuki Gyokkei (1874-1939) showing a flock of cranes. Together the two screens disclose a gorgeous seven-meter wide composition of interacting individuals, painted in ink, gofun and mineral colors on a glittering gold background. It is a rare large-size example of Gyokkei's excellent skills in rendering cranes in different postures, which can also be seen at the famous Heian shrine in Kyoto, where he created the interior design for the garden's pavillon Shobi-kan with the paintings of many cranes. This building was moved from the imperial palace to the shrine's grounds in Taisho 2 (1912) and Gyokkkei was commissioned to recreate the wall design. However, compared to these paintings, the artist’s signature on the left screen mentions a completion of the work on a winter’s day in Meiji 39 (1906). So the screen painting appears to be six years older than the door panel and sliding door paintings at the Heian shrine. Interesting is, that Gyokkei used in fact some of the cranes from the screens as model for his wall paintings, which show for example a crane that seems to be a direct copy of the right screen's running crane with spread wings. Unfortunetly the Shobi-kan building and its impressive layout by Gyokkei is only occasionally open to the public. Another magnificant more public work by Gyokkei, not with cranes but with peafowls, can be seen in the Metropolitan Museum of Art. (For reference see: Arts of Japan: The John C. Weber Collection, Museum of East Asian Art, Berlin (2006)) In Gyokkei's work one can detect more than two centuries of predecessors in bird-and-flower painting like the Chinese-style works by the Nagasaki school founder Shen Nanpin (ca. 1682-1780) and the naturalistic approach of Maruyama Okyo (1733-1795) and his lineage. Mochizuki Gyokkei was the successor of his father Mochizuki Gyokusen (1834-1913), who has been working for the imperial palace as well. From him, Gyokkei inhereted his accurate brushwork through his training in the fifth-genration familiy style tracing back to his great-grandfather Mochizuki Gyokusen (1692–1755), who established the familiy studio combining these elements of Chinese painting of the Kishi school with influences by Shen Nanping and Japanese paintings by the Maruyama-Shijō school as well as western painting techniques. The overall condition is very good. One of the crane's wings has been retouched by a professional Japanes art restorer. There are only few minor traces of age and usage. Both screens are signed. Left screen: 'Heian Gyokkei ga' (Painted by Gyokkei from Kyoto); Right screen: 'Bô Gyokkei ga' (Painted by Bô Gyokkei); and sealed: 'Bô in Shigenobu' (Seal of Bô Gyokkei) and 'Gyokusen'. Left screen is dated: 'A winter’s day of Meiji 39' (1906). Dimensions: H 173,5 x W 366 cm (each)

Creator:
Mochizuki Gyokkei (Artist)
Dimensions:
Height: 68.51 in (174 cm)Width: 144.1 in (366 cm)Depth: 0.4 in (1 cm)
Sold As:
Set of 2
Style:
Meiji (Of the Period)
Materials and Techniques:
Gold Leaf,Hand-Painted
Place of Origin:
Japan
Period:
1900-1909
Date of Manufacture:
1906
Condition:
Wear consistent with age and use.
Seller Location:
Berlin, DE
Reference Number:
1stDibs: LU4555114240072

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