1844 - Chichi, Japanese Scroll Painting. Colour on Silk

Bamboo in moonlight Gamo Rakan (1784-1866) Hanging scroll, ink on silk. Dimensions: Scroll: 201 cm x 58 cm Image: 137 cm x 45 cm In this early 19th century work by Gamo Rakan a light ink wash applied to the silk background silhouettes the moon and suggests the atmosphere of early evening. Even though it is a literati subject, Rakan’s bamboo is quite realistic with a strong decorative style. The painting finds its inspiration from Chinese Ming dynasty painters who often used a single-tone, jet black stroke to emphasize the calligraphic nature of bamboo. In a different era, decorative would have been seen as somewhat unrefined. But increasingly in the Edo period, it was the hallmark of high style. The Japanese people, in particular the rising merchant class, had gradually become apathetic toward the traditional Sesshu and Kano schools of painting. Chinese professional and amateur painters living in the port of Nagasaki during the 18th century had a profound effect on Japanese painting and the freshness of their style and its decorative appeal contributed greatly to its popularity. Gamo Rakan’s teacher, Tani Buncho...

Poppies & Butterflies Ink, pigment and gofun on silk Igarashi Chikusa (1774-1844) Signature: Chikusa Ran Zen Upper Seal: Ran Shuzen Lower Seal: Kyoho Dimensions: Scroll: H. 68” x W. 18” (172cm x 45cm) Image: H. 38.5’’ x W. 12.5’’ (98cm x 32cm) This composition shows elegant images of poppies and the butterflies that are inevitably drawn to them. It captures a momentary glimpse into a world both visually dazzling and startlingly realistic. The painting is infused with sensitivity and attention to seasonal change and weather conditions. The thin and fragile poppies are beautifully depicted with brilliant colors and the butterflies are similarly infused with life. The painting is on silk which requires extremely precise painting skills as no element once painted can be removed. Poppies were a favorite subject of Rinpa school artists through the ages. Originally they were somewhat abstracted but by the age of Sakai Hoitsu...

Birds and flowers of the four seasons Early to mid-19th century Ink, pigment and gofun on silk Unidentified artist Signature: S...

Iwase Hirotaka (1808-1877) Koi and Water Plants Hanging scroll, ink, color, gold wash and gold flecks on silk Inscription: Hirotaka Seal: Ille...

Amaranth and Rooster Artist unknown Hanging scroll, ink, mineral pigment and gofun on silk. Painting inscription: Tojo ?? Painting seal: Tojo ?? circa 1930 Dimensions: Scroll:...

Birds & Flowers of the seasons Pheasants & Plum in Snow Unframed painting. Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature...

A Japanese mounted vertical hanging scroll painting by Mori Tetsuzan (Japanese, 1775-1841) circa 19th century Edo period. The watercolor and ink on silk ...

Two Japanese scroll painting depicts scenes from the Tale of Genji (Genji-E), from Edo period. These painting were purchased from Odewara Shoten in the...

Although western painting was initially embraced during Japan’s Meiji period (1868-1912), artists brought on a revival of traditional painting styles as they sought to create a modern Japanese style with roots in the past. This exquisite hanging scroll demonstrates the preference for soft layering of gray tones with judicious use of color. The landscape is rendered in soft ink washes that subtly distinguish between water, mountain, and sky. The scroll painting...

A Japanese silk Suijaku hanging scroll beautifully presented in a custom wood shadow box frame from Edo period (circa 18-19th century). The scroll, surmounted on golden brocade was painted in fine details with gouache, ink and gold powder highlight, served as a Suijaku mandala for the worshippers. Honji Suijaku is a complicated religious concept uniquely developed in Japan. It mixed and hybrid the Buddism deities with native shinto spirits (known as Kami), which were seen as local manifestations (the suijaku, literally means a "trace") of Buddhist deities (the honji literally the original ground). The original idea may lie with the synergetic strategy to spread Buddism by making it more relatable to the local population who had already worshiped Shinto gods. The paradigm, adopted in the 10th century from an orignal Chinese concept, remained a defining feature of Japanese religious life up to the end of the Edo period (1868). Instead of being confined to deities, its application was often extended to historical figures as shown on this scroll. This long hanging scroll depicts an arrangement of 21 figures including Buddhism and Shinto deities as well as two historical figures on the bottom. Each figure was name-tagged in Kanji for easy identification by the worshippers. It was used in the temple or shrine so that when the worshipper prayed in front the mandala, they prayed simultaneously to all the deities. On the very top, sits Nyorai-Kojin, a hybrid deity of Nyorai Buddha and Kojin, the kaki for fire, stove and kitchen. From the top to bottom and left to right, here is the list of the deities: Kanon with Thousand Hands, Kanon with Willow Branch, Monju Bosatsu...

18th century Japanese scroll of poppies. Edo Period (early 18th century) Japanese painting of poppies with lilies in the background. Seal on the lower...

This is a picture of a cat drawn by a person named "Toshizumi Nitta" from the end of the Edo period to the beginning of the Meiji period. She is a very simple and cute cat. He is a vassal of the Tokugawa Shogunate, born in Ota City, Gunma Prefecture (southern part of Gunma Prefecture). He was related to the Tokugawa family and lived in a large mansion in the Ota clan in Gunma prefecture. However, the Nitta family's territory was very small, and they were by no means a wealthy vassal. He seems to have lived quite poorly. So he painted cats and sold them to people. The Nitta family continued to draw pictures of this cat for four generations. "Nitta toshizumi" is equivalent to the fourth generation. During the Edo period, sericulture was thriving in the Kanto region. Cats were said to be the gods of silkworms, as they drive away mice, the natural enemies of silkworms. It was the Nitta family who drew such a cat on paper, pasted it in the silkworm chamber, and sold it as a mouse repellent. There were also other monks who painted pictures of cats, but the Nitta family in particular was related to the Tokugawa family, so people believed that paintings of cats had special powers. , a lot of paintings...