Lovely Japanese 18/19th c Edo Scroll Triptyque , Fuji, Dragon Flowers

Kano Osanobu (狩野養信) Osanobu Kano (born August 18, 1796; died June 12, 1846) was the ninth painter of the Kobikicho Kano School in the Edo period. His common name was Shozaburo. His father was Naganobu KANO, and Tadanobu KANO was his son. His Go (pen name) was Osanobu Seisenin, Kaishinsai, and Gyokusen. Brief Personal History He was born the eldest son of Naganobu ISENIN during the Edo period. He was first sent to serve at Edo Castle at the age of 15, and it appears that he was apparently pushed by his father to perform various public tasks for the Kanon School. He kept a diary for 36 years, starting from the day before he first went into service at Edo Castle until the day before he died. The diary is entitles "Official Service Diary" (it consists of 52 volumes that are maintained at the Tokyo National Museum, and 4 volumes that are separately maintained at the different families), and have become the focus of a lot of attention in recent years for the detailed information they present on the daily life and work of a prestigious official painter. The reading of the characters of his name was originally "Takenobu"; however, with the birth of the first son of the Shongun Ieyoshi TOKUGAWA in 1813, whose name was Takechiyo, having a sylable with the same pronunciation of "Take"was deemed to be inappropriate, and was therefore changed to "Osanobu". Because Takenobu died the following year, after which he was referred to as Gyokujuin, Osanobu changed his pen name Gyokusen he had used until that point to Seisenin, in order to avoid using the same Chinese charcter pronounced alike. In 1819, he attained the second highest rank for a Buddhist priest, Hogen, and assumed the role of head of the family after his father passed away in 1828. In 1834 he attained the highest rank for a Buddhist priest, Hoin. He oversaw the rennovation of the wall paintings of Nishinomaru Palace of Edo Castle from 1838 to 1839, and Honmaru Palace of it from 1844 to 1846. It is thought that Osanobu later died due to the fatigue...

　"Early Summer Colored Waterfall" is a work drawn by Sekiran Okumura as you can see. 　　The brilliance of the fresh greenery and the cool, powerful presence of the waterfall are overw...

[Authentic work] ◆ Akihiko Okamoto ◆ Winter forest landscape ◆ Japanese painting ◆ Hand-painted ◆ Paper ◆ Hanging scroll ◆ Okamoto (Sukehiko Okamoto) Sukehiko Okamoto [Art yearbook ...

TheItem below was painted approximately 300 years ago by Kano Chikanobu. In the center is a depiction of a deer hermit, on the right is a landscape of a tower that gives a sense of ...

Beautiful set of 6 large kakemonos from 19th century Japanese mythology. Paper support with a canvas pasted on the paper Wonderful set that is part of Japan's history and beliefs When not hung, the Kakemonos are rolled up. circa 1800 - Japan - Edo Period A kakemono translates as "object to hang". In Japan this refers to a painting or calligraphy, most often done on silk or paper framed in a scroll that was intended to be hung on walls or in public lighting. This particular form, which allows them to be in a roll, dates back to the Tang dynasty in China (this would be related to the copying and preservation of ancient Buddhist texts). A Kami is a deity or spirit worshipped in the Shinto religion. A Yokai is a spirit, ghost, demon, or strange apparition from the creatures of Japanese folklore. Each of these kakemonos represents a unique story: - A kami, a Japanese deity, is shown painting a rainbow. Indeed, he performs the action with his right hand while his left hand holds a kind of basket with three pots of paint. This kami has a rather closed attitude. He is standing in a dark and tormented sky. Below this figure, 8 villagers are dressed in traditional Japanese clothes. Their faces are softened. They are not afraid of the elements made by the kami above their heads. - A character with an unreal look is holding a kind of jar with his two hands, which he spills on human figures above. This being is floating in the air, probably a character from mythology, perhaps Susanoo. Underneath, villagers on umbrellas. They are trying to protect themselves as best they can from what is falling on them. One of them is carrying baskets with fish on her shoulders. A character in the background is thrown forward and falls. - On this kakemono, the god Raijin, dressed in a white and blue outfit, strikes the sky with his two drum hammers to create lightning and its thunderous sound. Surrounded by Tomoe and a long red scarf, Raijin, enraged and with dishevelled hair, creates a dark and violent storm. The villagers seem frightened by this meteorological phenomenon. One of the villagers can be seen fainting in the arms of a man. This scene may seem chaotic, but Japanese legend tells us that once a field is struck by lightning, the harvest is good. - On this kakemono, we see an unreal-looking figure holding a fan, as if he were sweeping away the bad weather, or simply producing gusts of wind. He is probably the kami of wind and air, Shina tsu-hiko. The figures below him seem surprised by so much wind. An umbrella flies away on the left, the women hold their hair and scarf, the clothes are caught in the power of the wind, there is even a woman on the ground on the bottom left. - This Kakemono represents a short moment. This Raiju is a yokai (ghost spirit...

Late Edo period 19th century Japanese six-panel landscape screen featuring a cypress tree over a flowering hibiscus with a pair of hototogisu birds. Kano school painted with ink and ...

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...

This is a slightly different Buddhist painting believed to have been created by a Japanese temple monk during the Edo period (late 17th to 19th century). Rendered in ink on paper, th...