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Obaku Sokuhi (1616-1674) - Kannon
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Pre 1700 item# 1144422
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zen-zen0
075-771-9190
$3200
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A painting of Kannon (Kanzeon) with an inscription by Obaku Sokuhi (1616-1674). Since the work says ''inscribed by'' there is a possibility that the painting was done by someone else but judging by the simple composition of the Kannon and the fact that there is no other artist seal it seems likely that Sokuhi did the painting as well. Translation and commentary by John Stevens. The inscription reads; ''She has the intention of saving all beings, Hail to Kanzeon! She uses the True Dharma, To always set our minds at ease. Mid-Summer. Respectfully Inscribed by the Monk Sokuhi of Koju''. Mt. Koju Fukuju-ji, a temple founded by Sokuhi in 1665 so the calligraphy was done around that time.
The image measures 35'' by 10'' (89 by 26 cm). The scroll measures 65'' by 11'' (166 by 28 cm).
Painted on paper with ink the image is in good condition. Light foxing is present in the lower fields. Some creasing is present. The mounting is old and very wabi sabi. The scroll is presentable as is though could do with a remount, retaining the silk sections and replacing the upper and lower paper sections.
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Fugai Ekun (1568-1654) - Daruma
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Pre 1700 item# 1143154
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zen-zen0
075-771-9190
$13,500
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A painting of daruma by Fugai Ekun (1568-1654). The inscription reads, ''What kind of thing is this toothless old barbarian, Facing a wall in silent meditation not knowing anything? Who has really seen him in the flesh? He is impossible to figure out, don't even try! Inscription and painting playfully brushed by Fugai. The spacing between the painting and the inscription is remarkable. Both the portrait of Daruma and the inscription seem to emerge out of the void. The inscription appears to be one solid entity, not a collection of individual characters. Fugai himself spent his life trying to be like Daruma; he did not simply analyze the First Patriarch’s teachings. The inscription tells us we should study Daruma from the inside, not from without. Translation and commentary by John Stevens.
The painting has just been restored and remounted with beautiful Edo period silk brocade.
The image measures 12'' by 20'' (31 by 50.5 cm). The scroll measures 48'' by 21'' (121 by 53 cm).
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Meiji era - Shunga screen
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Pre 1900 item# 1140932
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zen-zen0
075-771-9190
$2500
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A pair of intimate erotic paintings or shunga mounted as a two-fold screen. Read from right to left, in the first scene the couple read a love story in the form of a hand-scroll, a folding screen acting as a veil. On the left they share warmed sake in a private room. The paintings date to the early Meiji peirod (1868-1912). The folding screen is almost certainly original to the paintings.
There is light water damage and marking to the paintings. Overall good condition.
Painted on silk with ink, color and gofun.
Opened, the screen measures 74'' across and stands 28'' high (188 by 72 cm). Each image measures 29'' across and is 22.5'' high.
The seal on the right painting reads Seiko, the left seal remains unread. We haven't been able to uncover the artist.
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Kano Eigaku (1790-1867) - Alcove doors, pine
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Pre 1900 item# 1140593
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zen-zen0
075-771-9190
SOLD
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A set of four alcove or tokonoma sliding doors (fusuma) from the late Edo period by Kano Eigaku. A rich and decorative composition of a pine on gold leaf.
All original, very good condition.
Ink and pigments on gold leaf. Wooden frames.
Each door measures 11.5'' by 21.5'' by .8'' thick. Together the set measures 86'' across.
Kano Eigaku (1790-1867) was the adopted son of Kano Eishun and the ninth generational head of the Kyoto Kano school whose lineage included artists such as Eitoku, Sanraku and Sansetsu. Eigaku was held in very high esteem and was commissioned to paint sliding doors in the Kyoto Imperial Palace during its last rebuilding in 1855. A solo exhibition of his works was held at the Hikone Castle Musuem in October 2002. He is credited with having revived the flagging fortunes of the once dominant Kano school. He excelled in strong compositions and masterful brushwork, his works becoming popular amongst all classes.
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Yamamoto Koichi (1833-1903) - Rinpa horses
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Pre 1900 item# 1139504
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zen-zen0
075-771-9190
$7000
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A superb Meiji period Rinpa school painting of horses frolicking beside a stream. While earlier Rinpa artists such as Sotatsu and Korin tended to focus primarily on decorative motifs either derived from nature or Japanese literary sources, later Rinpa artists expanded their repertoire of subjects to include a broad range of subjects.
Painted on silk with ink and color the work is in very good condition. It is beautifully presented with its original brocade mounting.
The image measures 39'' by 16.5'' (99 by 42 cm). The scroll measures 70'' by 23'' (178 by 58 cm).
It is the work of Yamamoto Koitsu (1833-1903). Koitsu or Koichi was the son of Yamamoto Sodo, who had been a disciple of Sakai Hoitsu (1761-1828). Koitsu and his younger brother Sakai Doitsu (1845-1913) were important members of the Rimpa tradition during the Meiji period (1868-1912) and may be credited with maintaining the prestige of the school through the period.
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Yamada Koun (1878-1956) - Summer and fall flowers
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Pre 1900 item# 1139503
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zen-zen0
075-771-9190
$2800
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A profusion of summer and fall flowers in bloom indicating the change of seasons. Bush clover, the icon of autumn, overreaches the scene which is filled with lily, hibiscus, Japanese bellflower, chrysanthemum and a myriad of other flowering plants. At the far left of the composition a hollyhock is in bloom.
The painting appears to be the final draft of an exhibition piece or possibly the final draft of a commissioned work. Painted with ink and color on paper, the paper being made from numerous smaller and slightly irregular pieces which is what you would expect to find with a draft. The painting itself also has a slight sense of being unfinished. The mounting is quite recent, perhaps ten or twenty years ago. That may well have been the first time the piece was mounted for display.
The painting is in good condition. The edges of the smaller paper squares are visible as is the difference in tone between the right side of the paper and the far left strip; likely the fault of the mounter using too much glue.
The image measures 33'' by 43'' (84 by 110 cm). The scroll measures 80'' by 45'' (202 by 113 cm).
The seal reads Koun. Yamada Koun (1878-1956). A Nihonga painter born in Kyoto. Studied Shijo school style with Kikuchi Hobun. Won third prize at the fifth Naikoku Kangyo Hakurankai, as well as prizes at various Bunten exhibitions. His work is held at the National Museum of Modern Art, Tokyo. See Roberts p.195.
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Eigyou (fl.1830-1844) - Phoenix
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Pre 1900 item# 1139383
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zen-zen0
075-771-9190
$6200
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A magnificent phoenix resting in a paulownia tree from the first half of the 19th century.
The phoenix is a mythical Chinese bird, thought to have been introduced to Japan in the Asuka period (mid 6th to mid 7th century AD). The phoenix has a bird's beak, a swallow's jaw, and a snake's neck; the front half of its body is thought to resemble a giraffe, the back half a deer. Its back resembles a tortoise, and its tail is like a fish. In Japan, as earlier in China, the mythical Phoenix was adopted as a symbol of the imperial household, particularily the empress. This mythical bird represents fire, the sun, justice, obedience, fidelity, and the southern star constellations. According to legend, the Hō-ō appears very rarely, and only to mark the beginning of a new era -- the birth of a virtuous ruler, for example. In other traditions, the Hō-ō appears only in peaceful and prosperous times (nesting, it is said, in paulownia trees), and hides itself when there is trouble. As the herald of a new age, the Hō-ō decends from heaven to earth to do good deeds, and then it returns to its celestial abode to await a new era. It is both a symbol of peace (when the bird appears) and a symbol of disharmony (when the bird disappears). Above text courtesy of JAANUS and Onmark productions.
The work is painted on silk with ink and color.
The painting itself is in good, original condition. There are light marks visible on the right side, particularly above the extended tail feathers. The scroll presents quite well as is although a remount is recommended. Please contact me regarding this.
The large image measures 26'' by 38'' (67 by 97 cm). The scroll measures 63'' by 42.5'' (160 by 108 cm).
The work is signed Genjyusai Eigyou Yasuyuki. He is listed as an Ukiyo-e printmaker in Roberts p.20. Eigyou (fl. tempo era 1830-1844). His art names were Genjyusai and Eigyou. Additional research reveals that his given name was Yasuyuki though his family name is unkown. As noted in Roberts he was a pupil of Hosoda Eishi (Chobunsai Eishi) in the last years of the master's life and specialized in the painting of beauties or bijin. His paintings are held in the Kumamoto Prefectural Musuem and the Hiraku Kinnenkan in Hidatakayama.
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Shirai Kayo (fl. 1840-1860) - Tiger
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Pre 1900 item# 1138379
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zen-zen0
075-771-9190
$2200
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Finely detailed markings, subtle coloring and a surprising sense of weight and presence define this tiger by Kayo. The individual tiger effortlessly maintains its sense of boldness and aggression despite being depicted sitting on its haunches and cleaning its foreleg.
Painted on silk with ink and color the work is in very good condition. It is beautifully presented with fine Edo period silk brocade.
The scroll measures 71.5'' by 19'' (182 by 48 cm). The image measures 40'' by 14'' (101 by 35.5 cm).
Shirai Kayo (fl. c. 1840-60) was born in Echigo Province which is modern Niigata prefecture. He moved to Kyoto and studied under both Kishi Ganku and Kishi Gantai. Kayo is most famous for his book 'Gajo Yoryaku', 'Abrreviated essentials of the vehicle of painting' which was published in 1831 and contributed greatly to the study of Japanese painting. See Roberts p.74.
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Nakahara Nantenbo (1839-1925) - Daruma
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Pre 1920 item# 1138229
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zen-zen0
075-771-9190
$1650
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This portrait of Daruma by Nantenbo has an uncertain, inquisitive quality. The line of his robe is extremely abbreviated, a large brush loaded with ink defines the robe in a simple, sweeping statement.
The painting is in reasonable condition with some foxing and creasing present. The lower three inches of the painting are dirty. The mounting is original.
The image measures 54'' by 13'' (137 by 33 cm). The scroll measures 79'' by 18.5'' (201 by 47 cm).
Nantenbo (Nantembo), Toju Zenchu, did not start painting in earnest until he was already more than 65 years old. Despite this relatively advanced age he was one of the most productive and important Zenga artists in the Meiji/Taisho era and without a doubt the best-known 20th century Zen painter in the West. He derived his name Nantembo from his bo (staff) cut from a 200-year-old Nanten tree. He used it to instruct his students and was a favorite illustration in his well known adage "To he who answers a strike of the Nanten; To he who refrains a strike of the Nanten". Born Keisuke to the Shioda samurai family in Karatsu, Saga Prefecture in North-West Kyushu, he resolved to become a monk at the age of 7. At the age of 11 he began his training in the Yuko-ji temple in Hirado where he received the name Nakahara Toju. Six years later he traveled to Kyoto to receive training at Empukuji temple. Most of his mature life he spent traveling and teaching. After meeting Yamaoka Tesshu (1836-1888) in 1885 they established a Zen training center at the Dorin-ji temple. Both men greatly influenced each other. He became abbot of Zuigan-ji, Matsushima in 1891 and in 1902 abbot of Bairin-ji and Kaisei-ji. In 1908 he was named the 586th kancho (Chief Abbot) of Myoshin-ji, but spent the remainder of his life at Kaisei-ji. Much admonished in his lifetime for his firebrand ways and infamous for angering superiors, his reputation and charisma did much to promote the revival of Zen in the early 20th century. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.
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18c - 36 Immortal Poets
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Pre 1800 item# 1136854
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zen-zen0
075-771-9190
$800
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Originally belonging to a set of 36 these remaining leaves are being sold separately. Called 'Sanjurokasen' in Japanese, which is literally 'thirty-six immortal poets', they are imaginary portraits of the 36 outstanding poets from the 7th to 10th centuries selected by Fujiwara no Kinto (966-1041). Painted with ink and pigment on gold leaf these works date to the 18th century. They are particularly refined, not only regarding the quality of the artist, but also in the opulent gold leaf and pigments used. My close-up images of their faces and hair do not do justice to the exquisite detail and delicate colors.
They are in reasonably good condition. Some worm holes have been patched. There are some visible scratches and wear. They are presently unmounted and being sold as is.
Each one measures approximately 9.8'' by 7.7'' (25 by 19.5 cm).
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