Japanese Paintings - Framed, Unframed and Scrolls

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Samurai and warrior

Traditional schools, historical and natural subjects

Bijin ga - pictures of beautiful women

Buddhist Images

Animals

Information on the further range of paintings including new arrivals and pieces not represented on this site is always available upon request

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SAMURAI AND WARRIOR

Large painting of a samurai crossing a river on horseback

Titled: Battle of Uji River, Signed: Banleisai Ryuin

Late Edo period, Dated: 1858

Ink and colour on paper, quality oxidised silver frame and mount

H 179cm x W 110cm

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Painting of the famous Chinese generals Kanu and Chohi seated on tigerskin draped chair 

Signed: Genzo, C18th

Ink and colour on paper - framed 

H110cm x W52cm

Kanu  & Chohiread essay by Dr Gary Hickey, Melbourne University

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Kanu and Chohi - famous Chinese generals - framed (shown unframed) framed in a square black profile - ikmage available

pigment and ink on paper    Late Edo period C1860

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 H 90cm x W 156cm (one of triptych)

Chushingara read this essay by Dr Gary Hickey, University of Queensland

Late C19th Meiji period, these paintings on silk are unusually large, executed in the manner of an Edo woodblock print - ink and pigment on silk - unsigned.

The powerful play with perspective enhances the drama of the subject matter and much is made of the action both within and outside the frame. Perspective came relatively late to Japanese art and it has been used here to great effect.

H 90cm x W 90cm

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Handpainted kabuki posters by the Torii Family - Osaka

Kamigata-e Read essay by Dr. Gary Hickey on the related style of painting.

Handpainted kabuki posters by Torii Kiyotada VIII (1900-1976)

From the famous Torii family, the primary lineage of artists and promoters associated with the Kabuki Theatre houses since the early C17th. The family is partly responsible for bringing the rich Kabuki culture from Osaka to Edo (Tokyo) in the late C17th. The family's work had great influence on the ukiyo-e woodblock print movement, and some kabuki posters are still produced by members of the family today.

Kamigata-e Read essay by Dr. Gary Hickey on the related style of painting.

"the heavy lines that delineate full rounded figures are a unique characteristic of the Torii family of painters who were responsible for this particular type of picture signboard" Reference: A-31 Catalogue: The Waseda University  Theatre Museum Collection Kabuki Exhibition: The Japan Foundation Australia, 1976.

Four signed paintings dating to the 1960s, H150cm x W98cm each framed.

Handpainted Kabuki posters attributed to the Torii family

Unsigned, early-mid C20th. H184cm x W112cm framed (shown unframed).

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TRADITIONAL SCHOOLS, HISTORICAL & NATURAL SUBJECTS

Genji-e
Painted scenes from the tale of Genji C18th
Ink, colour pigments and gold leaf on paper
2 series available
Series 1: 6 paintings, approximately H52cm x W25-35cm each

The Tale of Genji (Genji monogatari) is the epic masterpiece of Japanese prose literature written in the eleventh century by the court lady Murasaki Shikibu (active c.1000). This romantic waka (Japanese poem) narrates the life and loves of Prince Genji and two generations of his descendents. It found its greatest visual expression in emakimono (illustrated handscrolls) with the most often discussed example being the Genji Monogatari Emaki dating from about 1130. The Tale of Genji was also illustrated, sometimes with accompanying text, in numerous albums, fans, books, screens, and hanging scrolls.

Series 2: 8 paintings, approximately H33cm x W28cm each

 
(detail)

Images of full series available on request

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Yamato-e (classical Japanese style developed in the late Heian period, depicting daily scenes, places and nature)
Paintings of everyday scenes around Kyoto

Momoyama period,  Late C16th / Early C17th

Ink and colour on paper, quality handmade frames

H 81cm x W 54cm

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Traditional Chinese style painting of seasonal flowers

Meiji/Tai Sho period, Early C20th

Colour on silk, custom gesso and gilt frame

H 157cm x W 56cm

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Pair of Rinpa school flower and grasses paintings

Mid Edo period, Early C18th

Colour and ink on gold leaf, custom gesso quality frames

H 49cm x W 81cm

frame details

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Momoyama painting of horsemen

Momoyama period, Late C16th

Ink and colour on gold leaf on paper, silk brocade mount, dark stained timber frame and mount

H 86.5cm x W 77.5cm

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Painting of a bird in a tree with flowers, C19th
Ink and colour on paper - unframed

H100cm x W55cm

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Paintings of birds around peonies, C19th
Ink and colour pigment on silk

H146cm x W68cm

Frame details

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Painting of Shinto musicians in a leaf covered boat, C18th
Ink and colour pigment on paper

H36cm x W51cm

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Rinpa(Rimpa) school painting - classic paintings of flowers in a landscape  

Late Edo period C.1830

pigment in paper with gold leaf   - framed     124 x 68cm

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Winter landscape of birds and mandarin ducks

signed: Heian Rosetsu with Gyo seal

H180cm x W88cm

The Edo period (1600–1868) is characterised by the unconventional and sometimes eccentric nature of its artists. In Kyoto, along with Soga Shōhaku (1730–1781) and Itō Jakuchū (1716–1800), Nagasawa Rosetsu was notorious for his idiosyncratic behaviour, indicative of a strong personality that also created brilliantly imaginative paintings.

The son of a low-ranking samurai Rosetsu was one of the first disciples of Maruyama Ōkyo (1733–1795) whose integration of realism marked him as one of the early pioneers of Japanese modern art. The Maruyama School had more than 1000 pupils but unlike the others who directly followed Ōkyo’s style Rosetsu’s paintings reflected his unorthodox and sometimes wild nature sometimes fuelled by alcohol and a hot temper. For this reason he was expelled from the Maruyama School by Okyo 3 times.

In 1787 Rosetsu was sent to Muryoji Temple in Wakayama prefecture to take an artwork by Okyo for installation following the temple completion. He began to live in this area producing 270 artworks. It was at this time that he developed his own unique style developed from the realism of his teacher that employed bold expressive brushwork often utilising the hakegaki technique of using a brush with a wide flat straight edge rather than the usual brush with a fine tip.

There are suspicions surrounding his death at the age of 46 some saying that he was poisoned.

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BIJIN GA- PICTURES OF BEAUTIFUL WOMEN        

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Titled: Morning Lotus

Signed: Nakamura Teii (1900-1982)

Tai Sho period, Dated: 1926

H 216cm x W54cm

Born in Osaka in 1900 under the original name KIYOSADA (清貞), he studied UKIYO-E painting under HASEGAWA SADANOBU II for about two years from the age of nine. He then studied under KITANO TUNETOMIT (1880-1947), learning how to paint BIJIN-GA (picture of beautiful women) from the age of 18 in 1919. In 1922 he won first prize in the Osaka Art Exhibition, a title assumed to be a young man's gateway to success in Osaka. The following year he was selected to the 9th Japan Art Institute Experimental Exhibition (Nihon Bijutsuin,INTEN ). Also in 1923 he was brought to the attention of master painter YOKOYAMA TAIKAN (1868 - 1958) and decided to follow his philosophies. In 1932, he was chosen for 19th Japan Art Institute Exhibition(Nihon Bijutsuin,INTEN )and won an art prize in 1932. He established The painting association SYUNDEIKAI in 1934. By 1936 he was in the highest ranks of the Japan Art Institute(Nihon Bijutsuin,INTEN ). And in 1948 he took the role of Nitten judge (The Japan Fine Arts Exhibition).

He was awarded The Japan Art Academy Prize in 1966.

As a child he badly burnt his hands and lost the use of several of his fingures. As a result he learnt to produce paintings by placing the brush between both hands like a gesture of prayer. He is one of the most important painters of Bijin-ga (pictures of beautiful women) in modern Japanese art.

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Maiko-  young apprentice Geishas of Kyoto, Early C20th   

Signed: Matsumoto Senkyo (1879 - 1932)

H220cm x W120cm 

In Japanese painting of the modern era the conventional subject of beautiful women (bijinga) in the context of changing seasons and traditional customs was maintained by artists who worked in the artistic style known as nihonga (Japanese-style painting). This style was distinguished from western-style oil painting, not only by its subject matter, but also by the use of traditional materials and formats. Tokyo and Kyoto were the artistic centers for this movement. One of the most successful Kyoto nihonga artists was Yamamoto Shunkyo (1871–1933), the teacher of Matsumoto  Senkyo(1879–1932). Senkyo was born in Ehime Prefecture and studied art at Kyoto Municipal School of Arts and Crafts (Kyōto Shiritsu Bijutsu Kōgei Gakkō, 1901).

During the Taisho period (1912–26) the subject of bijinga was criticised as being out of date. However, along with other Kyoto nihonga artists such as Uemura Shōen (1875–1949), Senkyo embraced this time-honoured subject for its ability to reveal female beauty and emotion.  Thus, in Senkyo’s  painting of two beautiful young girls, dressed in their finery after returning from a seasonal festival at a local shrine, the stylised posture of the two with their heads coyly turned in towards one another has the nostalgic air of a bygone age. The treatment of their faces with large eyes and rouged lips set off against white makeup, is overly pretty but would have been particularly appealing to the Japanese taste for cuteness (kawaii). The sentimentalised treatment of the girl’s faces is countered by the artist’s skilful depiction of the bold design of butterflies and lilies (sasayuri) decorating their furisode (‘swinging sleeves’) robes. The girls are probably reading the text on the good luck placards attached to paper wands purchased from the shrine they have just visited.

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BUDDHIST IMAGES

Daruma sumi-e scroll

Signed: Unkoku Toeki

H163cm x W62cm

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Gecou Bosatsu and Nicou Bosatsu (Moon and Sun Buddha) paintings

Edo period, dated and signed: 1817

Ink and colour on paper in quality gold frames

H 153cm x W 80cm

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Buddhist scroll of Dakiniten atop a white fox, surrounded by four other riding figures

Muromachi period, C16th

Silk temple brocade and gilt copper scroll ends

H 160cm x W 55.5cm

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RC6 Muromachi period Buddhist scroll, C16th

Syakasanzou - Buddhist image enshrined and flanked by two other deities, silk temple broccade mounts and incised, gilt copper scroll ends

H163cm x W55cm 

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ANIMALS

Tiger - sumi-e - a characteristic  depiction typical of the period - displaying fine brush stokes.

Edo period, C18th, faint artist seals

Sumi ink on silk, faux bamboo frame

    H 100cm x W 55 cm

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Korean style tiger scroll

Signed: Motonobu

H193cm x W49cm

Despite the tiger (tora) not being native to Japan it has become a popular subject of Japanese art. It was particularly respected by the samurai for its strength, nobleness and courage characteristics that were part of its association with Buddhism. According to legend the tiger is said to have leaped from the stars and as such is closely associated with wind with its roar being a manifestation of thunder. Under Taoist belief the tiger is a fearful, predatory creature associated with hunger and the termination of life. This later characteristic resulted in the tiger being associated with autumn. This tiger, depicted menacingly with its head lowered and its tail raised, seems to be in this latter predatory mode.

Along with the dragon the tiger was a favourite subject of the Kanō School of painting. The bold outlines are indicative of this school but the creative use of the painterly technique of tarashikomi used here to suggest the tiger’s fur is reminiscent of Kyoto Rimpa painting.  Tarashikomi was a technique in which black sumi ink would be added to damp areas of paper so that the ink pooled creating soft blurred edges. There may also be an influence from the mainland for the compacted head and bulging eyes of this tiger are reminiscent of Korean folk paintings.  

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 Pair of fine ink paintings of tigers; drinking from a stream and amongst bamboo grove

Edo period, circa 1765. Signed: Yuhi Kumashiro (c.1713 - 1972)

Ink and pigment on paper, fine quality gold frames 

 H 162 x W 78cm

Born in Nagasaki, Yuhi Kumashiro became the most prominent pupil of Shen Nan-p'in (a famous Chinese Qing dynasty painter who taught iin Nagasaki) and was important member of the Nagasaki school which introduced Western and Chinese techniques to Kyoto and Edo. Considered a painter of considerable quality he studied many Chinese styles which characterised his work. Works by the artist can be found in major museums such as the Museum of Fine Arts Boston, Nagasaki Municipal Museum, Stanford university Art Museum California, Tokugawa Art Museum Nagoya, and Tokyo National Museum. 

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Scroll of 2 deer by a stream

Signed, ink on paper

H 186cm x W 55cm

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Koi (Carp) possibly nineteenth century

ink and colour on silk                                             

The carp is a favoured subject in Japanese art appearing in paintings and as a motif in decorative art objects. The fish is said to have first been brought to Asia by Genghis Khan and subsequently arrived in Japan via China. First used as a food source for farmers they were, from the early sixteenth century used for ornamentation in garden ponds. This led to selective breeding with a bright red fish adding variety to the standard black or grey.

In both China and Japan koi are seen as representative of masculine strength and perseverance and as such are usually depicted in art works swimming up a waterfall (koinobori). This depiction is further symbolised in Japanese streamers in the shape of a koi ‘swimming’ through the air as a symbol of the determination needed to traverse life’s difficulties. It is in this form that, in Japan, they are flown from tall poles on Boys Day Festival on the 5^th May. This particular form of the carp was a favourite of Japanese painting.

None of this overt symbolism is apparent in this painting of a koi although when viewing this work the Japanese would have been well aware of its associated meanings. As such the work would have been most probably hung in the alcove of the Japanese home on Boys Day. The S-shape of the fish animates its form whilst the care taken in detailing its scales contributes to its decorative appeal.

More images and full condition report  -  available on request 

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Early C20th signed painting of a pair of koi

H 60cm x W 68cm

Early C20th signed painting of a pair of koi

 H 56cm x W 67cm

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