Gregg Baker Asian Art: Heaven Man Earth

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An eight-fold paper screen painted in ink and colour on a gold and buff ground with the bridge and willow trees at Uji.

The image depicted on this eight-fold screen (to the best of our knowledge the only known example of its kind in this format) is generally considered to represent the bridge spanning the Uji River. Two willow trees placed either side of the bridge hint at the progression of the seasons, small, delicate leaves on the right hand tree symbolise spring, while the fuller, longer leaves on the left hand tree suggestsummer growth. The strong architectural lines of the bridge are softened by the round forms of a waterwheel and jakago (stone filled baskets) which form the embankment. The fast flowing river gives movement to the otherwise quiet representation of this meisho-e (paintings of famous places).

Numerous lavish techniques, including silver leaf and various shades of gold, are used throughout the screen, the bridge, waterwheel and jakago are given an extra dimension by the use of moriage (raiseddecoration). Gold and silver leaf are used in several forms, as leaf on the bridge and waterwheel, as cut squares and dust in the clouds and as paint for the lines of the river and other features.

Japanese poets have long praised the scenic beauty of the Uji River which flows from Lake Biwa to Osaka Bay. Literary references to the location abound in imperial poetry and pre-date any existing images.The Man’yoshu (Collection of Ten Thousand Leaves, eighth century) and the Kokin-shu (Collection of Poems from Ancient and Modern Times, early tenth century) include references to such features as thearching bridge (first constructed in 646 A.D.), trailing mist, moon, rock-filled baskets, waterwheels, willows and rushing torrents, while hinting at the religious associations of this area. In the eleventh century,Uji became home to the Pure Land (Jodo) Buddhist temple Byodoin and its famous Hoodo (Phoenix Hall). The temple and its grounds were a replica of Amida Buddha’s Western Paradise, a three dimensional construction based on the Kanmuryojjukyo (Contemplation Sutra). Such literal manifestations of imaginary locations helped the aristocracy envision Paradise, a place they clearly hoped to returnto after death. If this screen is read in the light of religious connotations then perhaps the bridge represents the connection between this land and the Pure Land.

Uji was favoured by members of the imperial court who used the area as a retreat; historic documents show a screen painting of Uji bridge in autumn, which was displayed in the imperial palace in the ninth century.

For similar examples see: Nihon Byobu-e Shu Sei – no. 9 Keibutsu-ga. p.43 pl. 21/22. The Kosetsu Museum. p.77 pl.50/51. Tokyo National Museum p.79 pl.52/53. Kyoto National Museum. Beyond GoldenClouds, Japanese screens from the Art Institute of Chicago and the St Louis Art Museum p.124/5. pl.10. Bridge of Dreams, The Mary Griggs Burke Collection of Japanese Art p.202 pl.80.

Dimensions: H. 491/2in x W. 1451/2in [125.5cm x 369cm]

Japan: Edo period 17th century

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A two-fold paper screen painted in ink on a gold and buff ground. The scene depicts a river landscape with a flock of geese in flight above three scholars playing Go in a boat mooredat a reed covered river bank.

Signed: Sesshu Basson Hokkyo Toeki HitsuPainted by Unkoku Toeki, rank of Hokkyo, a descendant of Sesshu

Seals: 1. Unkoku 2. Toeki

Unkoku Motonao (1591-1644), go (art name): Toeki. Born in Hiroshima, Suo Province, the second son and pupil of Unkoku Togan (1547-1618). He succeeded his father as the official painter to the Mori family, and became known as Sesshu IV. An artist of considerable talent, specializing in landscapes and figures, he received the honorary title of Hokkyo in 1626.

Works by the artist can be found in the collections of: Denver Art Museum, Colorado: Detroit Institute of Arts, Michigan; Freer Gallery of Art, Washington; Joei-ji,Yamaguchi-ken; Metropolitan Museum of Art,New York; Museum für Kunst und Gerwerbe, Hamburg; Museum of Fine Arts, Boston, Mass; University of Michigan Museum of Art, Ann Arbor.

Dimensions: H. 681/4in x W. 753/4in [173cm x 192cm]


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A six-fold paper screen painted in ink and colour on a gold ground with a scene from Genji Monogatari (the Tale of Genji). The scene is set in a wooded river landscape with gold cloudsedged in moriage (raised design). The centre panels show a carriage drawn up beside a Torii (temple gate), it is surrounded by a large number of Genji’s attendants, one of whom isapproaching the carriage holding a suzuribako (writing box). Some appear to be gazing across the water to where a boat can be seen carrying two court ladies off into the distance.

Iwasa Matabei School

Chapter #14 Miotsukushi (Channel Buoys)

Genji is still in exile in Suma but there have been many changes at court and the Emperor decides to grant Genji amnesty followed quickly by a second Imperial order summoning him back to Kyoto,Immediately upon his return to the capital, Genji begins preparation for services in honour of his late father. The entire court participates in the arrangements and is reminded in the process that Genji, nowtwenty-eight or twenty-nine years of age, is the legitimate heir to the deceased ruler. The following year, the Suzaku emperor abdicates, and the late emperor’s young son Reizei (actually Genji’s son from hissecret liaison with Fujitsubo) is enthroned. All of the new emperors supporters are promoted in rank and Genji himself is made minister.

To express his gratitude to the gods for his brilliant return to power, Genji makes a pilgrimage to the Sumiyoshi shrine, south of Osaka. The shrine’s famous curved bridge is illustrated here, as well as its torii(a gate that typically marks the approach to the Shinto shrine), and its precincts are shown teeming with Genji attendants, all of whom are beautifully attired.

As fate would have it, the Akashi lady arrives at the shrine the very same day for her own pilgrimage by boat and seeing the splendour of Genji’s entourage she is ashamed of her own modest offerings anddecides to dock at Naniwa. Genji is displeased when he learns what has happened. He thinks of her and sends her a poetic message alluding to the channel buoys at Naniwa.

Iwase Matabei (1570-1650). Go: Doun, Hekishokyu, Shoi (Katsumochi), Un’o. He was the illegitimate son of Araki Murashige, daimyo of Itami, who served Nobunaga and who was forced by him to commitsuicide. He grew up in Kyoto under his mother’s name of Iwasa. He studied under Tosa Mitsunori and probably under Kano Shoei. In about 1616 he lived in Fukui, painting for the daimyo Lord Matsudaira.He went to Edo in 1637 to work for Tokugawa Iemitsu; he died there in 1650. He was once called the “father of ukiyo-e,” though some scholars now consider Hishikawa Moronobu as the founder of theschool. In any event, some of his paintings depict genre subjects, scenes of historic events, illustrations of Japanese or Chinese classic tales. He is generally thought to have established a definite figure typewith large heads and carefully delineated features. A painter of much individuality, neither Tosa nor Kano, though his work shows Kano influences and he called himself a Tosa painter on the painting of theThirty six Poets in the Tosho-gu at the Kawagoe.

Works by the artist can be found in the collections of: Allen Memorial Art Museum, Ohio, Andrew Dickson White Museum of Art, New York, Art Institute of Chicago, Illinois, Atami Art Museum, Japan, BritishMuseum, London, Centre of Asian art & Culture, Freer Gallery of Art, Washington, D.C., Idemitsu Art Gallery, Tokyo, Myoshin-ji, Kyoto, Tokugawa Art Museum, Nagoya, Tokyo National Museum, Tosho-gu,Kawagoe, Saitama ken.



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Japan: Taisho period 20th century

A twisted bamboo nyoi carved with a shishi (lion dogs) andtwo Rakan (saintly ascetics), one holding a hossu (fly whisk)and the other a nyoi (priest’s staff)

Tomobako cover (top): “Furutake tennen nyoi, shishi naderakan, teppitsu, Tessai” Teppitsu by Tessai, Rakan strokinglion dogs, Nyoi, made of an old and natural bamboo

Kakihan: Tessai Seal: Ko (first character of Kotaro, Tessai’s given name)

Teppitsu is a technique of carving designs/inscriptions onobjects with an iron nib or knife, in which Tessai excelled andis known as a master of the technique.

Tomobako cover (reverse): Kono nyoi wa, Taigado-gakenaigan to, hotondo katachi wo, onajiku seshimono nishitekana, chin tono koto nari, kanoe ne no toshi, jugatsu gekan,Tessai kanshiki. The shape of this Nyoi is said to be almostidentical to one cherished by the Painting Master, Ike noTaiga; therefore it is rare and precious. Attested by Tessai, inlate October of the year Kanoe-ne (Taisho 13, 1924)

Kakihan and seal: Tessai.

Kano Tessai 1845-1925. Given name Kotaro, go (art name)Tessai. He was born in Gifu Prefecture to a noble family whichbecame impoverished when he was a young child. Tessai wastaught to paint and sculpt by his father, Kakuho. At the ageof 14 he joined Sohukuji Temple, Nagasaki, Kyushu Prefectureto study Buddhism, painting and calligraphy, moving on toSeiganji Temple, Kyoto when he was 19. Upon the Meijirestoration in 1868, Tessai decided to leave the priesthoodand devote his life to studying famous artefacts in temple collections throughout Japan and the techniques used intheir making. In 1875 aged 30 he went to Tokyo for further

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A bamboo nyoi, with a head of woven bamboo.

Signed: Taisho Kinoe-tora (Ko-in) Rogetsu, Sansei ShokosaiCrafted by Shokosai III, in the twelfth month of the Year ofKinoe-Tora, of the Taisho period, (1914) Kakihan Shokosai III.

Tomobako inscribed on the lid: Taisho Kinoe-tora (Ko-in),Rogetsu hosu Crafted by Shokosai III, in the twelfth month ofthe Year of Kinoe-Tora, of the Taisho period. (Taisho 3, 1914).

Seal: Shokosai

Reverse of the lid: Take no Nyoi Nyoi, made of bambooHayakawa Shokosai III (1864-1922) was the fifth son ofShokosai I (1815-1897). Born in Osaka. He was a member ofthe Osaka Craft Society. His style is known for its free andbold design.

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Dimensions: L. 221/2in [57cm]

Dimensions: L. 163/4in [42.5cm] Dimensions: L. 111/4in [28cm]


An iron nyoi, the head inlaid in gilt and silver with a three-clawed dragon and a moon, the shaft with adesign of stylised clouds.

study and received a prize for his work in the second NationalExposition in 1882. In 1887 Tessai was appointed professorin the Department of Sculpture of the newly establishedTokyo Art School, he resigned shortly after to return to his lifeas an artist, briefly using the go (art name)Yuigadokusonanshu. In 1898 he moved to Nara and died in1925.

Exhibitions:2003 ‘Kano Tessai ten-Shirarezarumeiko’ at the Gifu History

Museum2009 Kano Tessai Special Exhibition at Mampukuji Temple,

Kyoto

Literature: The theme of the book ‘Ransai Botsuga’ by ShigaNaoya is based on Tessai’s life

Works by the artist can be found in the collections of: GifuHistory Museum, Shinseiji Temple, Gifu, Tokyo Art University,Ikoma Collection, Nara.

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The calligraphy on these screens refers to a passage from the Zhong-yong (Jp. Chuyo): The Doctrine of the Mean. The Middle Way.“Sincerity is the Way of Heaven. Making oneself sincere is the Way of Man. If you can be perfectly sincere without effort, without concern regarding its attainment, and walk embracing the Middle Way, youare a sage. If you are working at making yourself sincere, you must find your goodness and hold fast to it. You must study it broadly, investigate it in detail, deliberate on it carefully, discern it clearly andpractice it universally.”

A pair of six-fold paper screens painted in ink on a buff ground with panels of calligraphy.

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Japan: Edo period 17th | 18th century

Zisi (481-402 BCE). Born Kong Ji, he was a Chinese philosopher Zisi, who was the only grandson of Confucius, supposedly taught Mencius and wrote the Doctrine of the Mean. He is honorifically called Zisizi(Master Zisi). Where his grandfather began to distinguish between true and supposed knowledge, Zisi proceeded upon meditations on the relativity in human knowledge of the universe. He attempted toanalyse as many types of action as possible, and believed that wise people, who are conscious of their moral and intellectual duties, can copy the reality of the universe into themselves.

Dimensions: each screen H. 673/4in x W. 1451/4in [172cm x 369.5cm]

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Japan: Kamakura period 13th | 14th century

A bronze standing figure of Juichimen Kannon.

This standing figure holds the byo (vase) in his left hand in the mudra semui-in (the absence of fear) and, although in this instance the right arm and hand are missing, it would have shown the mudra yogan-in(the granting of wishes). The byo, containing the water or nectar of life, is a characteristic attribute of Kannon and seen here symbolises the nectar of her compassion.

Juichimen KannonThe earliest images of the eleven-headed Kannon appeared in China during the late Six Dynasties period (sixth century). As an icon, the image is based on the Foshuo Shiyimian Guanshiyin Shenzhou Jing(jp. Bussetsu-juichimen-Kanzeon-jinju-kyo) translated into Chinese by Yasogupta during the Northern Zhou Dynasty (557-581). In Japan, belief in the power of Juichimen Kannon is recorded from the mid7th century.

In Japan Kannon, the bodhisattva of mercy, is the most widely revered bodhisattva, or enlightened deity, who is said to remain in this world to help mankind find salvation. He manifests himself in many different forms, the most representative of these is Juichimen Kannon, or Eleven-headed Kannon, whose head bears an additional ten or eleven small heads symbolising his multifarious capacities in his merciful mission of saving sentient beings. The positioning of the heads clearly indicates that the elevated head of the Buddha rises above the others and iconography evokes the ten stages of the bodhisattva pathwith the Buddha as the final result. The encapsulation of these processes into one image shows the presence of all within the bodhisattva and suggests the fully enlightened bodhisattva as the ideal.

Bodhisattva heads (bosatsumen) are situated in either one or two tiers with the head of Buddha (butsumen) at the top. The faces of the bodhisattvas usually include three benign faces (jihimen), three angryfaces (shinnumen) three plain faces with fangs (kugejoushutsumen; also known as gejoushutsumen) and, at the back, a laughing face (daishoumen; also known as bouaku daishoumen, daibakushoumen).A small standing image of Amida Buddha referred to as a kebutsu, may be added in front of his crown.

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Dimensions: H. 81/2in [21.5cm]

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A boxwood okimono of Daruma. The figure stands wrapped in a kesa (priest’s robe) and holds a nyoi (priest’s staff).

Signed: Hokyu-do Masayoshi-to (Carved by Masayoshi, Hokyu-do)

Hakogaki (Wood box) inscribed on the lid: Daruma Taishi kan daizo (a large figure of holy Daruma)

An inscription inside the lid reads: I (Ito Kinbei) purchased this figure in March of Meiji 43, (1901) in the year of Kanoe-inu. This work was produced about one-hundred years ago. Private collection of Ito Kinbei:address -4-chome, Benten Street, Yokohama.

A further paper label on the box reads: This is to certify that this is an authentic work by Masayoshi certified by Tokyo Bijutsu Shinko-kai Association. There is some original paperwork accompanying this piece which is an official document used to register some tangible object for collateral. The form is not filled in at all. It appears that the form was printed for Solicitors’ use bythe main Magistrate in Niigata Prefecture, during the Showa period.

Chomei Masayoshi 1802-1848. He was born in Takada, Echigo province (modern Niigata prefecture), northern Japan, his given name was Yaokichi Ishikura. From an early age Masayoshi excelled at carvingmany types of objects including netsuke and was particularly well known for his carvings of Shi Shi lion dogs.

Dimensions: H. 111/4in [28cm]

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Japan: MuromachI period 16th century

A carved wood and lacquer seated figure of Amida Nyorai, the eyes inset with crystal and the hands in Amida mudra. This mudra signifies the descent of Amida to earth to seek the soulsof the dead and is one of the most frequently represented forms of Amida.

Belief in Amida as Lord of the Western Paradise rose in popularity during the late 10th century. Based primarily on the concept of salvation through faith, it was not only a religion appealing to a broad rangeof people, but also a direct assertion of piety against the dogmatic and esoteric ritual of the more traditional Tendai and Shingon sects. In Amida’s Western Paradise the faithful are reborn, to progress throughvarious stages of increasing awareness until finally achieving complete enlightenment. Continuously repeating the mantra (Homage to Amida Buddha), followers of this sect believed that the age of mappo,which was believed to have begun in 1052. Attainment of enlightenment by the conventional religious means of meditation and study came to be thought of as beyond the means of the average personduring the age of mappo. Reliance on faith in Amida as the only deity able to save man thus came to permeate every level of society.

Dimensions: H. 8in [20cm]


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A two-fold paper screen painted in ink and colour on a gold ground with Kanzan and Jittoku in a river landscape.

Unkoku School

Kanzan and Jittoku were semi-legendary Zen eccentrics of the Tang dynasty (618-907) who were frequently depicted in Chinese and Japanese ink painting. Kanzan (lit. Cold Mountain) is thought to havelived as a poet-recluse near Mt. Tendai in Zhejiang. Jittoku (lit. Foundling), was so named because he was found by the Zen master, Bukan and raised in the Tendai temple, where he worked in the kitchenand gave leftover food to his friend Kanzan.

The little that is known of their biographies is provided in the preface to a collection of Kanzan’s poetry, Hanshanzishiji and the Keitoku Dentoroku compiled in 1004. Kanzan and Jittoku were regarded lateras incarnations of the bodhisattvas Monju and Fugen respectively. They are usually depicted with ragged clothing, long, tangled hair, and grimacing or laughing wildly. Kanzan frequently holds a scroll,presumably of his poetry although several painting inscriptions claim it is devoid of writing, while Jittoku holds a broom, indicating his position as a scullion. Along with Bukan and his pet tiger, they makeup the Shisui or “four sleepers.” Kanzan and Jittoku form one of the most enduring subjects in Japanese ink painting.

For an example of the same subject matter in the collection of Myoshin-ji temple, Kyoto see: The 100th Anniversary of the Kyoto National Museum Special Exhibition. The Age of Gold, Days of Dreams, InPraise of the Paintings of the Momoyama Period, pp. 194-195, pl. 44.

Japan: Momoyama period 16th | 17th century

Dimensions: H. 69in x W. 741/2in [175cm x 189cm]


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A six-fold paper screen painted in ink and colour on a buff and sunago (sprinkled gold) ground with fighting samurai on horseback.

The scene is of the battle of Ichinotani, a surprise attack mounted by the Minamoto in the spring of 1184 against the Taira clan, as chronicled in the fourteenth century Tale of Heike. The Minamoto were ultimately victorious, and their leader, Minamoto no Yoritomo, became the first shogun, or military dictator in 1185.




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A six-fold paper screen painted in ink and colour on a buff ground with sakura (cherry) amongst three gold clouds in moriage (raised design), two decorated with hanabishi (diamondflowers) and the third with kiku (chrysanthemum).

For a similar example of early cherry blossom painting on a set of fusuma (sliding doors) in the Honen-in Temple, Kyoto and an example of clouds with moriage decoration in the collection of Kozu KobunkaKaikan see: The 100th Anniversary of the Kyoto National Museum Special Exhibition. The Age of Gold, Days of Dreams, In Praise of the Paintings of the Momoyama Period see pp. 64-67 pl. 9, and pp. 152-153, pl. 31 respectively.

Japan: Momoyama / Edo period 17th century



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A set of four wood fusuma (sliding doors) painted in ink and colour with scenes from Genji Monogatari (Tale of Genji).

First two doors:Chap 28 Nowaki (Typhoon)As the Empress Akikonomu was ill, Genji sent Yugiri to the palace with a message. He could see from the south veranda of the east wing in the southwest quarter that two shutters and several blinds hadbeen raised at the main hall. Women were visible in the dim light. Some young women had come forward and were leaning against the balustrades. Little girls were pouring water into the insect cages andpicking wild carnations. When Yugiri stepped forward, the women withdrew calmly. He felt the elegance maintained by Akikonomu.

Third door from the right:Chap 22 Tamakazura (The Jewelled Chaplet)Genji went to the little princess of Akashi on New Year’s Day. Her page girls and young servants were out on the hill busying themselves with seeding pine to learn the fortune of that year. The Akashi ladyhad sent over some New Year delicacies in bearded baskets and with them a warbler on a very cleverly fabricated cinquefoil pine branch. A poem was attached saying that she was waiting for the first warbler.

Last door:Chap 49 Yadorigi (The Ivy)In the Second Month, Kaoru took the Second Princess of the emperor for his bride. At first, Kaoru visited her in the palace. Later, the Second Princess was allowed to move to Kaoru’s mansion. On the daybefore her removal, the emperor was hosting a wisteria-viewing banquet. People were surprised at this extraordinary marriage, in which a princess of an emperor became a bride while he was still in hisreign.The Lord Inspector, Azechidainagon, who was the eldest son of the late To-no-Chujo, was jealous about the luck of Kaoru, for he had wanted to marry the mother of the Second Princess in the past butwas unable to. The concert for the banquet continued until midnight. Each guest was asked to write poems and put them on the lectern that had been prepared at the corner of the south garden. Sometoasted the glory of the emperor and others the prosperous future of Kaoru. In the middle of the highest festivity, Kaoru was still not happy. He was sunk in loneliness.

Japan: Meiji period 19th century



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A six-fold paper screen painted in ink and colour on a silver ground with kiku (chrysanthemum), the centre of each panel fitted with a shoji-style window.



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Japan: Showa period 20th century

An uchidashi (hammered) iron flower vessel of abstract form.

Tomobako signed: Kenzo -sakuSeal: Ken (Kenzo)

Ochi Kenzo 1929–1981. Born on the 29th September 1929 in Ehime prefecture. He studied metal arts at Tokyo University of Fine Arts, graduating in 1953. He returned there as a part-time teaching assistant in 1956, and joined the full-time staff in 1959. He became a full-time lecturer at the Tokyo Gakugei University in 1965 and was promoted to Assistant Professor in 1969 becoming full Professor ofmetalwork in 1976. He became a member of the Japan Metalwork Artists Association (Nihon Kinko-sakka Kyokai). He died on the 13th of March, 1981, aged 51.

His work “Tree Thoughts” 1970 is in the National Museum of Modern Art, Tokyo and other works by the artist can be found in the collections of the Tokyo National Museum of Modern Art – Crafts Department,and at the Tokyo University of Fine Arts. See also: Japanese Studio Crafts by Robert Faulkner, pl.17 and the University Art Museum at the Tokyo National University of Fine Arts and Music’s catalogue: Kogei,A view of a Century of Modern Japanese Crafts, pl.209

Exhibitions:1954 (Showa 29): Nitten Exhibition – The Fourth Category, he received an award for the first time.1964 (Showa 39) Nihon Gendai Kogei Bijitsu-ten Exhibition awarded the Yomiuri Newspaper prize.1965 (Showa 40): Nihon Gendai Kogei Bijutsu-ten Exhibition (Japan Association of Modern Artist Craftsmen) awarded the Minister of Foreign Affairs prize.1965 Nitten Exhibition awarded the tokusen (grand) prize and the Hokuto Prize.1966 (Showa 41): Nihon Gendai Kogei Bijutsu-ten Exhibition (Japan Association of Modern Artist Craftsmen): received a members’ award and the award by the Foreign Minister.1967 (Showa 42): Nitten Exhibitions: he entered a piece.1969 (Showa 44): Nitten Exhibitions: he was awarded with the Chrysanthemum prize.In 1967, 1970 and 1972 (Showa 42, 45, 47): He was a judge for the Nihon Gendai Kogei Bijutsu-ten Exhibition (Japan Association of Modern Artist Craftsmen)1972 (Showa 47) onwards he continued to exhibit at the Nitten Exhibitions

Dimensions: H. 14in x W. 183/4in [35.5cm x 47.5cm]

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A pair of six-fold paper screens painted in ink and colour on a gold ground with ume (plum) and take (bamboo) in a rocky river landscape.

Right hand screen inscribed: Nanaju-roku-so Kansai-utsusu. Painted by Kansai, an old man of 76 years (1889). First seal: Tachibana-in Koshuku. ‘Orange tree’ seal of Koshuku.

Left hand screen Inscribed: Kansai Mori Koshuku. Painted by Kansai Mori Koshuku Second seal: Aza-iwaku Shiyo

Mori Kansai (1814-1894) was born in Hagi, the conservative Chochu stronghold (Yamaguchi pref.) as Ishida Koshuku. After training with a local artist, and a period spent in Edo, he moved to Osaka in 1831to study with Mori Tetsuzan (1775-1841), who adopted him when he married his daughter in 1838. Subsequently, Tetsuzan sent him to Kyoto where he was successful as a professional artist in the Maruyamaschool. In the 1860s he got involved in the political activism of the Sonno Joi Movement. After the Meiji restoration this added to his reputation and prominent position as an artist-statesman. He was oneof the Teishitsu-Gigei-in (Imperial Craftsmen).

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Japan: Meiji period19th century

Mori Kansai was a distinguished representative of the Maruyama school, but he did not take part in its modernisation. He led a literati lifestyle, presiding over the activities of the Joun-sha Kyoto painting circle after the death of Shiokawa Bunrin in 1877. He studied Nanga-style painting all his life, which shows most clearly in his later work. Kansai was master in a variety of techniques, including ink painting. He is said to have painted directly without any preliminary sketches and never repeated himself. His best known pupils are Yamamoto Shunkyo (1871-1933) and his adopted son Mori Yuzan. In1893, celebrating his eightieth birthday, an exhibition of more than 600 of his works was held in Kyoto.

Published: Kogasoran. Photographic Archive of Japanese Paintings. Maruyama Shijo School 2. p.89 pl.348.1& 2 Works by the artist can be found in the collections of: The Ashmolean Museum, Oxford, FoggArt Museum, Cambridge, Mass, The Imperial Palace, Kyoto, Itsuo Art Museum, Osaka, Museum of Fine Arts, Boston.

Dimensions: each screen H. 671/4in x W. 1501/2in [170.5cm x 382cm]

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A six-fold paper screen painted in ink and colour on a gold ground with take (bamboo) and yamabuki (kerria) amongst golden clouds in a river landscape.

For a similar example see: Sequel to Masterpieces of Folding Screens of Momoyama period through Meiji era. pp. 62-63, pl. 33.



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A two-fold paper screen painted in ink and colour on a silver and sunago (sprinkled gold) ground with flowers including kakitsubata (iris), kiku (chrysanthemum) and botan (peony).

Rimpa School

Seal: indecipherable



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A pair of six-fold paper screens painted in ink and colour on a gold ground with seasonal flowers on the banks of a river amongst golden clouds.

The right-hand screen is set in autumn with kiku (chrysanthemum) in several colours and hagi (bush clover). The left-hand screen is painted with the summer flowers botan (peony) in full bloom, satsuki(azalea) and fuji (wisteria) hanging from a bamboo trellis.

For a similar example see: Sequel to Masterpieces of Folding Screens of Momoyama period through Meiji era. pp. 65-65, pl. 34-35.

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Dimensions: H. 663/4in x W. 1461/2in [169.5cm x 371.5cm]

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A two-fold paper screen painted in ink and colour on a gold ground with three tsuru (cranes) beside matsu (pine) in a rocky river landscape.

Cranes, particularly white cranes, are among the premier symbols of longevity and good fortune in East Asia. For at least two millennia, the Chinese have viewed them as living to great ages and as beingable to navigate between heaven and earth. In turn, these attributes have made them logical companions of sennin, the Taoist Immortals. Ancient Taoist alchemists believed that imbibing beverages madewith crane eggs or tortoise shells would increase one’s vital energies. In Taoist thought and art, the crane is often paired with the tortoise, another symbol of longevity.

In Japan, the crane (tsuru) is the animal most frequently seen in the fine and applied arts. Although a common subject of painting, it is most closely associated with the New Year and with marriage ceremonies. In earlier times, when the Japanese still used circular brass mirrors and presented them on the occasion of a marriage, the crane was a favoured decorative theme. In recent centuries, the cranehas appeared on elaborately embroidered wedding kimono and among the mizuhiki decorations presented at the time of betrothal.



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A six-fold paper screen painted in ink and colour with flowers. Each panel depicts a single plant, the first panel on the right has yamabuki (kerria) followed by ajisai (hydrangea), hagi(bush clover), ko-giku (small chrysanthemum), kikyo (bell flower) and fuji (wisteria).

Rimpa school

Tomobako (fitted wood box) inscribed on the exterior: Koshimoto Kinran ko-byobu hanso One of a pair of small Koshimoto, a waist height screen, with golden background

Interior inscribed: Otani Hikojiro zoki, Jinmu Tenno kigen nisen-gohyaku-sanjunen, Meiji junen hichigatsu kore wo shosu The collection of Otani Hikojiro, Japanese Imperial calendar year 2537, the seventhmonth of Meiji 10 (1877].

A label attached to the box is inscribed: Ume ni-go [Plum number 2] presumably the collector’s reference number.



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A pair of fusuma panels now mounted as a two-fold screen painted in ink and colour on a gold ground with kiku (chrysanthemum) and hagi (bush clover).

Signed: Hokkyo Gyokuzan-sha (painted by Gyokuzan, with the title of Hokkyo)Two seals: Naotomo (Shoyu) -no-in and Gyokuzan.

Gyokuzan (1737-1812). Given name: Okada Shoyu (Naotomo), he used the go (art name) Gyokuzan. An Ukiyo-e painter and illustrator, he lived in Osaka and studied alongside Tsukioka Settei (1710-86)and Shitomi Kangetsu (1747-97), and independently investigated many different styles of painting. Primarily a book illustrator he was given the honorary title of Hokkyo.

Works by the artist can be found in the collections of: The Ashmolean Museum, Oxford, Philadelphia Museum of Art, Pennsylvania and Stanford University Art Gallery and Museum, California


Dimensions: H. 131/2in x W. 52in [33.5cm x 131.5cm]

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An iron flower vessel in the form of a gourd decoratedwith falling cherry blossom in gilt.

Signed on the base: Yoshikatsu Saku (made by Yoshikatsu)Signed on the body: Shunkei Saku (made by Shunkei)

Yoshikatsu (given name Ryonosuke) was know for his hammering and forging work. He is noted in the Toso KinkoJiten page 617 for his work on Kozuka (knife handles) andflower vessels.

Ohta Shunkei (active circa 1880-1940) was a pupil ofShunmim (1886-1940). He lived and worked in Tokyo and isnoted in Toso Kinko Jiten page 271.

A piece by Shunkei entitled “Pine on a beach” (34cm) is inthe collection of The Museum of Contemporary Art, Tokyo(MOT) collection number 1975005018000.


Dimensions: H. 121/4in [31cm]

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An akagane (red bronze) vessel formed as a doublegourd with a tree frog climbing up the side, its eyesinlaid with gold and shakudo.

Japan: Meiji / Taisho period 20th century

Dimensions: H. 9in [22.5cm]

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A silk on paper kakemono (hanging scroll) painted in ink with a large kairu (toad) surrounded by many small kairu (toads) beneath a yanagi (willow tree).

Inscribed: Shuen Sekido kun Koto no tameni, Nisen-gohyaku-sanju-go-nen hachigatsu utsusu, Koun, Sanjin gu.Painted for my dear friend Shuen Sekido Koto, in August 1875, by Koun, a humble man of the mountain.

Three seals: Sakurai-shi (painted by Sakurai) Koun-in (seal of Koun ‘fragrant cloud ‘) Last seal: Undecipherable

Sakurai Koun (circa 1840-1895), Osaka, was a pupil of Tanaka Tomomi who worked in the tradition of Yamato-e painting Revivalist style. Sakurai Koun is noted for his role in taking part in copying down(archival recording) the interior painting of the Golden Hall of the Horyu-ji Temple (Nara), now archived at the Tokyo National Museum, before it was destroyed by arson in 1950.

Japan: Edo / Meiji period 19th century

Dimensions: Scroll: H. 701/2in x W. 243/4in [179cm x 63cm] Painting: H. 481/2in x W. 201/4in [123cm x 51.5cm]

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A two-fold paper screen painted in ink and colour on a gold ground with kakitsubata (iris).

This bold composition takes its subject matter from one of the most popular episodes in the tenth-century classic of literature, Ise Monogatari (The Tales of Ise), a series of poems on love and journeying. Thisepisode, commonly known as the “Tale of Yatsuhashi” (literally “Eight Bridges”), tells of a young aristocrat who happens upon a location of this name, which is famous for its iris flowers. While admiring theblooms he composes a poem, expressing his longing for a loved one left behind in the capital.

The terse five-line poem is ascribed to the legendary courtier Ariwara no Narihira (824-880) and reads:

I have a beloved wifeFamiliar as the skirtOf a well-worn robe,And so this distant journeyingFills my heart with grief.


Dimensions: H. 671/2in x W. 75in [171cm x 190cm]

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A six-fold paper screen painted in ink and colour on a silver ground with kiku (chrysanthemum) and aki no nanakusa (The Seven Flowers of Autumn).

Rimpa school

The aki no nanakusa (Seven Flowers of Autumn) theme dates to the eight century Man’yoshu poetry collection and has continued to be a favourite theme in Japanese art and poetry. As established in theMan’yoshu they consisted of hagi (bush clover), susuki (pampas grass), kuzu (arrowroot), nadeshiko (fringed pink), ominaeshi, fujibakama and kikyo (bellflower).

For similar examples on a gold ground see; Beyond Golden Clouds, Japanese Screens from the Art Institute of Chicago and the St Louis Art Museum. pp. 112-113, pl. 7and Catalogue of Selected Masterpiecesfrom the Nezu Collections, Painting and Calligraphy. pp. 192-193, pl. 161.


Dimensions: H. 65in x W. 1393/4in [165cm x 354.5cm]

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The right-hand screen is painted with a group of pine in a river landscape, the straight trunks of the maki (Chinese black pine) contrasting with the twisted trunks of the native matsu (Japanese pine), in thecentre foreground is a single gnarled matsu, the river continues on to the left-hand screen with a large rock on the shore line and matsu on the riverbank.

A pair of six-fold paper screens painted in ink and colour on a gold ground with pine trees, a quintessential part of Japan seen in landscapes, paintings, legends and tradition.

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Published: Sequel to Masterpieces of Folding Screens of Momoyama period through Meiji era. pp. 86-87, pl. 51.For a similar example from the Muromachi period see: Worlds Seen and Imagined Japanese Screens from the Idemitsu Museum of Arts p.79, no.3

Dimensions: each screen H. 661/4in x W. 1481/2in [168cm x 377cm]

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A rooster and hen naturalistically modelled in shibuichithe eyes inlaid in gilt with shakudo pupils.

Signed: Seijo Chu (cast by Seijo)

Izumi Seijo 1865-1937. A noted bronze caster who lived inTokyo, he is listed as having been a member of the TokyoChokokai (the Tokyo Sculptor's Association) and the NihonKinko Kyokai (Japan Metalwork Association). He was a permanent committee member at the Tokyo Chukinkai (TheTokyo Cast Metalwork Association) recorded in their 1907membership list. He entered one item at the Naikoku KangyoHakurankai (Domestic Industrial Exhibition) in 1895. Fiveyears later, he exhibited four items at the Paris Exposition1900, one of which was given an award.

A similar pair of Chickens cast in bronze also by Seijo is illustrated in: Modern Japanese Sculpture, Sanno MaruShozokan (Museum of the Imperial Collections), July-September 1996 p.58


Dimensions: Rooster H.15in [38cm] Hen H.73/4in [19.5cm]

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A two-fold paper screen painted in ink and colour ona buff and gold ground with take (bamboo), a roosterperched on a bamboo fence and a hen with chicks onthe ground nearby.



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An eight-fold paper screen painted in ink and colour on a buff and sunago (sprinkled gold) ground with kachoga (birds and flowers).

Nagasaki school

Nagasaki school refers to a particular genre of painting associated with the city of Nagasaki from the 17th through 19th centuries. During this period, Nagasaki was the only port town in Japan open to foreigners for trade and residence. Consequently, Nagasaki paintings and prints, while varied in style and theme, always reflected in some way the influence of Dutch and Chinese art which arrived by wayof merchant vessels.

One of the strongest influences on ‘Nagasaki ha’ was Shen Nanpin, a relatively unknown painter of Ming academic styles, invited to Japan by a high official. He arrived in Nagasaki at the end of 1731 withtwo of his pupils. Shen stayed for two years and his paintings soon became extremely popular with the Japanese. Shen had many pupils while in Japan, and continued to send paintings to Japanese friends,patrons and admirers after his return to China in 1733.


Dimensions: H. 241/4in x W. 1101/4in [61.5cm x 280cm]

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142 kensington church street london W8 4BN

t:+ 44 (0) 20 7221 3533 f:+ 44 (0) 20 7221 4410e: info@@japanesescreens.com w:www.japanesescreens.com


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Gregg Baker Asian Art: Heaven Man Earth

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