Kazari_gallery_ Fine Art _Japanese_Paintings

Banner Text

Banner Slogan

Home

290 Malvern Rd + 450 Malvern Rd
Prahran 3181
Victoria Australia
Tel +61 3 9521 1107 + 61 3 9510 2528
Fax +61 3 9521 1033
Email Us

We ship within Australia and worldwide - Contact Us for quotes

Enquiries welcomed for these and other works not featured on this website - condition reports and more images - available on request.

Click on images to enlarge

Snow Maiden

Click on images to enlarge

Snow Maiden early 1900s

Signature: Mitsukaze (Kōfū)

This image evokes the Japanese folk tale Tsuru no ongaishi (‘Crane's Gratitude’)about a crane which was rescued by an old man and later repaid his kindness. According to the story the man found a crane caught in a trap and freed it. Later a girl appeared at the man’s home saying that she was a traveler who was lost and in need of shelter. The man and his wife took her into their home and soon warmed to her. She remained in their home helping them and over time became part of the family eventually being adopted as their daughter. Whilst there she asked for a loom and began weaving yarn into beautiful brocade that the man was able to sell to a local daimyo (lord). This enabled the family to support themselves but the girl refused to allow the couple to see her weaving. However, the girl became progressively pale and weak and concerned that she may be overworking herself; the man peeked in when she is at the loom. To his surprise he saw the crane he had rescued plucking its feathers with which to weave brocade. Having broken the spell by seeing her true form the girl flew away in the form of crane.

This subject provided a fitting excuse to show both a beautiful woman and suggest literary associations and as such was depicted by ukiyo-e artists such as Yoshitoshi Tsukioka (1839-92) in his 1865 New Forms of Thirty-six Ghostsand by contemporary artists such as Tsunetomi Kitano (1880-1947)from the Shin-hanga art movement. These images all share the common features of a beauty standing in falling snow and dressed in white, red and black, the colours of a heron. The contrast between pure white and small accents of red is a particularly attractive feature of these works and in this painting this element is further accentuated by the use of gofun, a particularly vibrant white made from crushed sea shells that gives a textured surface suggestive of snow flakes or snow settled on branches.

quality ivory finial signature

More images and full condition report - available on request

Kamigata-e

Kabuki theatre posters

KJP1

KJP2

Rare examples of painted Kabuki theatre signboards - e-kanban- colour pigment on paper with silk top and bottom borders. Framed - ( can be sold un-framed for shipping) painting size 166 cm x 93 cm. Attributed to the Torii family* :

Kamigata-e essay by Dr Gary Hickey, Melbourne University 2008

* "the heavy lines that delineate full rounded figures are a ubique 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

More images and full condition report - available on request

Koi - carp scroll

Koi (Carp) possibly nineteenth century

ink and colour on silk click on small image for enlarged detail

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

Early Spring scroll

details up soon 12//8/2008

signed: Nagasawa Rosetho c.Late C19th

Daruma scroll

C18th artist Unkoku Toeki - details up soon

Tiger

Tiger ink and colour on paper (Possibly Kanō School)

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.

Scenes from Chushingura

or the Tale of the 47 Ronin:

one of the greatest tales from Japanese history

framed - 136 cm high x 154 cm - detailed images on request

Chushingara read this essay by Dr Gary Hickey, Melbourne University

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.

90cm high x 156 cm

Photos taken after framing - others available on request each 90 cm high x 90 cm

Maiko

Maiko - young apprentice Geishas of Kyoto signed Senkyo

Dimensions: 214 h x 122cm w

Kanu & Chohi

Kanu and Chohi - famous Chinese generals - framed (shown unframed)

pigment and ink on paper Late Edo period C1860

Kanu & Chohi read this essay by Dr Gary Hickey, Melbourne Universi

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

Chinese literati style series of paintings (Japanese) originally mounted on 2 x 6 panel screens - Chinese subject matter Chinese literati style Chinese Sages C19th with strong graphic qualities

Series of 8 - can be purchased individually