Japanese Two-Panel Screen, Enso

Fantastic pair of 19th century Japanese late Edo/early Meiji period six-panel screens titled The seven sages of the bamboo grove. The Kano school screens...

A Japanese Edo Period two panel folding screen with white and brown hawks of ink and color on paper.

Material: paper, fabric on wooden frame One piece: W750×H1580mm×D18mm Unfolded size: W1500mm Folded size: W750×H1580mm×D36mm, 7kg Packaging (sandwiched with 5-10mm plywood): 10cm x ...

Monumental pair of late 18th century Japanese Edo/Tokugawa period byobu screens depicting the battles between Taira and Minamoto. The screens have six panels each with individual sce...

Beautifully weathered late 17th/early 18th century Japanese edo period four panel byobu screen depicting hotei (fat monk) in a treed landscape with Chinese sages engaged in leisurely...

A Japanese sumi ink calligraphy Buddhist mandala mounted as a paper hanging scroll known as Kakejiku or sometimes Moji mandala. Termed as gohonzon in Japanese, it is a venerated object within Nichiren Buddhism (Hokkeshu; lotus sect). The originally concept was developed by the 13th century Buddhist priest Nichiren to guide the energy of the devotional chanting to...

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...

Fantastic 19th century Japanese Edo/Tokugawa period two-panel byobu screen featuring Chinese children frolicking on a garden terrace with a pavilion and large pine tree. Made in the ...

This 18th century folding screen is a stunning example of Japanese artistry. Beautifully painted with delicate brushwork, the evocative sc...

A pair of large 19th century Japanses Screens of Japanese scenery. The screens also come with a wooden crate which would have been built for them at a later date in order to move ...