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Baiitsu
Yamamoto 1783-1856 68x13.2
Cedar
in Snow Sansui Ga
Gaho
Kikuchi
Keigetsu c 1930The Design follows Chinese precedents with which the artist was undoubtedly familiar, but the brushwork and composition have an individualistic flair that epitomises Japanese techniques. In particular, the uplifting energy of the work is ubiquitous. Chikuson (Ishikawa Katsumi) was born in Tokyo in 1883. He began his studies under Matsumoto Fuuko, and later Ikeda Kimpo and Okada Kaien
This second internal page link is for scrolls
that are being remounted but are not yet with me.
These are due in early June 2010
| 1 pair of winter scrolls :rotetsu
gain or seal for paintings of Rotetsu -----------------------------------------------------------------------------------------------------------------
2; The box says: Image of a pair of Cockerels signed by Shouzui (or Shozui) himself (Shouzui Jitei, or inscribed by himself, Shouzui) in the spring of 1929. ( We found a different Shouzui, but that Shozui did subjects of Beautiful women, and was not known for painting Kacho (bird and flower) )
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3 The box: cover: Image of a rich green (blue green in direct translation) landscape painted by myself. On the year of 1923 by Hyakuseki . ---------------------------------------------------------------------------------------------------------------------
4; Toro Stone Lantern Stone lanterns were not only decorative elements (especially this type of design) in Japanese gardens, but also served as grave stones for some of the samurai or memorials as found in Toshogu were all the daimyos donated lanterns to the shrine in honor of Tokugawa Ieyasu. Haiga is by a lady named Mitsuko, Poem says: Within the fenced area, a place where the deceased are a brush from the tree in the corner.
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5; Painted in 1852 by Hanko ( seal says Fukuda Yoshito ) possibly around mid summer from the end of July to the beginning of August in the old lunar calendar.Fukuda Hanko : Born in Shizuoka prefecture, Mitsuke. In the beginning Hanko was trained under the Kakegawa clan resident artist, Muramatsu Ikou and later with Magata Dairyo. Around 1830-1844 he is trained under Watanabe Kazan. During the Nansha purge of 1839 when Kazan was arrested, Hanko traveled to tawara in Aichi pref. where Kazan was detained. In the beginning, Hanko painted flower and bird subjects, but with his fellow, Tsubaki Chinzan gaining popularity in the theme, Hanko changed his specialty in landscapes.
6; Bairyo, This scroll is interesting, because the theme is summer but the painting was painted around early winter, I assume the artist felt cold and wanted to evoke the heat of summer to keep the artist warm ( in a sense). Title is: Ryoku in Jiki Kadouryou or The self is content under the shade of green during summer in the cool hut. c. 1911 around october ( lunar calendar) at the artist's studio.- -------------------------------------------------------------------------------------------------------------------------
7; Okamura Keiho (b c1920) Tora 1950 -------------------------------------------------------------------------------------------------------------------------
8; Yamana Shouei (seals says, Yamana no in (the top one) and Shoei) no further information is found on the artist.
9. Signature says Kounan sanjin houko ( The hermit Kounan learning the old style) sealed with Kounan. I don't think this is Tanigami Konan's work, the characters are not the same except for the last one. Tanigami Konan is Ko (large or wide) and nan (south), this Konan is Ko (incense, fragrance) and nan (south).
Koyama Ryudo:
Miyake Kazumitsu: Born in 1939 in Gifu prefecture, learns painting from his father who was also a painter. Later he is trained under Gifu prefecture's top artist, Kojima Shikou and begins creating his own works. Kazumitsu is skilled in almost all subjects, whether it is kacho-ga (flower and bird), landscapes, or human subjects his has received high praise for his skills and work as an artist. Former member of the Bokujin-kai and President of Toyo Bijutsu Kai.
12. Suizan (seal says suizan gain or painting seal of Suizan) (note: there are two suizan in the Japanese art world, Yajima Suizan and Miki Suizan, Yajima suizan is way too recent and different in style compared to this painting, and Miki Suizan is known for his bijin-ga or paintings of beauties and while he has not been known to done work on animal or subjects of nature, this might be an exception)
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Two Bujin pines on a empty beach signed Chikuho (?Mizuta (1883-1958) |
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KANSETSU HASHIMOTO. A.D 1883-1945. Born in KOBE city, HYOGO pref. |
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   FUGEN-SAI
1800 Taki Sansui 52x16.7. signature |
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Hashimoto Gahō (橋本雅邦; August 21, 1835 - January
13, 1908) was a Japanese painter, one of the last to
paint in the style of the Kanō school.
Born in Edo, he studied painting under Kanō Shōsen'in, and was influenced as well by the work of Kanō Hōgai. He created many works in the traditional style of the Kanō school, using color & gold, or otherwise monochrome black ink. But while his paintings are very much the works of a traditionalist, using traditional methods and depicting traditional subjects, Gahō, like Kanō Hōgai, incorporated elements of Western art as well. Brush-strokes, various types of detailing, and in particular, attempts at the proper depiction of perspective are evident in Gahō's paintings and in many others of this period. He opened his own studio in 1860, but the political and economic upheavals surrounding the Meiji Restoration forced Gahō to seek income in other ways than by selling fine art. He produced maps for the Naval Academy, painted on fans, and used his skills in a number of other ways to earn a living. Gahō was invited in 1884, by Okakura Kakuzō, to become the chief professor of painting at the Tōkyō Bijutsu Gakkō (東京美術学校, now the Tokyo National University of Fine Arts and Music) which would open five years later. In 1898, Gahō joined Okakura in leaving the Bijutsu Gakkō, and founding the Japan Fine Arts Academy (日本美術院, Nihon Bijutsuin). He would teach there until his death in 1908. As a result of his position as chief painting professor, Gahō had a number of important pupils, including Yokoyama Taikan and Kawai Gyokudō Reserved/ sold
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    The Retreat in the Mountains |
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Kamo. Flying Duck into Reeds |
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Keigetsu Matsubayashi (1876-1963) also known as Keigetsu Sanjin/ Ito Atsushi a Nihnga style painter 18.8.1876 Born in Yamaguchi
Keigetsu Matsubayashi (1876-1963) also known as Keigetsu Sanjin/ Ito Atsushi a Nihnga style painter 18.8.1876 Born in Yamaguchi
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    Sansui ga Taki Sumei painting of remarkable quality |
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   SEIDO
Lantern and Sakura |
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Mending Nets |
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 Suzume To Sakura -Sparrow and Cherry 1900 70.4x22.1 |
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RAISHO pine and taki sansui ga 1850 being restored |
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UNREI SATOMI. A.D 1849-1928. Born in HIROSHIMA city. His
teachers were TAIREI NAKAI, NISHO YAMAGATA. |
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Samurai Armour. With box 46.5x19.8
Autumn Landscape Sansui Ga. With multiple waterfalls this intensely detailed and extremely elegant painting shows an almost deign quality in the artists brush. . A constantly dropping landscape you come down the main falls in teh background and just keep going down the scene. Such movement is hard to achieve other than from a great artist. This painting is of the waterfall known as Akiu Waterfall (Akiu Otaki [秋保大滝]) 70x23.5
With Box £190
The
Akiu Waterfall (Akiu Otaki [秋保大滝]; also Akiu Great Falls or just Akiu
Falls) is a 55m waterfall on the outskirts of Sendai towards the
northern part of Honshu in the Miyagi-ken. It's said to be one of the
three most beautiful waterfalls in Japan. It is popular in late
autumn and just as the leaves start to drop around the end of November.
The name of the waterfall has something to do with Autumn since the
first character is Chinese for Autumn.
River in full Speight. This autumn scene is what is called a Red Leaf Scroll. usually shown around October and November, this elegantly painted scene in the mountains is full of movement with the rushing waters and waterfalls through the mist. A fisherman catching carp in a pool under the rocks completes this study. Remounted top and bottom silks retaining the original side silks adds to the scrolls beauty.72.5x25.4 £180
Rising sun and mountain TAIKAN YOKOYAMA.
He was a very famous painter living in 1868-1958 58.3x25
However this is a hand made screen print from the early part of the 20th century and partially hand painted by the artist. Remounted onto new silks and with a box. This scroll is £160
TORYU-MON Leaping Carp 74.5 x 20.7 The jumping Carp is an analogy called the Rising dragon's gate the gateway to success 1900. With a new box
Painted by scroll artist Saneatsu Mushakoji, the little Waka Poem says: Always green'
Jōdo Shinshū (浄土真宗,
"True Pure Land School"),
also known as Shin Buddhism, is a school of Pure Land
Buddhism. It was founded by the former Tendai Japanese
monk Shinran Shōnin. Today, Shin Buddhism or
Shinto, is considered the most widely practiced branch
of Buddhism in Japan.
SHINRAN, Jodoshin-shu the founder of Shinto Buddhism by Shunsui 1920 A short scroll beautifully painted by the Buddhist Scroll artists Shunsui. Remounted onto new silks with a box. £195 52.5x23
The article below outlines the background to the founder of Shinto Buddhism in Japan.
All ten schools of Jōdo Shinshū Buddhism will commemorate the 750th memorial of their founder, Shinran Shonin, in 2011 in Kyoto, Japan.
Shinran (1173–1263) lived during the late-Heian early-Kamakura period (1185–1333), a time of turmoil for Japan when the Emperor was stripped of political power by the Shoguns. Shinran's family had a high rank at the Imperial court in Kyoto, but given the times many aristocratic families were sending sons off to be Buddhist monks instead of having them participate in the Imperial government. When Shinran was nine (1181) he was sent by his uncle to Mount Hiei, where he was ordained as a Tendai monk. Over time Shinran became disillusioned with what Buddhism in Japan had become, foreseeing a decline in the potency and practicality of the teachings espoused.
Shinran left his role as a really low-ranking doso ("Practice-Hall Monk") at Mount Hiei and undertook a 100-day retreat at Rokkakudo temple in Kyoto, where he had a dream on the 95th day. In this dream Prince Shōtoku (in Japan he is sometimes regarded as an incarnation of Kannon Bosatsu) appeared to him, espousing a pathway to enlightenment through verse. Following the retreat, in 1201, Shinran left Mount Hiei to study under Hōnen for the next six years. Hōnen (1133–1212) another ex-Tendai monk, left the tradition in 1175 to found his own sect, Jōdo shū ("Pure Land School"). From that time on, Shinran considered himself, even after exile, a devout disciple of Hōnen rather than a founder establishing his own, distinct Pure Land school.
During this period, Hōnen taught the new nembutsu-only practice to many people in Kyoto society and amassed a substantial following, but also increasingly came under criticism by the Buddhist establishment in Kyoto. Among the strongest critics was the monk, Myōe, and the temples of Enryaku-ji and Kōfuku-ji. The latter continued to criticize Hōnen and his followers, even after they pledged to behave with good conduct, and to not slander other Buddhists
In 1207, Hōnen's critics at Kōfuku-ji persuaded Emperor Go-Toba to proscribe Hōnen and his teachings after two of his ladies-in-waiting converted to the new faith.[1] Hōnen and his followers, among them Shinran, were forced into exile, and four of Hōnen's disciples were executed. Shinran was given a lay name, Yoshizane Fujii by the authorities but called himself Gutoku ("Stubble-headed One") instead and moved to Echigo Province (today Niigata Prefecture)
It was during this exile that Shinran cultivated a deeper understanding of his own beliefs, the Pure Land teachings of Hōnen. In 1210 he married Eshinni, the daughter of an aristocrat of Echigo Province. Shinran and Eshinni had several children. His eldest son, Zenran, was alleged to have started a heretical sect of Pure Land Buddhism through claims that he received special teachings from his father. Zenran demanded control of local monto (lay follower groups), but after writing a stern letter of warning, Shinran disowned him in 1256, effectively ending Zenran's legitimacy.
In 1211 the nembutsu ban was lifted and Shinran was pardoned, but by 1212 Hōnen had died in Kyoto. Shinran never saw Hōnen following their exile. In the year of Hōnen's death, Shinran set out for the Kantō area of Japan, where he established a substantial following and began committing his ideas to writing. In 1224 he wrote his most significant book, the Kyogyoshinsho ("The True Teaching, Practice, Faith and Attainment of the Pure Land"), which contained excerpts from the Three Pure Land sutras and the Nirvana Sutra along with his own commentaries[2] and the writings of the Jodo Shinshu Patriarchs whom Shinran drew inspiration from.
In 1234, at the age of sixty, Shinran left Kantō for Kyoto (Eshinni stayed in Echigo and she may have outlived Shinran by several years), where he dedicated the rest of his years to writing. It was during this time he wrote the Wasan, a collection of verses summarizing his teachings for his followers to recite. Shinran's daughter, Kakushinni, came to Kyoto with Shinran, and cared for him in his final years and his mausoleum later became Hongwanji ('The Temple of the Original Vow'). Kakushinni was instrumental in preserving Shinran's teachings after his death, and the letters she received and saved from her mother, Eshinni, provide critical biographical information regarding Shinran's earlier life. These letters are currently preserved in the Nishi Hongwanji temple in Kyoto. Shinran died at the age of 90 in 1263
Due to his awareness of human limitations, Shinran advocates reliance on tariki, or other power (他力)—the power of Amida Buddha's made manifest in Amida Buddha's Primal Vow—in order to attain liberation. Shin Buddhism can therefore be understood as a "practiceless practice," for there are no specific acts to be performed such as there are in the "Path of Sages" (the other Buddhist schools of the time that advocated 'jiriki' ('self-power'). In Shinran's own words, Shin Buddhism is considered the "Easy Path" because one is not compelled to perform many difficult, and often esoteric, practices in order to attain higher and higher mental states.
Earlier schools of Buddhism that came to Japan, including the
Tendai and Shingon sects, gained acceptance because of the way they
meshed the Buddhist pantheon with the native Japanese Shinto pantheon.
For example, a Shinto god could be seen as a manifestation of a
bodhisattva. It is common even to this day to have Shinto shrines within
the grounds of some traditional Buddhist temples.
Jōdo Shinshū, on the other hand, intentionally separated itself from the
Shinto religion, and left out many practices associated with it as they
contradicted the notion of reliance on Amida's Other-power, and are also
explicitly prohibited in sutras such as the Mahayana Nirvana Sutra and
Pratyutpanna Sutra. Other practices such as accepting donations for
special blessings and prayers were similarly omitted from Jōdo Shinshū.
Jōdo Shinshū traditionally had an uneasy relationship with other
Buddhist schools because it discouraged virtually all traditional
Buddhist practices except the nembutsu, and discouraged kami veneration.
Relations were particularly hostile between the Jōdo Shinshū and
Nichirenshu, also known as Hokkeshu. On the other hand, newer Buddhist
schools in Japan, such as Zen, tended to have a more positive
relationship and occasionally shared practices, although this is still
controversial. In popular lore, Rennyo Shonin (the 8th Head Priest of
the Hongan-ji sub-sect) was good friends with the famous Zen master
Ikkyu.
Jōdo Shinshū drew much of its support from lower social classes in Japan
who could not devote the time or education to other esoteric Buddhist
practices or merit-making activities.
Following the unification of Japan during the Edo period, Jōdo
Shinshū Buddhism adapted, along with the other Japanese Buddhist
schools, into providing memorial and funeral services for its registered
members (danka seido), which was legally required by the Tokugawa
shogunate in order to prevent the spread of Christianity in Japan. The
danka seido system continues to exist today, although not as strictly as
in the premodern period, causing Japanese Buddhism to also be labeled as
"Funeral Buddhism" since it became the primary function of Buddhist
temples. The Hongwanji also created an impressive academic tradition,
which led to the founding of Ryukoku University in Kyoto, Japan, and
formalized many of the Jōdo Shinshū traditions which are still followed
today. Following the Meiji Restoration and the subsequent persecution of
Buddhism (haibutsu kishaku) of the late 1800s due to a revived
nationalism and modernization, Jōdo Shinshū managed to survive intact
due to the devotion of its monto. During World War II, the Hongwanji, as
with the other Japanese Buddhist schools, was compelled to support the
policies of the military government and the cult of State Shinto. It
subsequently apologized for its wartime actions
In contemporary times, Jōdo Shinshū is one of the most widely followed
forms of Buddhism in Japan, although like other Japanese Buddhism it
faces challenges from many popular New Religious Movements (known in
Japan as shin shinkyo religions, which emerged following World War II),
and the growing secularization and materialism of Japanese society
All ten schools of Jōdo Shinshū Buddhism will commemorate the 750th
memorial of their founder, Shinran Shonin, in 2011 in Kyoto, Japan.