{"title":"ALLE BILDER","description":"","products":[{"product_id":"ancient-korean-pottery","title":"Landscape with Peninsula | Terazaki Kōgyō 寺崎廣業 | 1866-1919","description":"\u003cp\u003e Terazaki Kōgyō comes from Akita in northern Japan. He was one of the most progressive painters of his time. Because he was very talented, he was accepted into the circle around Okakura Tenshin, who, together with the American Ernest Fenellosa, conceived the theoretical and aesthetic basis for painting of the Meiji period (1868-1912). When the illustrious aesthete circle dissolved, Terazaki went his own way. In some pictures he strongly integrated Western representational traditions. But since he had also studied Chinese painting intensively, he was able to change the accents from picture to picture.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e \nThis landscape is basically in the style of traditional Japanese ink painting. What distinguishes the image from older landscape paintings with this motif is the popular use of very thin, watery ink in the Meji period, which gives the appearance of moving freely. This water effect is used to evoke an illusion of haze, which the Japanese have long been fond of. Terazaki is a master at using this technique, as you can clearly see in the foliage of the group of trees. But he also uses very thin ink for the evening sky. The round cut-out area becomes a pale full moon, which emerges from the misty clouds, barely perceptible but very poetic.","brand":"Guignard Kyoto Collection","offers":[{"title":"43cm x 189cm \/ silk","offer_id":47833680478508,"sku":"","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Terazaki.4.jpg?v=1708793545"},{"product_id":"antique-chinese-ming-dynasty-vase","title":"Pair of Mandarin Ducks | Matsumura Keibun 松村景文 | 1779-1843","description":"\u003cp data-mce-fragment=\"1\"\u003e Matsumura Keibun is an outstanding painter in Kyoto in the 19th century. His older half-brother Goshun founded the Shjō school together with the painter genius Maruyama Ōkyō (1733-1795), whose institution produced highly talented painters in Kyoto for a whole century. Keibun was very productive, and his works can still be found in the domestic art trade today. The astonishing thing, however, is that despite his productivity, he actually only created first-class quality (which cannot be said of all great Japanese painters).\u003c\/p\u003e\n\n \u003cp data-mce-fragment=\"1\"\u003eKeibun had a sleepwalking sense of form, a noble sense of color and an unerring eye, which he had trained in the realist tradition of Maruyama Ōkyō. He was not a revolutionary, but rather cultivated the classic themes and created them - within the tradition - always in a new and appealing way.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e Keibun Mandarin ducks have become famous and have been popular since ancient times as these two birds are a symbol of mate loyalty. This pair here enjoys warm spring days under blooming white cherry blossoms in a blissful half-sleep.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"53cm x 192cm \/ silk","offer_id":47833804767532,"sku":"","price":2500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Download3.jpg?v=1708793635"},{"product_id":"sesshu-studie-im-rundbild-kano-isenin-狩野伊川院-1775-1828","title":"Panel: Two Landscapes (formerly Diptych) | Kanō Yōsen'in 狩野養川院 | 1753-1808","description":"\u003cp data-mce-fragment=\"1\"\u003eYōsen'in was the sixth head of the Kobikichō studio of the Kanō school in Tokyo and was in the direct service of the then shogun (as a so-called oku eshi). He received several high ranks that testify to his official esteem.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e A professional painter of that time had to master various styles; a personal style was not in demand, especially in the Kanō school. In this diptych, Yōsein'in provides evidence of his mastery of Chinese ink painting, as it had been practiced in Japan since the 15th century. In it, he follows a standard composition of two landscapes, which in the diptych are pulled up on the \"outsides\" of the pictures and closed off at the top by mountains rising out of the mist.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Yōsenin's brush language is convincing in the refreshing attack of his brush, which is barely saturated with ink. This almost rough-looking style (which is nevertheless quite traditional) makes the Zen culture, to which this type of painting is deeply connected, particularly tangible. We recognize here an effort to express unadorned truthfulness, which aptly reflects the ascetic attitude of the Zen monks, who are averse to all frills.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"71cmx109cm \/ silk","offer_id":47857468047660,"sku":"","price":3500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Download_4.jpg?v=1708793950"},{"product_id":"meisen-im-herbst-yamada-koun-山田耕雲-1878-1956","title":"Tits in autumn | Yamada Kōun 山田耕雲 | 1878-1956","description":"\u003cp data-mce-fragment=\"1\"\u003eYamada Kōun is a representative of the Nihonga style. Nihonga actually means \"Japanese painting\", but specifically refers to the style of traditional painting that has been considered typically Japanese since the late 19th century - when Western painting and Chinese painting styles were popular in Japan. Small birds - sparrows, tits and nightingales - have been popular Japanese motifs since ancient times. Ornithologically, the birds are not easy to identify - one is most likely to think of tits. In this natural, colorful depiction on autumnal branches, however, they were not included in the picture until the 20th century.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e The wonderful mount with dark blue silk and a cicada motif and suzuki grass, which is reminiscent of sunny autumn days, is particularly attractive.\u003c\/p\u003e\n\n The painter has received numerous awards and his works have been included in the National Museum of Modern Art in Tokyo.","brand":"Guignard Kyoto Collection","offers":[{"title":"55cm x 206cm \/ silk","offer_id":47857555341612,"sku":"110303 CC3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Download.jpg?v=1708793729"},{"product_id":"pflaumenblutenzweige-yamamoto-baiitsu-山本梅逸-1783-1858","title":"Plum blossom branches | Yamamoto 山本梅逸 | 1783-1858","description":"\u003cp data-mce-fragment=\"1\"\u003eBaiitsu is one of the most interesting figures in 18th century painting. He was able to study original Chinese paintings with an art collector in Nagoya and was adept at various styles.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe composition of this picture is extraordinarily powerful and the speed of the brushstrokes is impressive. The economical use of ink when painting the branches clearly reflects the cracked bark of a plum tree. To depict the delicate flowers, however, the painter used a fine, well-saturated brush dipped in ink that was diluted with much more water than that used for the black branches and therefore has a sensitive gray color.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt may take a while to recognize the subtleties of this painting. But once you get involved in the picture, you will be fascinated by the synthesis of masculine discipline and feminine sensuality.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSeal and signature are flawless.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"43cm x 210cm \/ Paper","offer_id":47857578475820,"sku":"110621 EE3","price":2200.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Yamamoto4.jpg?v=1708793795"},{"product_id":"nakabayashi-chikudo-fuji","title":"Fuji 富士山 | Nakabayashi Chikudō (Chikutō) 中林竹洞 | 1776-1853","description":"\u003cp\u003e Chikudō came from Nagoya, which could not exactly be described as an important art center in Japan during the Edo period (1603-1867). He was the son of a doctor and, together with his famous colleague Yamamoto Baiitsu (1783-1856), was lucky enough to have access to an important collection of Chinese art belonging to a wealthy dealer. There, both painters trained with copies of Chinese art from the Ming period (1368-1644) and the Ching period (1644-1912).\u003c\/p\u003e\n\n\u003cp\u003e In 1803 he then moved with his colleague Baiitsu to the cultural capital of Kyoto, where he used his training and knowledge of Chinese art and became the founder of the so-called \u003cem\u003enanga\u003c\/em\u003e school, a style of Japanese painting with Chinese motifs that dates back well into the 19th century . was of eminent importance and significantly enriched the stylistic landscape of Japanese painting.\u003c\/p\u003e\n\n \u003cp\u003eThis depiction of Fuji-san, however, is entirely Japanese; A Chinese touch could only be recognized by the adherence to the central axis, because the Chinese have always loved symmetry in their art forms. Even the signature and the statement that Chikudō painted the picture when he was 71 years old is placed centrally. Chikudō chose an artist name that also seems quite Chinese (with the 2nd character): Chūtan 沖澹. But the meaning of the name - “calm sea” - fits wonderfully with the sublime silence of the cloudy mountain of the Gods.\u003c\/p\u003e\n\n The mounting of the scroll painting is probably more recent; the blue of the surround ( \u003cem\u003echūmawashi\u003c\/em\u003e ) is a shiny sky-blue silk that underlines the elegance of the painting.","brand":"Guignard Kyoto Collection","offers":[{"title":"49cm x 195cm \/ Paper","offer_id":48036421501228,"sku":"210419 AB3","price":1200.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Download_1_0200878d-f409-44cf-a5e8-0543f5f1cc90.jpg?v=1708794155"},{"product_id":"tani-buncho-1763-1840-meerbucht-diptychon","title":"Sea Bay Diptych | Tani Bunchō 谷文晁 | 1763-1840","description":"\u003cp\u003e Tani Bunchō is an outstanding personality in the art world of the early 19th century. He appears in many artists' biographies as a mentor, advisor, teacher and pioneer. He must have had a very winning charisma and found the right tone with a wide variety of people. This human openness is also reflected in his art - there is hardly a style that he has not tried. He could refine works and compose carefully or let the brush dance or even swirl, and in doing so he always achieved a brilliant effect.\u003c\/p\u003e\n\n \u003cp\u003eThis double image belongs to this category of quick brushstrokes. Hardly ever have writing and image been as closely related as in this diptych. The depiction of the pines in the bay in the right-hand image shows exactly the same style as his famous \"crow's foot signature\".\u003c\/p\u003e\n\n The seal could not be verified. But that is not surprising, since Bunchō - and this fits with his flamboyant personality - has over 180 seals handed down. Paradoxically, when a collection of seals is so rich, there is a good chance that it is not complete...","brand":"Guignard Kyoto Collection","offers":[{"title":"45cm x 180cm \/ Paper","offer_id":48096960184620,"sku":"180505 AH3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Download_3_729f1dea-5d72-40c3-9096-3e4e506008a7.jpg?v=1708794479"},{"product_id":"kano-isenin-sesshu-study","title":"Sesshū study in a panorama by Kano Insen'in 狩野伊川院 | 1775-1828 with calligraphy by Kamo Suetaka 加茂季鷹 | 1754-1841","description":"\u003cp\u003eKanō Isen'in is one of the last great Kanō masters. The Kanō school was the leading art institution in Japan since the 15th century - if a young talented painter wanted to learn the trade thoroughly, he went to a Kanō master. There were authoritative Kanō studios in all major centers in Japan. Their directors were the top artists of the time. Kanō Isen'in was the 7th director of the Kobikichō studio in Edo (Tokyo), which carried out the orders of the country's highest political leaders.\u003c\/p\u003e\n\n \u003cp\u003eThe lasting success of the Kanō school was based on clear artistic guidelines. There were excellent treatments of motifs that had to be studied and reproduced in detail by all the workers in a studio. The institution also specifically adopted different styles that had to be accessible. One of these styles was Zen painting in the style of Sesshū (1420-1506). They were not content with a rough study, but only with meticulous copying. Even the greatest masters did not consider it a shame to study this greatest of all ink artists. Isen'in did not take credit for his studies. He even copied Sesshū's signature because he considered it an integral part of the painting, which he admired without limits.\u003c\/p\u003e\n\n \u003cp\u003eThis object is particularly interesting because it combines the painting in the precious medallion, slightly accentuated with gold, with the writings of one of the greatest calligraphers of the time, a priest of the Kamo Shrine in Kyoto, who is even 20 years older than the painter.\u003c\/p\u003e\n\n The mount is old; the brown frame shows a subtle turtle motif, which matches the two strips above and below the image (the so-called \u003cem\u003eichimonji)\u003c\/em\u003e with the Chinese symbol for luck, since turtles are symbols of congratulations.","brand":"Guignard Kyoto Collection","offers":[{"title":"42cm x 165cm \/ silk","offer_id":48096949567788,"sku":"160308 E3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Sesshu4.jpg?v=1708794554"},{"product_id":"tsurukawa-togi-20-jh-weisse-reihera","title":"White Herons | Tsurukawa Tōgi 鶴川藤儀 | 20th century","description":"\u003cp\u003eNothing is known about this painter, but he is undoubtedly talented and has amazing possibilities. It is a tradition to combine herons and cranes in large numbers - sometimes there should be a hundred - in one picture. It could go back to Hokusai, who captured dozens of herons in his sketchbooks in different positions while laying, landing and eating, etc. with just a few lines. When a painter practices this technique, he can demonstrate his virtuosity by depicting no two birds exactly the same. That is also the case with this picture. But despite the eagerness to invent variations, every single heron position seems natural - you don't feel any pressure of originality in the positions of the birds.\u003c\/p\u003e\n\n\u003cp\u003e The overall light gray tone is also enchanting, crossed by the fine black lines with which the herons are drawn.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"38cm x 166cm \/ Paper","offer_id":48036444209452,"sku":"121029 A4","price":1200.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/Download_2_2455cc3d-2b6b-46a2-bfae-ec2b5cc41495.jpg?v=1708794638"},{"product_id":"vogel-auf-hagistrauch-yamamoto-baiitsu-山本梅逸-1783-1856","title":"Birds on hawthorn bush | Yamamoto Baiitsu 山本梅逸 | 1783-1856","description":"\u003cp\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-fareast-font-family: 'MS Mincho'; mso-font-kerning: 1.0pt; mso-ansi-language: DE; mso-fareast-language: JA; mso-bidi-language: AR-SA;\"\u003eBaiitsu lived in Nagoya, where he had little access to classical Japanese art. But he was the protégé of a wealthy merchant who collected Chinese art from the Ming and Ching dynasties. Baiitsu studied the originals with him and therefore always had a Chinese flair in his paintings; his works tend to show a penchant for the precious and magnificent. His paintings are also very different from those of his Japanese colleagues. The poetic empty zones that are so expressive and full in a Japanese painting are rarely found in his work. His use of color is all the more magnificent - clearly trained on Chinese models. This picture is extraordinarily rich in the nuances of the green tones in the foliage. Baiitsu also skilfully concentrates the most intense blue in the heads of the birds. These look brilliant because this blue is enhanced in its effect by the red accents of the Hagi flowers.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"48cmx178cm \/ silk","offer_id":49561977028908,"sku":"","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1245.jpg?v=1723210549"},{"product_id":"bucht-mit-reiter-hashimoto-gaho-橋本雅邦-1835-1908","title":"Bay with rider | Hashimoto Gahō 橋本雅邦 | 1835-1908","description":"\u003cp class=\"MsoNormal\"\u003eGahō is one of the most fascinating figures in the art world of the Meiji period (1868-1912), when it became difficult for Japanese artists to continue their own tradition and at the same time engage with Western painting. Even though Gahō's oeuvre contains very different styles, perhaps the most important theme for him was to breathe new life into the old art of ink painting, as it had been developed in Japanese culture since the 15th century. He was not interested in repeating styles, but in an explosive new perspective.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e This also applies to this scroll painting: the motif of the Taoist sage riding through the countryside on his donkey and completely surrendering himself to the will of the animal because he has come to the realization that all human desires actually lead nowhere is very old. But the way the Taoist understanding of the world of adapting to the course of things is formulated here is very original. The curve of the trees corresponds to the rounded back of the donkey and that of the rider. The skinny, bent legs of the donkey are very similar in their formulation to the tree trunks in the fading shades of gray that suggest the depth of the world. The rider thus becomes - formally understandable - truly one with the world in which he moves on his donkey.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e A typical Gahō stroke of genius is the balancing of the dark treetops with the pitch-black, sharply contoured pond that the sage trots past. Such an almost silhouette-like element would never be found in old ink painting. This is where the drive of the modern age is revealed!\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Gahō came back into the Japanese consciousness in 2010, when the New Year's stamp for the Year of the Tiger featured a magnificent tiger as its subject. During a philatelic week in April, eight of the painter's pictures were also selected to create a series of special stamps.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"54cmx185cm \/ silk","offer_id":49562012287276,"sku":"100503 BA3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1253.jpg?v=1723211261"},{"product_id":"karpfen-鯉","title":"Carp 鯉 | Kanō school, n.sign | 18th century","description":"\u003cp class=\"MsoNormal\"\u003eIn this anonymous painting, the content of the carp motif is expressed in various parameters of the composition. The jumping carp is a symbol of strength and vital energy in Japan. It is the animal of \"Boys' Day\" on May 5th, because it is supposed to teach young men that carp even climb waterfalls when they want to reach a goal.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The expression of determination and will is first expressed in one eye of the fish, but then also in the defiantly drawn-down corners of the mouth - that is, the head of the fish speaks a clear language as the focus of the message.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBut in this picture, the intention to express energy involves many other elements: the fin near the head stands upright like a flag, and the tail fin, which is turned to the right, makes you feel the muscle thrust that enabled the carp to jump. The rippled foam of the waves is like a trumpet fanfare that accentuates the magnificent leap. And the waves themselves permeate the entire picture with a powerful, almost woodcut-like condensed pattern, a movement that never comes to rest despite the haze in the upper part of the picture.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The picture has been remounted and restored, but the wonderful old gold-colored brocade frame, chūmawashi, was saved.\u003cspan style=\"mso-spacerun: yes;\"\u003e        \u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"42cmx142cm \/ Paper","offer_id":49562029261100,"sku":"150211 GC3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1256.jpg?v=1723212030"},{"product_id":"landschaft-kenko-shokei-kei-shoki-賢江祥啓-啓書記-1478-1506","title":"landscape | Kenko Shōkei (Kei Shoki) 賢江祥啓 (啓書記) | 1478-1506","description":"\u003cp class=\"MsoNormal\"\u003eKenko Shōkei is one of the great ink painters of the Muromachi period (1336-1573). He is also known as \"The Secretary Kei\" because he was secretary of the Kenchōji Temple in Kamakura. Kenko Shōkei is clearly influenced by Chinese painting of the Sung period (960-1279), which was also influential for his contemporary Sesshū.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The painting had suffered greatly over the last five hundred years and had been restored once before. Not all of the damage could be repaired during the new restoration, but the painting has regained its charisma. It is small, but the wealth of detail is enchanting. Whether it is a pavilion in which the obligatory scholar is looking at the full moon, whether you see the hiker on the left who also repeatedly walks the path in Sesshū paintings, whether it is the flocks of wild geese that lead into the vast depths, or whether it is the depiction of unreal, pointed mountain worlds clearly influenced by Sung painting, you will be transported to this old\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003edrawn into the picture narrative.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe picture is well documented. The antique damaged box still had a legible inscription on the lid, and so this lid was added to the new box. A so-called kiwame from around 1850 (certificate of authenticity) confirms the authenticity of the picture. The stamp is very difficult to read, but can be convincingly compared with one of the few authentic stamps by Kenko Shōkei.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"60cmx116cm \/ Ink painting on paper","offer_id":49562035126572,"sku":"150927 AG4","price":4500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1273.jpg?v=1723212578"},{"product_id":"falke-mit-roter-kordel-anonym不詳-19-jahrhundert","title":"Falcon with red cord | anonymous不詳 | 19th century","description":"\u003cp class=\"MsoNormal\"\u003eThis falcon painting is not signed and can only be dated approximately, but the painter was undoubtedly an impressive artist. This can be said because the painting can hardly be assigned to a school of thought. There was a great deal of originality at work here. The painting meets the requirements of grandeur and heroism that a client - we can assume he was - expected from a portrait of \"his\" falcon. The composition of the painting is simple, but the bird of prey is nevertheless completely natural in its pose.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe attention to detail is unbridled – a look at the finer details in the depiction of the head, for example, is a feast for the eyes, and yet the power of the entire figure is not lost despite the many finer details.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The joy of the splendor of such a bird is also expressed with the remaining elements of the picture - the bright sky blue of the ankle cuffs and the vibrant red of the elaborately braided cord (which fulfills an important balancing task in the composition of the picture) is an expression of pure admiration of a majestic falcon\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"75cmx192cm \/ Paper","offer_id":49562068484396,"sku":"151030 A5","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1286.jpg?v=1723213046"},{"product_id":"kalligrafie-mit-malerei-von-auberginen-otagaki-rengetsu-太田垣蓮月-1791-1875","title":"Calligraphy with painting of eggplants | Ōtagaki Rengetsu 太田垣蓮月 | 1791-1875","description":"\u003cp class=\"MsoNormal\"\u003eŌtagaki Rengetsu is an outstanding personality in the women's culture of Kyoto in the 19th century. She was famous as a poet, calligrapher, painter and potter. Rengetsu developed her own style, which, especially in calligraphy, is reminiscent of the Heian-era women's culture of Murasaki Shikibu and Sei Shōnagon (11th century). In her calligraphy, she preferred the hiragana syllabary like her medieval court models. When she used Chinese characters (kanji), she did so in a completely unorthodox and free manner.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Rengetsu had a life full of hard blows of fate, and so she decided to renounce the world and become a nun. She loved to poetize the simple - her fine ceramics, which (legend has it) she took to the market in the morning to earn food for the day - were often just ash or clay colored. Her painting was also never ostentatious; it usually only served to illustrate her calligraphed poems (tanka). For her calligraphy she always chose a very thin brush, but the trace was always incomparably delicate and elegant.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The mounting of this summer picture is probably original - it could well date from the time the calligraphy was created. In any case, its simple elegance corresponds to the somewhat rustic quality of the paper base of the picture with its inimitable delicacy of writing and painting.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003eThe poem is loosely translated:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003cstrong\u003eThere are many (good) fruits (like eggplants) in the world, but I find it even more enjoyable to do good (nasu: both “do” and “eggplant”)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"32cmx157cm \/ Paper","offer_id":49562107642156,"sku":"151210 C4","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1290_bc7df715-5036-48fc-b275-a284ef42e457.jpg?v=1723213496"},{"product_id":"affe-suzuki-kason-鈴木華邨-1860-1919","title":"monkey | Suzuki Kason 鈴木華邨 | 1860-1919","description":"\u003cp class=\"MsoNormal\"\u003eMonkeys are more important in Asia than in Europe, perhaps simply because they are encountered in the forests in many countries; they are a reality, just as rabbits and deer are for Europeans. But they deserve special respect, of course, because of their similarity to humans. In Japan there are temples that officially include monkeys in their temple chronicles and worship them with wooden sculptures on altars and as decorations on roofs, etc.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The monkey's resemblance to humans also led to the tradition of monkey training: the animal was put in a vest, put on a leash and allowed to play the kind of pranks that would bring in some money on a street corner. The subject of such trained monkeys is popular in painting, but in many cases, what is felt above all is the painter's compassion for the fate of such a circus monkey. It can go so far that one is inclined to assume that the artist identifies with the monkey. He himself feels like he is being led by society and has to do pirouettes for a few coins. In this picture, the humanization of the monkey is almost touching. Although he seems to be smiling a little, he is clutching his back where the rope that is holding him captive is attached. He is thus expressing the awareness of not being free, a sadness that can be read in his sensitively portrayed eyes.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"71cmx116cm \/ Paper","offer_id":49562118684972,"sku":"151213 GG3","price":3500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1295.jpg?v=1723214217"},{"product_id":"zwei-kraniche-sakai-hoitsu酒井抱一-1761-1829","title":"Two cranes | Sakai Hoitsu酒井抱一 | 1761-1829","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: DE;\" lang=\"DE\"\u003eCranes are symbols of a happy, long life. They accompany the god of luck Fukurokuju and are the representative birds of the island of Hōraizan, i.e. the \"island of the immortals\". Something of this symbolic character resonates in this picture too. The two birds are only related to each other, they stand in a completely neutral brown space. The position of their feet gives us the only spatial depth, because the bodies themselves are conceived more in terms of contour than volume (i.e. three-dimensional). This makes the play of lines all the more powerful. The lower bird is conceived from a half oval shape - the almost geometric line begins at the bottom of its head and ends perfectly in the curve at the tail feathers.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: DE;\" lang=\"DE\"\u003eThe way the painter very cleverly avoids the danger of the two bodies being isolated from the background with their white: he draws the brown of the ground coat into the plumage to indicate layers of feathers. The play of the legs and feet is also a masterpiece. It is wonderful how empty spaces are balanced here by the stilted legs and the splaying of the toes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003cspan style=\"mso-ansi-language: DE;\" lang=\"DE\"\u003eHoitsu is one of the great representatives of the Rinpa school, which invented completely new artistic means from the 16th century onwards, or at least developed them from the court painting yamato e. Its theme is not realism, but forms, lines and play of colours. In this respect, we are dealing with a typical, elegant Rinpa picture.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"44cmx182cm \/ silk","offer_id":49562132185388,"sku":"160606 A0B3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1303.jpg?v=1723214594"},{"product_id":"kalligrafie-kokochi-wohl-befinden-心地-jiun-onko-慈雲飲光-1718-1804","title":"Calligraphy kokochi “(well-)being” 心地 | Jiun Onkō 慈雲飲光 | 1718-1804","description":"\u003cp class=\"MsoNormal\"\u003eJiun Onkō was actually a highly educated Shingon priest, but his interest lay less in esoteric Buddhism than in Zen. Many of his calligraphy works are exemplary examples of Zen. Typical for some of them is a thick, bristly brush, as was used in this calligraphy. On the one hand, Jiun rejects seductive suppleness and elegance, but on the other hand he is forced to combine small sequences of strokes. But this is in keeping with his Zen spirit, which does not bother with small details, but wants to get straight to the essence.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e With the calligraphy of kokochi \"(well-being)\", Jiun is probably breaking new ground - this combination of characters is common in colloquial language, but hardly known in calligraphy. The normal use of the term in everyday language is: kokochi ga yoi\u003cspan lang=\"EN-US\" style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e心地が良い\u003c\/span\u003e, which can be translated as \"well-being\", \"comfort\", etc. Kokochi alone just means \"well-being\" and is rarely used in isolation. Nevertheless, the combination kokochi is actually very telling in terms of content: the first character (on the calligraphy on the right) is \"heart\", and the second character (on the calligraphy on the left) is \"earth\". The combination of characters therefore describes the state when the heart is \"grounded\". In Asia, this is the basis for physical and mental (well-being)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The character for \"heart\" kokoro\u003cspan lang=\"EN-US\" style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e心\u003c\/span\u003eis often calligraphed as a single character. But here it seems - at least at first - as if this stroke sequence is already too complicated for Jiun; he designs stroke \u003cspan lang=\"EN-US\"\u003e③\u003c\/span\u003e only as the end of stroke \u003cspan lang=\"EN-US\"\u003e②\u003c\/span\u003e . Normally, when calligraphing kokoro, stroke \u003cspan lang=\"EN-US\"\u003e④\u003c\/span\u003e is painted relatively heavily as the \"end\" of the writing process. But here the brushstroke has almost only a passing character and is as bristly in style as the entire left character for \"earth\" chi\u003cspan lang=\"EN-US\" style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e地\u003c\/span\u003e.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWith this “Earth” sign, Jiun allows himself remarkable simplifications: At the beginning, the five individual strokes \u003cspan lang=\"EN-US\"\u003e⑤\u003c\/span\u003e - \u003cspan lang=\"EN-US\"\u003e⑨\u003c\/span\u003e are reduced almost exclusively to dots, because for Jiun the absolutely most important stroke is the final stroke \u003cspan lang=\"EN-US\"\u003e⑩\u003c\/span\u003e , with which he\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003esums up the combination of characters with great pleasure. What is more, the “heart” lies almost like in a cradle on \u003cspan lang=\"EN-US\"\u003e⑩\u003c\/span\u003e , and at first glance one thinks that the last line of “heart”, the number \u003cspan lang=\"EN-US\"\u003e④\u003c\/span\u003e ,\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003ea continuation of No. \u003cspan lang=\"EN-US\"\u003e⑩\u003c\/span\u003e , which is certainly not the case.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBut this gives Jiun's change to heart calligraphy a special ambiguity: the integration of line \u003cspan lang=\"EN-US\"\u003e③\u003c\/span\u003e into line \u003cspan lang=\"EN-US\"\u003e②\u003c\/span\u003e mentioned above was painted with a brush that was still heavily saturated with ink, so that lines \u003cspan lang=\"EN-US\"\u003e①\u003c\/span\u003e - \u003cspan lang=\"EN-US\"\u003e③\u003c\/span\u003e are immediately similar to the character for human being hito\u003cspan lang=\"EN-US\" style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e人\u003c\/span\u003e. This nuance creates a feeling of a soft embeddedness not only of the heart, but of the whole person. This is the basic feeling that is important to the Zen priest: the whole person should become one with the earth, he must feel spiritually (\"heart\") protected by it. Only then can he himself become a part of the world as a whole.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"75cmx120cm \/ Paper","offer_id":49562153189676,"sku":"230510 CE4","price":6800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1315.jpg?v=1723214977"},{"product_id":"fische-im-fluss-matsumura-keibun-松村景文-1779-1843","title":"Fish in the River | Matsumura Keibun 松村景文 | 1779-1843","description":"\u003cp class=\"MsoNormal\"\u003eMatsumura Keibun, along with his half-brother Matsumura Goshun, is the forefather of the Shijō school. Shijo means \"Fourth Street\"; it is still a busy, colorful street in Kyoto today. Nothing remains of the studio, but the fame and culture that emanated from the famous painting workshop has been a defining feature of academic traditional painting in Japan since the 19th century and well into the 20th century.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e With his work as a painter and teacher, Keibun is the pioneer of elegant Kyoto aesthetics. From him you can learn what makes Kyoto so special in the cultural landscape of Japan. As far as motifs are concerned, he generally stays within the classical canon; that is, he was certainly never a revolutionary. But he was an artist like no other, who filled the tradition of the old imperial city with the finest spirit, gently expanded it and brought it to new heights.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e This painting is surprising in its dimensions. It is a picture of ayu, which translates as \"sweet fish\" or \"fragrant fish\", which is caught mainly in Lake Biwa (near Kyoto) and is considered the finest freshwater edible fish in Japan.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The wide format of the picture is unusual in principle, but even more so for Keibun. The painter certainly wanted to paint the pretty ayu first and foremost, but he felt that in order to capture their delicacy, he had to add waves to the picture in a simple and generous way. Only with such waves could he convincingly capture the essence of the delicious fish.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The simple yet elegant mount dates from the painter's time. Its color beautifully highlights the delicate blue of the cool waves.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"114cmx95cm \/ Paper","offer_id":49562158989612,"sku":"240215 B5","price":3800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1321.jpg?v=1723215273"},{"product_id":"kuckuck-nishiyama-hoen-西山芳園-1804-1867","title":"cuckoo | Nishiyama Hōen 西山芳園 | 1804-1867","description":"\u003cp class=\"MsoNormal\"\u003e Nishiyama Hōen was a student of Matsumura Keibun, who, together with his older half-brother Goshun, passed on the spirit of the great painter Maruyama Ōkyō in Kyoto in the so-called Shijō school. An important characteristic of this school is realistic accuracy, but poetry and elegance are the Set the tone. All of these elements can be found in this miniature. The plumage of the cuckoo was studied in detail, as was the bird's flight posture. The rain is poetically indicated only with fine, wide gray areas that swing elegantly into the picture. The moment of elegance is felt but also in the absence of additional motifs - no tree, no moon, no mountains. The first thing that catches the eye is the expressive head. The open beak lets you hear the cuckoo call, which the Japanese love (and poeticize) in spring just as much as we do, although its call sounds a little different.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe picture has been newly mounted, framed with a silk in rich blue, and a light grey-blue, reminiscent of the colour of rain, above and below. The two decorative bands (fūtai), which are often applied in a three-dimensional manner, are only indicated here by two strips of fabric. Such understatement also has an elegant touch\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e Nishiyama Hōen has been highly respected since ancient times. His works can be found not only in the Metropolitan Museum in New York, the British Museum in London, but also in many other well-known Asian art collections around the world.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"26cmx147cm \/ Paper","offer_id":49692794323244,"sku":"131203 DF3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1514.jpg?v=1724767838"},{"product_id":"kalligrafie-kiefer-alt-ruhe-wolke-kozuki-tesshu-神月徹宗-1879-1937","title":"Calligraphy “Pine, old, calm, cloud” | Kōzuki Tesshū 神月徹宗 | 1879-1937","description":"\u003cp class=\"MsoNormal\"\u003eThe name of this Rinzai Zen priest is also read as Kōgetsu instead of Kōzuki. He came from Hyōgo Prefecture and became administrative head (\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e管長\u003c\/span\u003e)\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e　\u003c\/span\u003eof Myōshinji in Kyoto and was for a time rector of Hanazono University.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e His calligraphy style is very reminiscent of the great calligrapher Jiun Onkō (1718-1804). He was therefore also called \"Jiun of the Taishō period (1912-1926)\". Like Jiun, he uses a thick, deliberately inelegant brush in this calligraphy. He obviously writes the entire calligraphy with one brush - saturated only once. It is also clear that he never stopped and started again, but wrote all four characters in a single stroke.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe four characters mean “pine”\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e松\u003c\/span\u003e, “old”\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e老\u003c\/span\u003e, “cloud”\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e雲\u003c\/span\u003e, “calm\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e閑\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e”\u003c\/span\u003e . The Zen saying could be interpreted as follows:\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003e\"\u003c\/span\u003e Just as the old pine tree radiates peace, one feels peace when looking at the cloud.\" But a more nuanced interpretation is also conceivable: Since pine trees live to a very old age and are always green, they are a symbol of longevity and permanence. But clouds, which are an extreme contrast to pine trees in their appearance and therefore a symbol of constant change, also submit to the laws of nature - the wind and the weather; they never disappear, because they are always being recreated.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eBoth existences, as contrary as they are in their “aggregate state”, fill us with peace when we look at them, because they both convey a feeling of eternity in their own way.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe rhythm of the character design is impressive: at the beginning, the pine tree is clearly visible, standing there immovably, while the third character, the cloud, is greatly simplified and appears almost \"misshapen\". Then, for the end of the line, the calligrapher needs a base with which he can ground the column of writing, so to speak, and so he \u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003earches\u003c\/span\u003e the character for \"peace\" particularly strongly with the remaining ink and takes his time for the last, well-formulated detail of this \u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003echaracter\u003c\/span\u003e .\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"48cmx189cm \/ Paper","offer_id":49692813295916,"sku":"140125 CE3 (k)","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1518.jpg?v=1724768189"},{"product_id":"bambus-yamamoto-baiitsu-山本梅逸-1783-1856","title":"Bamboo | Yamamoto Baiitsu 山本梅逸 | 1783-1856","description":"\u003cp class=\"MsoNormal\"\u003eYamamoto Baiitsu was unfortunate enough not to grow up in one of the big centers such as Edo (Tokyo), Kyoto or Osaka. He lived mainly in Nagoya, which was not a very culturally vibrant city at the time. But Baiitsu was lucky enough to know a wealthy dealer who had a large collection of Chinese art. He let the talented painter study his art collection, and so Baiitsu was able to compensate well for the lack of living in the art province. His profound engagement with Chinese painting of the Ming and Ching periods can be felt in almost all of his pictures.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThis bamboo study could be a Chinese work, as the way the empty space is handled does not seem Japanese. And the small boulder at the base is reminiscent of the ornamental rocks you find in Chinese gardens. But these comments are in no way intended to portray the picture as an epigone. Baiitsu was a very strong painterly personality who remained true to himself down to the last detail.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe variety of black and grey tones in the bamboo leaves is rich, and the rhythm of compression and looseness exudes naturalness. No part seems to have been painted in a routine manner; artistic decision and care are evident everywhere. The mounting of the picture is original. The yellow of the silk is strongly reminiscent of Chinese mountings of the 18th century.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eSignature and seal are convincing.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"47cmx147cm \/ silk","offer_id":49692832465196,"sku":"151223 EC3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1526.jpg?v=1724768543"},{"product_id":"glyzinien-eisvogel-fische-kawabata-gyokusho-川端玉章-1842-1913","title":"Wisteria, kingfisher, fish | Kawabata Gyokushō 川端玉章 | 1842-1913","description":"\u003cp class=\"MsoNormal\"\u003eGyokushō is considered to be one of the most important heirs of the Shijō school, the painting institution that set the tone in the art metropolis of Kyoto in the 19th century. He brought this Shijō art to Tokyo, where he became head of the painting department at the art school. Gyokushō has received many awards and his works have not only found their way into the National Museum in Tokyo, but also into the Asian art collections of the Metropolitan Museum in New York, the Museum of Fine Arts in Boston Massachusetts, and the Victoria and Albert Museum in London, etc.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe combination of kingfisher, wisteria and fish as equal motifs in one picture is unusual from the perspective of the Shijō school.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eBut such innovations were needed to keep the spirit of the school alive in the 20th century. The tension between the bird and the fish was also important for the painter in this large format. The bird turns its head towards its prey in great concentration, and the fish swim slightly upwards - it looks as if the bottom fish, by turning upwards, senses the danger of the fish hunter. This tension between the bird and the fish is balanced by the nonchalance of the wisteria, which connects the two worlds with its tendrils. The painterly magic of its flower design is reminiscent of the ingenious wisteria screens of Maruyama Ōkyō (1733-1795), who was the artistic guiding force of the Shijō school.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"54cmx197cm \/ silk","offer_id":49692845965612,"sku":"160226 EE3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1531.jpg?v=1724768762"},{"product_id":"spatzen-im-bambus-省の竹-kishi-chikudo-岸竹堂-1826-1897-morikawa-sobun-1847-1932-森川曽文","title":"Sparrows in Bamboo 省の竹 | Kishi Chikudō 岸竹堂 | 1826-1897 – Morikawa Sōbun | 1847 -1932 森川曽文 |","description":"\u003cp class=\"MsoNormal\"\u003e This picture is an interesting collaborative work. Teamwork is not uncommon in Japanese painting, but usually two or more painters are involved in the actual picture and each of them only signs the element that they have added to the picture. Here, however, the The main picture was painted by Kishi Chikudō, who was famous at the time, and it is assumed that the 20 years younger and less illustrious painter Morikawa Sōbun later (possibly only after Chikudō's death) mounted the picture in reverence for the master and painted and signed the mount. has.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eWell, the sparrow spectacle in the air by Chikudō is certainly very virtuoso - no two birds have the same shape. The group is placed diagonally in the picture, and Sōbun reacts sensitively to this. He chose bamboo as the motif, because sparrows are traditionally associated with it. At the height of the group there is a bush in the mount, and in the upper and lower areas of the mount there are further bamboo stalks that have exactly the same slanted angle as the diagonally placed group of sparrows.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"42cmx185cm \/ Paper","offer_id":49692857925932,"sku":"170315 J4","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1537.jpg?v=1724769056"},{"product_id":"diptychon-fuji-mit-seelandschaft-shiba-kokan-司馬江漢-1747-1818","title":"Diptych Fuji with seascape | Shiba Kōkan 司馬江漢 | 1747-1818","description":"\u003cp class=\"MsoNormal\"\u003eShiba Kōkan is one of the most peculiar personalities in Japanese art history. He has two completely different faces, almost schizophrenically. One belongs to the woodcut artist Suzuki Harushige. He was given this name by his great teacher Suzuki Harunobu, one of the great ukiyo-e artists of his time. Kōkan imitated his master, and his woodcuts were often mistaken for those of his teacher (with a forged signature). But his woodcuts would never have made him stand out from the multitude of ukiyo-e graphic artists of his time.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eBut then there is his other side: an encounter with European painting on the quasi \"ghetto island\" of Deshima in Nagasaki shocked him so much that he immersed himself in the study of European oil painting and etching with an intensity that none of his contemporaries could match. Maruyama Ōkyō, fourteen years his senior, is considered the pioneer of the assimilation of Western art in the 18th century and masterfully introduced realism, perspective and uniform lighting into Japanese art grammar. Kōkan was less disciplined (and in some pictures less skillful) than the genius Maruyama, but his pictures have a glow that can border on the surreal. The almost Mediterranean blue of this bay in front of Mount Fuji has never been experienced as intensely in the history of art as in this diptych. One is reminded of pictures of the Gulf of Capri with Vesuvius in the background. But the little sailors on the ships quickly bring us back to Japan. Another speciality of Kōkan is his western signature - it is decorative and non-binding and a little different each time - in this respect too he is a complete outsider.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"54cmx178cm \/ silk","offer_id":49692891644204,"sku":"181224 AAE3","price":6500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1541.jpg?v=1724769619"},{"product_id":"drache-kano-tanyu-狩野探幽-1602-1674","title":"Dragon | Kanō Tanyū 狩野探幽 | 1602-1674","description":"\u003cp class=\"MsoNormal\"\u003e Kanō Tanyū began a new chapter in Japanese art history. He was born almost exactly at the beginning of the Edo period (1603-1867). In this period, neither the court nor the military aristocracy were leading in culture, but rather city dwellers with merchants and craftsmen increasingly determined the aesthetics in the arts. Since Tanyū, the Kanō school, which was the most important painting institution in Japan for centuries, cultivated various styles, because the Kanō school also now oriented itself towards the wide-ranging taste of the citizens because it was also economically dependent on this social class.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e In this picture, Tanyū is still very much in keeping with the old ink painting tradition that was cultivated in the 15th and 16th centuries. Specific stylistic traces of the new era are hardly recognizable here.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe attitude towards dragons is very different in Asia than in Europe. In the West they are seen as terrifying fantasy monsters that eat virgins, but in Asia dragons are revered symbols of the sky. They are associated with water and clouds and, despite their appearance, are seen as good mythical creatures that do no harm to anyone.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThis picture shows impressively how closely dragons are connected to water. At the base you can see foaming waves, but if you look more closely you can see that the shapes of the rippling waves are hardly distinguishable from the claws and scales behind them. If you immediately think that the dragon is only present in the upper half of the picture, you soon discover that it is rising from the waves, as is fitting for it. Kanō Tanyū painted a very similar dragon as a ceiling painting in the Daitokuji temple in Kyoto. The position of the head and the whiskers are almost identical. The shape of the waves is also amazingly similar to the waves of Tanyū's famous cormorant screen.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"51cmx181cm \/ silk","offer_id":49692940697900,"sku":"200521 HA3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1555.jpg?v=1724770281"},{"product_id":"kalligrafie-mandala-nichiren-日蓮-1222-1282-mitte-19-jh","title":"Calligraphy Mandala | Nichiren 日蓮 (1222-1282) | Mid 19th century","description":"\u003cp class=\"MsoNormal\"\u003eThe founder of the sect Nichiren from the 13th century has had a large following up to the most recent times (Sōka Gakkai). He is probably so famous because the element of trance has been central to his religious practice for centuries. For a believer, it is enough to praise the wisdom of the Lotus Sutra for fifteen minutes with the opening words: \"Namuyōhō rengekyō\" and to purify oneself spiritually through the rhythm of this prayer phrase.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eBelievers in other Buddhist sects look intensively at figurative and geometric mandalas, which allow them to experience a heavenly world. Since, despite extensive textual studies, the Nichiren sect does not seek to fill ordinary believers with religious images or detailed texts, the more or less canonized mandala of the Nichiren sect is a calligraphy with dozens of repetitions of a few lines of text from the Lotus Sutra - just as the believer recites them.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003eThe small, precious mandala can only be dated based on the dark blue paper that bears the lines calligraphed in gold. This intense dark blue was achieved by dyeing it dozens of times with indigo. The dyeing process must have been extremely laborious - in terms of time and money. This is probably why it has not been practiced since the second half of the 19th century.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eAlso valuable is the mounting with a finely woven silk fabric, which probably dates from the first half of the 19th century. These two aspects allow an approximate dating of the scroll painting.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e The calligraphy can be read (at least in part), but it must be aesthetically understood in its overall rhythm. You must be able to enjoy the elegance of the groupings of lines and understand the long threads of the characters' strokes as a musicalization of the lettering. Because it is always about sounds, about vibrations that can take you to a higher state of consciousness.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"30cmx61cm \/ Paper","offer_id":49692965077292,"sku":"210923 E4","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1564.jpg?v=1724770542"},{"product_id":"wachteln-mochizuki-gyokusen望月玉泉-1834-1913","title":"Quail | Mochizuki Gyokusen望月玉泉 | 1834-1913","description":"\u003cp class=\"MsoNormal\"\u003eMochizuki Gyokusen signs here with the artist name Heian\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e平安\u003c\/span\u003e, which is an old name for Kyoto and, above all, also means Imperial Court. Not yet 20 years old, Gyokusen carried out commissions for the Imperial Court in Kyoto and later became a member of the Imperial Art Commission. He won many prizes and was highly respected in Kyoto. The special signature is probably intended to underline the aura of simple courtly elegance of this gold screen.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eAs is usual with quail paintings, the greatest care is taken here to depict the birds' varied, magnificent plumage. In contrast, the millet plants are painted tone-on-tone with just watery ink and a little brown-yellow. The brushwork is generous and free, and it is in good balance with the preciousness of the birds' finely patterned plumage. The gold background encourages the viewer to feel the noble splendor of this classic bird scene, as quails were already a popular bird motif in China. They were not only painted because they have such enchanting plumage, but because people admired their fighting spirit. Just as cockfights were held, quail fights also took place in ancient China.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eIn this picture, however, another virtue of these birds is emphasized. Quails are said to have a strong \"family spirit,\" because males and females stay together for life. The attitude of the two animals here is undoubtedly that of a \"bold man\" and a \"submissive woman\" in the understanding of the traditional Japanese painter. Is there another family member (perhaps a child) on the right-hand side that is being called by the male? It is clearly moving to the left, where the pair of birds are, thus tying the two partition walls together - not formally, but in terms of content.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"180cm x 70cm (2-person folding umbrella) \/ Paper","offer_id":49692987261228,"sku":"231031 BC3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1583.jpg?v=1724770809"},{"product_id":"stillleben-kurbisformige-sakeflasche-und-pilze-shibata-zeshin-柴田是-1807-1891","title":"Still Life – Gourd-shaped Sake Bottle and Mushrooms | Shibata Zeshin 柴田是 | 1807-1891","description":"\u003cp class=\"MsoNormal\"\u003eShibata Zeshin was the greatest lacquer artist of the 19th century. His lacquer objects have been priceless treasures for a hundred years. He was the son of a sculptor and was apprenticed to a lacquer painter at an early age. But then he studied painting intensively with great masters in Kyoto. In 1890 he officially became a court painter.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003eAs a painter, Zeshin always made it clear that he was a master of urushi-e (lacquer painting). The sharp contrasts in the colors of his paintings are often reminiscent of lacquer techniques - and he often includes lacquer in his paintings.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e In this still life, this influence can be felt in the pointed choice of colors: blue, turquoise, dark green combined with various shades of brown and an unusual, almost harsh use of white. The rhythm of the forms, the arrangement of a pumpkin-shaped sake bottle with mushrooms and an autumn grass, betrays the gifted designer of lacquer work.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe signature is flawless; the stamp he uses on this picture is relatively rare, but confirmed.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"67cmx126cm \/ silk","offer_id":49693029368108,"sku":"090427 BC3","price":3500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1594.jpg?v=1724771425"},{"product_id":"hotei-im-mondschein-kano-dohaku-chikanobu狩野洞白愛信-1792-1821","title":"Hotei in the moonlight | Kanō Dōhaku Chikanobu狩野洞白愛信 | 1792-1821","description":"\u003cp class=\"MsoNormal\"\u003e There is a bit of a problem with the name of this painter. He is known primarily as Dōhaku. But the second name is read as \"Chikanobu\" or with other characters \u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\" data-mce-style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e美信\u003c\/span\u003eas \"Nakanobu\", \"Naganobu\" etc. Dōhaku was highly respected in his time because he became the head of the Surugadai studio - in the 5th generation. Studio heads were not necessarily Kanō masters in the bloodline; they had to distinguish themselves primarily through achievement.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe Kanō school became so powerful and dominated Japanese painting for four hundred years because it was based on a model principle. Great masters of the school created models of selected motifs. The task of the hundreds of employees in the studios was to copy these models faithfully. Individuality was not required. This ensured a high level of composition, which had a positive effect on the trade (and the Kanō school had a lot of knowledge and skill in this regard).\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe dancing god of fortune Hotei (one of the Seven Gods of Fortune, of Chinese origin, who are particularly popular at New Year) is a frequently painted motif that follows a model down to the smallest details: the way the god lays his walking stick across his back and lets his right hand, which holds the clearly Chinese-shaped fan, hang down, is just as standard as the bent right dancing leg and the voluminous sack on his back. What is not present in other pictures of this dancing Hotei (so this is an addition by Dōhaku) is the full moon. But here it has a deep formal relationship to the depiction of this god of fortune: the sack, the belly, the bald head are just as round as the moon - and the whole figure is inscribed in a circle. The concept of this depiction, which was once created by a great Kanō master, is excellent, and so it makes perfect sense that the picture was painted again and again in many studios of Kanō painters.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"55cmx163cm \/ silk","offer_id":49693053092140,"sku":"090801 DE3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1596.jpg?v=1724771688"},{"product_id":"die-sieben-glucksgotter-七福神-okamoto-ryudo-岡本龍堂-19-jh","title":"The Seven Gods of Fortune 七福神 | Okamoto Ryūdō 岡本龍堂 | 19th century","description":"\u003cp class=\"MsoNormal\"\u003e It is rare that one cannot find the slightest clue to the person of the painter in an interesting, well-painted picture. There is no information about Okamoto Ryūdō in any representative reference source. The painter has an original signature of calligraphic quality, and the probably The stamp is very attractively designed. A painter with the ordinary, inconspicuous name Okamoto has chosen a pleasant-sounding name (artist name): \"Ryūdō\" - \"Dragon Hall\".\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe treatment of the topic - the Seven Dancing Gods of Fortune - is original and handled confidently. The color concept is captivating. At the top right, Hotei is dancing, recognizable by the Chinese fan attribute. He has laid down his sack next to the white deer of Jurōjin and next to the fragrant jewel of Fukurokuju. In front of it lies the wrapped biwa lute of the Benzaiten. At the bottom is the staff with the scroll of Jurōjin. Behind these utensils, Ebisu is dancing with his fishing rod.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e In the group of three in the middle, Benzaiten is dancing on the right, Daikokuten is facing forward and Fukurokuju is probably dancing with his back to the viewer.\u003cspan style=\"mso-spacerun: yes;\" data-mce-style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eOn the right edge is Jurōjin and, again seen from behind, Bishamonten. Below are utensils that can all be assigned to a god. You can quickly make out the two large gray rice bales that normally have Daikokuten written on them. Under the white sack (this time probably belonging to Jurōjin) are Jurōjin's fan and walking stick. The small pagoda next to it belongs to Bishamonten, as does the halberd hoko. Ebisu collects his fish in the brown basket.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e The rhythm in this picture is enchanting - the groups are loosely connected, mysteriously they all stand together without touching each other. The delicacy of the colors and pattern combinations makes it incomprehensible how such a painter could be completely forgotten as a personality.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"48cmx200cm \/ silk","offer_id":49693066789164,"sku":"091114 E4","price":1500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1600.jpg?v=1724771981"},{"product_id":"zwei-kraniche-mori-ippo-森一鳳-1798-1871","title":"Two cranes | Mori Ippō 森一鳳 | 1798-1871","description":"\u003cp class=\"MsoNormal\"\u003eThe Mori family produced great painters in the 19th century. But there is no need to imagine a blood relationship, because famous families secured their names for posterity through adoptions. This also applies to Mori Ippō. He was a student of Mori Tetsuzan, from whom he was allowed to take the Mori name and who was one of the ten best successors of the genius Maruyama Ōkyō. With this artist genealogy, Mori Ippō belongs to the center of the Shijō school, which in Kyoto was based on the aesthetic premises of Maruyama Ōkyō and was decisive for the art scene in Kyoto in the 19th century. At just over 50 years of age, Mori Ippō was recognized for his artistic achievements by being commissioned to paint sliding doors in the Imperial Palace in Kyoto.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eMori Ippō embodies the classic ideal of his academic style, in which the brilliance of the composition and the realistic depiction were combined with an enchanting suppleness of the brushwork and discreet coloring. In this picture, Mori Ippō plays with the large volumes of the cranes' bodies, whose white gives them an elegant weightlessness. And in the bird heads he plays with a tangible realism to give the subject a little sharpness. Nevertheless, image harmony remains the important goal, and so the balances of right-left and top-bottom could not be more balanced with the very natural-looking positions of the two birds.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e With so much fine and sophisticated art, one almost forgets the iconographic background of the crane, which in Asia is a festive symbol of the longing for a long, thousand-year life.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"49cmx109cm \/ Paper","offer_id":49693084844332,"sku":"091216 AB3","price":1500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1605.jpg?v=1724772201"},{"product_id":"der-glucksgott-fukurokuju-auf-der-wolke-kano-isen-in-狩野伊川院-1775-1828","title":"The god of luck Fukurokuju on the cloud | Kanō Isen'in 狩野伊川院 | 1775-1828","description":"\u003cp class=\"MsoNormal\"\u003eIn Japan, a group of seven lucky gods of Chinese origin are worshipped, especially at New Year. One of them is Fukurokuju - a laughing old man who is so wise that his head has grown straight up. (The box is labeled \"Jurōjin\", however - the two lucky gods are similar and are often confused.)\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eFukurokuju with the high forehead is a frequently used subject; Japanese painters loved to use it to depict the face of a good-natured, warm-hearted old person. In his hand he carries the \"fragrant jewel\" (hōju), which symbolizes the realization of one's deepest wishes (in the Buddhist sense). The Fukurokuju in this depiction is floating on a cloud, which is very special. As a rule, no god in Japan is depicted as a being floating on clouds. Actually, only in the raigō motif (when Buddha descends from heaven with his court orchestra) do the angelic beings glide down on clouds to a dying person, playing music, to pick him up and guide him to heavenly realms. This unusual setting here of Fukurokuju helps the viewer to concentrate fully on his peaceful and amiable facial expression.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eIsen'in is one of the great, respected artists of the Kanō school, which as an institution shaped the world of painting in Japan for five hundred years. All of the rich and powerful in the country commissioned works of art from Kanō masters to appropriately decorate their residences. The best of them were heads of the Kanō workshops in the various cities. Isen'in was the 7th head of the Kobikichō studio in Edo (Tokyo), and was the official painter of the shogunate. His works can be found in the Metropolitan Museum in New York, the National Museum in Tokyo, the Freer Gallery in Washington and other Asian art collections around the world.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"50cmx183cm \/ silk","offer_id":49693101293868,"sku":"101113 A4","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1608.jpg?v=1724772425"},{"product_id":"ebisu-matsumura-keibun-松村景文-1779-1843","title":"Ebisu | Matsumura Keibun 松村景文 | 1779-1843","description":"\u003cp class=\"MsoNormal\"\u003eAs a painter, Matsumura Keibun's aesthetics are the epitome of classical Kyoto art in the 19th century. He was the much younger half-brother of Matsumura Goshun, with whom he founded the Shijō school (named after the location of the studio on the \"Fourth Street\" Shijō in the center of Kyoto). Both Goshun and Keibun were influenced by the outstanding painting genius of the 18th century, Maruyama Ōkyō (1733-1795). This painter was known for his turn to realism. Keibun became famous for his birds and flowers painted from nature. But the magic of Keibun's painting remains the elegance of his lines and colors. The formal composition of his pictures is always convincing.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThis picture depicts Ebisu, one of the Seven Lucky Gods of Japan. These lucky gods all have a specific aura. Ebisu is the god of fishermen and traders and is not spiritually detached like some of his fellow gods. He has his sleeves rolled back and a large sea bream under his arm. This fish is called tai in Japanese, and this is reminiscent of the word medetai \"auspicious\" - the sea bream\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eis part of the New Year's meal, when the gods of luck are particularly celebrated.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eKyoto, the old imperial city, was (and still is) considered to be the place in Japan where people have the best aesthetic taste. Ebisu, with his uncomplicated nature, is often portrayed as a laughing country boy. Such an uncouth manner is not something that is appreciated in Kyoto, and so he is painted from behind here. This means that you don't have to look at an exuberantly laughing fisherman's face. But the choice of this back view is not just Kyoto arrogance: Keibun wants the viewer to look into the distance, into the future, with the god of luck. This makes a much stronger impression on the viewer than a frontal encounter.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eA testament to Keibun's extremely delicate art is the finesse with which he paints the fishing rod. A more sensitive brushstroke is hard to imagine. The fishing rod also helps to widen the format and to give free space to look into the void, where one can sense what is to come. The fishing rod can almost be seen as a signpost to the future.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"67cmx138cm \/ Paper","offer_id":49693117088044,"sku":"120203 D4","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1615.jpg?v=1724772657"},{"product_id":"fledermaus-spinnennetz-kimura-buzan-木村武山-1876-1942","title":"Bat, spider web | Kimura Buzan 木村武山 | 1876-1942","description":"\u003cp class=\"MsoNormal\"\u003e Kimura Buzan is an undisputed master of nihonga. This style emerged in the Meiji period (1867-1912) as a counterweight to the aggressive influx of Western painting at that time. Nihonga actually just means \"Japanese painting\", but it refers to a style that adapts Western techniques and attempts to use these means to develop a new Japanese pictorial sensibility.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eThe two animals in this picture are primarily Chinese symbols of good luck (Buzan in particular tried to integrate not only Western elements into the Japanese art idiom, but also Chinese ones). Although the bat can still be found as a motif in Japanese arts and crafts, the spider is rarely found as a symbol of good luck. The two characters for bat\u003cspan lang=\"EN-US\" style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e蝙蝠\u003c\/span\u003ebianfu are pronounced the same (or at least very similar) to \"luck\" in Chinese - the spider is called ximu \"lucky insect\" in China.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e Buzan loved bold compositions. His love of brush virtuosity is first evident in the bat: wild, watery ink spots are tamed by fine strokes, giving the animal agility and life. The equally dark, almost pathetically painted grape leaves contrast effectively with the fine spider web that is spread out in the foliage.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eLast but not least, the graphically somewhat exaggerated signature reveals the artist's penchant for the pointed, the astonishing. This is nihonga not as a desperate adherence to traditional aesthetics, but as an expression of the self-confidence of a great Japanese artist.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"53cmx215cm \/ Paper","offer_id":49693127606572,"sku":"140709 CD3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1622.jpg?v=1724772872"},{"product_id":"banzai-tanzer-hanabusa-itcho-英一蝶-1652-1724","title":"Banzai Dancers | Hanabusa Itchō 英一蝶 | 1652-1724","description":"\u003cp class=\"MsoNormal\"\u003e Even today, you can still see Banzai dancers in rural areas, especially in northern Japan, on New Year's Day. This is usually a pair of two dancers\/singers who go from door to door, singing songs that bring good luck and dancing to them. They are usually given rich gifts by the residents of the house, who stand on the threshold and listen to the entertainment. \"Banzai\" is still a common cry today, and is the closest thing to \"Hurrah\" in English. It is shouted to congratulate at sporting events or to celebrate the emperor.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eItchō stands out in Japanese art history in several respects. If you read his biography, a Westerner would say: \"Yes, that's just how artists are.\" Itchō did not recognize any authority - he was sent into exile for a time for insulting a Shogun's mistress, he was chased out of a monastery as a boy and was thrown out of the studio of a Kanō master. He led the life of a pleasure-loving bohemian throughout his life.\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e Many of his paintings show people in extreme emotional states such as fear, joy and anger. Here two banzai dancers are moving in a completely exalted manner. At his time, such expression was very unusual in Japanese painting.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003eThis expressionism correlates with the original, unusually exuberant mounting of the scroll painting with elaborately printed and embroidered silk and cotton fabrics.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"43cmx123cm \/ Paper","offer_id":49693136945452,"sku":"170823 AB3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1625.jpg?v=1724773099"},{"product_id":"kotobuki-kalligrafie-mit-vogel-壽-koreanisch-anonym-19-jh","title":"Kotobuki calligraphy with bird 壽 | Korean anonymous | 19th century","description":"\u003cp class=\"MsoNormal\"\u003e Korean calligraphy from the 19th century (and earlier) is rarely available in stores. The calligraphy style of this scroll painting has something folksy about it with its cliché-like nature. The bird on the left is just a cipher, as it were, of a similar kind that is often found in the painting of ceramic vessels. What is exciting, however, is the juxtaposition of this bird formula with the highly artistic and sophisticated lettering of the symbol for \"long life\" (kotobuki in Japanese).\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e壽\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eIf you analyse this character, i.e. if you break it down into its six different parts,\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e士、つ、工、一、口、寸,\u003c\/span\u003e you quickly realise how difficult it is to achieve the goal of capturing all the parts in a single breath and brush stroke. But other paintings in this style also show that Korean calligraphers never had any qualms about shortening a character, leaving out parts or developing it with free imagination. There are paintings of \"100 kotobuki\" (as if they were grandiose congratulations) in which the same character is varied beyond recognition. The character is suddenly a group of birds, then a bamboo grove, or a bouquet of flowers, etc. - almost anything is possible. Such a display of boundless imagination seems to me to be typical of non-academic Korean art.\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003eIf you are familiar with Japanese art from all centuries, the colors of this painting are at least as pleasing and refreshing as this specific approach to calligraphy. The wonderful dark blue, one might call it \"Prussian blue\", was first known in Japan in the 19th century in woodcut art. It is not present in painting (with the possible exception of Shiba Kōkan).\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e The almost faded pink is also enchanting - and all of this on a wonderfully \"dirty\" looking background, which is more than just a basis for the picture, but is full of life with all its impurities.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003eThe picture was remounted in Japan. Some of these calligraphies exist only as loose sheets and are often in a deplorable condition. A dark green was cleverly chosen here, which is rarely used in Japan, but which fits all the more convincingly with the color scheme of this calligraphy.\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"56cmx170cm \/ Paper","offer_id":49693150478636,"sku":"220708 AH4","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_1628.jpg?v=1724773293"},{"product_id":"zwei-manzai-performer-漫才-kawanabe-kyosai-河鍋暁斎-1831-1889","title":"Two Manzai Performers 漫才 | Kawanabe Kyōsai 河鍋暁斎 | 1831-1889","description":"\u003cp class=\"MsoNormal\"\u003eKawanabe Kyōsai is one of Japan's most eccentric painters, who was able to express his absurd ideas masterfully. He became known in Europe relatively early on, as he was invited to international exhibitions in Vienna in 1873 and in Paris in 1883. There are many publications about him in Japan, and an entire museum is dedicated to him in Saitama Prefecture. \u003cspan lang=\"EN-US\" style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" data-mce-style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e　\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eAt a young age, Kyōsai studied under the respected woodcut artist Utagawa Kuniyoshi and later under the Kanō painter Dōhaku. His output was enormous. He did not allow himself to be co-opted by any school and is still considered an independent artistic personality today.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e In this picture, two dancers\/singers are out and about early in the morning at sunrise. Such traditional Manzai performers are a New Year's phenomenon - you can still see them today in rural areas, especially in northern Japan. They go from house to house and offer congratulatory songs and dances, which the landowners watch on their doorsteps and then pay them. Manzai wore formal, festive clothing and in earlier times also wore a matching hat.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e In this picture, Kyōsai gives free rein to his urge for the grotesque. The singer with the drum is making rather rough sounds, and the upper dancer with the fan (on which the Buddhist \"fragrant jewel\" is painted) also has his mouth open so that it is difficult to imagine this duo performing anything musically sophisticated. But that is not to be expected from such fellows. They are talented, rural (badly shaven!) performers who want to entertain - not only with old songs, but also with jokes and wit. (Nowadays, manzai is understood to mean a team of two cabaret artists, because one means \"diffuse\", \"unreasonable\" etc. and zai means \"talent\", so manzai means \"to present humorous things\").\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Despite all the expressive curved lines, the ingeniously quick brushstrokes and the fresh and free use of colors, there is a great formal discipline at work here - both figures are put together in a perfect large form; they are a real duo.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"78cm x 196cm \/ Paper","offer_id":53795595977089,"sku":"090621 J4","price":3500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2124.jpg?v=1733238405"},{"product_id":"meeresbucht-山水-kano-motonobu-attr-狩野元信-伝-1476-1559","title":"Bay 山水 | Kanō Motonobu attr. 狩野元信（伝）| 1476-1559","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\" lang=\"DE\" data-mce-style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eKanō Motonobu is the second head of the Kanō school in the genealogy. It is thanks to his genius that he took over the legacy of his father Masanobu, who was still completely committed to the priestly painting tradition, and transformed it into a well-organized art institution. Every now and then you can still find works from his workshop on the market today, as his production was certainly much more extensive than that of his father.\u003cspan style=\"mso-spacerun: yes;\" data-mce-style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\" lang=\"DE\" data-mce-style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eThis\u003c\/span\u003e \u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE-CH;\" data-mce-style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE-CH;\"\u003epainting has no signature (which is not unusual for 16th century paintings), but it does have a stamp, although it is illegible. The \u003cu\u003esubject\u003c\/u\u003e of a seascape with ships and a jetty on which people can be seen is a familiar motif of this period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE-CH;\" data-mce-style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE-CH;\"\u003eThe silk has darkened considerably overall, but the painting is still well articulated. The picture is mounted very tightly on the sides, which indicates the great age of the mount. The yellowish brocade border with the peony motif ( \u003ci\u003echūmawashi\u003c\/i\u003e ) was - because it is valuable - assembled from several individual pieces, and the upper and lower green sections ( \u003ci\u003ejōge\u003c\/i\u003e ) with their stylized, classical cloud pattern have clearly been repaired.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE-CH;\" data-mce-style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE-CH;\"\u003eThe whole ensemble appears harmonious as an integral witness to a 500-year-old art and has therefore not been restored. One must be able to accept this work of art as a whole (with its flaws), as no intervention can make its charisma and atmosphere more authentic than it is.\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"51cm x 123cm \/ silk","offer_id":53798586810753,"sku":"080917 AF3","price":1500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2084.jpg?v=1733412893"},{"product_id":"landschaft-mit-boot-mori-kansai-森寛斎-1814-1894-gemalt-im-sommer-1869","title":"Landscape with boat | Mori Kansai 森寛斎 | 1814-1894 (painted in summer 1869)","description":"\u003cp class=\"MsoNormal\"\u003eMori Kansai is one of the three most important representatives of the Mori school in the 19th century. During his lifetime he received high awards in the art world and took part in important exhibitions. His name is part of the core of 19th century painting. His paintings can be found in the most important museums in Japan, including the National Museum in Kyoto.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The subject is romantic and historic, as was popular at the time. The way the moon hangs in the clouds is artistic - the whole composition is captivating with the classic triangular composition: rock, moon and ship. The differentiated texture in the brushwork of the painted rock reveals the great artist.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e If you look at the figures in the boat, you can immediately see that they are Chinese. The box also indicates that the rock in the photo is the famous \"Red Rock\" on the Yangtze River, where the historically extremely important Battle of Chibi took place in China in 208.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe original box was made by Mori Kansai's grandson, which is an important indication of the authenticity of the painting. The painting is dated summer 1869.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"80cm x 134cm \/ Paper","offer_id":53798619185537,"sku":"080104 H4","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2076.jpg?v=1733413971"},{"product_id":"wildganse-anonym-16-17-jh","title":"Wild geese | anonymous | 16th\/17th century","description":"\u003cp class=\"MsoNormal\"\u003eThis picture is signed with two stamps that cannot be read with certainty. Based on the style and the grey colour of the paper, the ink painting must have been created around 1600.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eIt is in good condition and the picture is perfectly remounted.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWild geese have long been a popular subject in Asia. The cry of the wild goose is a poetic topos for people who are lonely and long for their partner. The melancholy that fills such images with grey geese also includes elements of the environment. Dry reeds by a body of water convey sadness and loneliness.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Here two geese have found each other and are moving close together. The raised wing of one bird - probably the male - can be interpreted as a protective gesture, and the lowered gaze of the other bird as the reaction of the female. The subject of the grey geese, which comes from China, has been filled with emotions since early in history.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e What is artistic about this work, which unfortunately remains anonymous, is the way in which the ink intensities are used. The male's feet, his wings and a single reed leaf are the darkest accents. They form a frame in which the intimacy of the two partners can unfold in delicate shades of grey. The feather structures are lively and sensitively designed.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The emptiness above the couple's heads remains pathetic. This allows one to enjoy the rhythm of the reeds painted with quick brush strokes and the sadness of the half-withered reeds in peace and without distraction.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"51cm x 187cm \/ Paper","offer_id":53798626591105,"sku":"081203 FE3　","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2094.jpg?v=1733414219"},{"product_id":"landschaft-bootsfahrt-tani-buncho-谷文晁-1763-1840","title":"Landscape, boat trip | Tani Bunchō 谷文晁 | 1763-1840","description":"\u003cp class=\"MsoNormal\"\u003eTani Bunchō was an outstanding man in many respects in the early 19th century. He mastered many styles (which was considered a sign of professionalism in Japan) and must have been a charismatic personality - in the biographies of quite a few well-known painters we read that Tani Bunchō showed them the way. Thanks to him, they are said to have found their true calling in art.\u003cspan style=\"mso-spacerun: yes;\" data-mce-style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBut as is the case with such influential and great talents, their production is immense. Such painters worked day after day, from morning to night. The result was an oeuvre with pictures of the finest realistic detail, of overwhelmingly colorful compositions and of pictures of ecstatic sketchiness.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e This ink painting is fascinating due to its spontaneity and the masterful momentum that results from it. The energy of a raging white water is reflected in the dramatic movement of a rock at the bottom of the picture as well as in the expressively twisting branches under which the boat passes. The associative transfer of such an idea of impetuous water to the immediate surroundings reveals the genius impetus of Tani Bunchō.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The picture has probably been remounted recently – the blue of the silk damask fabric is just as brilliant as the strips above and below the picture (ichimonji) made of gold brocade.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"66cm x 202cm \/ Paper","offer_id":53798631702913,"sku":"090311 A4","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2097.jpg?v=1733414476"},{"product_id":"schnepfe-konoshima-okoku-木島桜谷-1877-1938","title":"Snipe | Konoshima Ōkoku 木島桜谷 | 1877-1938","description":"\u003cp class=\"MsoNormal\"\u003eKonoshima Ōkoku is one of the outstanding virtuoso painters of the turn of the last century. The degree of his high contemporary recognition can be gauged by his frequent participation in national art exhibitions (Bunten), where the strictest selection criteria prevailed. He is considered a master of bird\/plant themes (kachōga), but is also highly respected as a landscape painter.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e His picture mounts, for which he took the greatest care, are particularly valuable. In this picture, the choice of shiny silk is particularly striking. Depending on the angle, it shimmers in shades of blue or green. The painter did not paint the water in which the snipe is standing at all, and so he reproduces the quality of the water with this shimmering silk fabric.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The design of the scroll mounts, which he had made from ceramic, is also his work. Here, an old Japanese water motif of the spiral is used, which in turn refers to the pictorial element \"water\", which is only suggested but not actually painted. Such a subtle, clever mounting is aesthetically the high point of the presentation of a scroll painting.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eKonoshima's works can be found in Kyoto in the City Art Museum and in Tokyo in both the Idemitsu Collection and the National Museum of Modern Art. In the authoritative illustrated book series \"Genshoku Nihon no Bijutsu\" he is represented with a large folding screen in volume 30 (p. 72).\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"48cmx200cm \/ Paper","offer_id":53798637601153,"sku":"090321 A4","price":1600.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2103.jpg?v=1733414701"},{"product_id":"hotei-glucksgott-kano-naonobu-attr-狩野尚信-伝-1607-1650","title":"Hotei (God of Luck) | Kanō Naonobu attr. 狩野尚信（伝）| 1607-1650","description":"\u003cp class=\"MsoNormal\"\u003eThe authorship of this impressive scroll painting is difficult to ascertain due to a missing signature and two seals that cannot be identified. Researchers are constantly discovering new seals, so this assessment of the authenticity situation is not too problematic. A missing signature is also quite common at this time. What is important is that the painting is of convincing quality; it is art of the best Kanō tradition of the 17th century.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Naonobu is the \"blue blood\" of this Kanō family, which as an institution shaped the artistic developments in Japan for over 400 years. He was the younger brother of the great Tanyū. At just sixteen years of age he was promoted to the rank of painter for the Shogun (goyō eshi). At the age of twenty he was commissioned to create paintings for the representative Nijō Castle in Kyoto, and in 1630 he was commissioned to found the Kobikichō studio in Edo (Tokyo), which subsequently produced several of the greatest Kanō masters.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Hotei is one of the Seven Gods of Fortune, who are nowadays present in Japan, especially on New Year's Day. Hotei can be recognized by the large sack (full of wealth and luck) that he carries with him; his belly rivals this. His smile is charming and loving - it is usually directed at one or more children. Even in old age, Hotei can play jokes that children like, and he is perfectly happy in their company. Hotei is probably the most frequently painted god of fortune.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"72cm x 132cm \/ silk (restored)","offer_id":53798644416897,"sku":"090321 E4","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2108.jpg?v=1733414947"},{"product_id":"hahn-mit-trommel-鶏-kusumi-morikage-久隅守景-1620-1690","title":"Rooster with drum 鶏 | Kusumi Morikage 久隅守景 | 1620-1690","description":"\u003cp class=\"MsoNormal\"\u003eKusumi Morikage is an extraordinary figure in Japanese art history. He was a respected student of the great Kanō Tanyū. When a young painter received such favor, he gratefully accepted admission into the artist family of the almighty Kanō. But the self-confident Morikage refused, even though he married a niece of his master Kanō Tanyū...\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e One artistic reason why he renounced the protection of the Kanō institution was his rejection of the Chinese-influenced motif world of this school; Morikage was interested in purely Japanese subjects. His most famous picture shows a young peasant family eating melon on a summer evening. This is clearly not a Kanō subject, and so the picture became a \"National Treasure\" that hangs in the National Museum in Tokyo not only because of its inherent artistic merits, but also because of its historical originality.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThis painting with a rooster has been painstakingly restored and remounted. The red color of the cockscomb now shines freshly again, and the brushwork is as lively as one would expect from Morikage.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The rooster on the drum is a popular folk motif in Japan. It was considered a divine bird - the large old Shinto shrines still keep magnificent roosters in the shrine precincts. In every shrine there is a large drum that is beaten during ceremonies and festivals (matsuri). In poetry, the sunrise is often associated with the crowing of the rooster, which is ultimately also in line with natural reality. In the \"land of the rising sun\" the rooster and the drum together form a fixed motif.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"65cm x121cm \/ Paper","offer_id":53798651560321,"sku":"090405 D4","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2115.jpg?v=1733415139"},{"product_id":"hundert-glucksfrauen-おたふく-kawabata-gyokusho-川端玉章-1842-1913-gemalt-marz-1881","title":"One hundred lucky women おたふく | Kawabata Gyokushō 川端玉章 | 1842-1913 (painted: March 1881)","description":"\u003cp class=\"MsoNormal\"\u003eKawabata Gyokushō was born in Kyoto, but earned merit when he spread the classic style of the Shijō school, which was based in Kyoto and set the tone, in Tokyo as a painter and teacher. He is considered the last great Shijō artist, and his place in modern Japanese art history is undisputed. The length of the scroll painting of 234 cm suggests that the painting was intended for a private owner who had (by Japanese living standards) grandiose rooms: only wealthy upper middle classes acquired art by Gyokushō.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Otafuku, lucky women, are not beauties that correspond to the modern ukiyo-e ideal of women (as created by woodcut artists in the 17th to 19th centuries) - with long, elegant limbs and oval faces. Otafuku are short-legged, fat, and have a pear-shaped head. What they lack in modern, classic Japanese feminine charm, they compensate for with warmth, comfort, and simplicity. In their (virtual) company - they are fantasy creatures - you feel comfortable, you don't have to make an effort as a man and play the sophisticated seducer, but can enjoy yourself carefree.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHundreds of lucky charms are also known in the form of cranes or turtles; when it comes to otafuku, you are presented with a whole range of enjoyable distractions. If you look at the picture, you can discover countless wonderful narrative details.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eNevertheless, the picture as a whole is generously constructed and convinces with its tamed fullness and a light, chatty brushstroke.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The picture is restored and in perfect condition.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"75cm x 234 cm \/ Paper","offer_id":54077240967553,"sku":"120511 F4","price":3800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/ZusatzIMG_2735_bfca5ede-2cc1-47d1-ab6e-752fa8189f06.jpg?v=1740516218"},{"product_id":"facherbild-no-stuck-kocho-胡蝶-tosa-mitsubumi-土佐光文-1812-1879","title":"Fan picture Nō play \"Kochō\" 胡蝶 | Tosa Mitsubumi 土佐光文 | 1812-1879","description":"\u003cp class=\"MsoNormal\"\u003eThe Tosa school is one of the great art institutions in Japan. It is stylistically linked to the oldest painting, the so-called yamato e. In contrast to the black and white ink painting that developed in Japan in the 15th century from Chinese painting, the Tosa school adheres to the unbroken colorfulness of court painting. The great era of Tosa painting was the 15th\/16th century, but talented painters also emerged in later generations. Tosa Mitsubumi was the son of the outstanding Tosa Mitsuzane and, as the 23rd head of the school, is one of the notable masters of this painting dynasty.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e“Kochō” is the story of a butterfly spirit in the Noh play of the same name. A young woman tells a visiting priest that she is actually a butterfly, but unfortunately is not allowed to fly to the plum blossoms. The priest prays for her; he falls asleep and then sees the dance of the girl who has become a butterfly in his dream. The butterfly's costume corresponds to the costume of the court dance (bugaku) “Kochō”.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"60cm x 30cm \/ Paper","offer_id":54077249356161,"sku":"121108-4","price":1200.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2739.jpg?v=1740516504"},{"product_id":"daruma-mit-kalligrafie-kano-naonobu-狩野尚信-1607-1650-takuan-soho-澤庵宗彭-brief-text-1573-1645","title":"Daruma with calligraphy | Kanō Naonobu 狩野尚信 | 1607-1650 \u0026 Takuan Sōhō 澤庵宗彭 (letter text) | 1573-1645","description":"\u003cp class=\"MsoNormal\"\u003eThis picture is a stroke of luck in two respects. Two outstanding personalities of the early 17th century are united here and certify each other's original quality with impeccable stamps and signatures. (The picture box also contains a certificate of authenticity.) But it is not just this undoubted authenticity that is pleasing; the picture as a whole, with its tasteful antique mounting and the ivory scroll attachments that have already turned cognac-colored due to age, is precious.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe painter Kanō Naonobu is indisputably one of the greatest of his time; his Daruma reveals mastery of both freedom and precision of brushstroke as well as sensitivity in the concentration of ink. His Daruma (ie the monk Boddhidarma (440-528), who brought Zen from India to Asia) is exemplary in the perfection of his presentation.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Takuan Sōhō is a monk of the Rinzai sect who had the greatest influence on the Zen training of samurai. He was an advisor to the most important politicians and princes and left behind an impressive body of writing. His calligraphy is impressive due to the composure and inner certainty of the distribution of characters. Seriousness and elegance merge here in a wonderful way. The whole block of calligraphy, which looks somewhat Chinese, is set in perfect balance with the Daruma image.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"48cm x 160cm \/ Paper","offer_id":54077319086465,"sku":"130121 AF4","price":3500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2760.jpg?v=1740516901"},{"product_id":"nachtigall-auf-pflaumenbluten-梅の鳥-moroboshi-seisho-諸星成章-1870-1943","title":"Nightingale on Plum Blossoms 梅の鳥 | Moroboshi Seishō 諸星成章 | 1870-1943","description":"\u003cp class=\"MsoNormal\"\u003eMoroboshi Seishō is one of the many talented painters who, at the turn of the last century, created a rich art world based on the classic legacy of the aesthetically influential Shijō school. Moroboshi Seishō, a student of Kawabata Gyokushō in Tokyo, came from Chiba Prefecture. He became famous for his watercolors, which he created on extensive travels through Japan. Something of the freshness of his plein air painting can also be felt in this picture. Plum blossoms are usually white, but in the south of Japan there are also dark red plum blossoms, satsumakōbai\u003cspan lang=\"EN-US\" style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e薩摩紅梅\u003c\/span\u003eIt is not known whether Moroboshi Seishō traveled from Tokyo to southern Satsuma (now Kagoshima) to see these blossoms in real life. In his time, important politicians in Tokyo came from Kagoshima, and so it is quite possible that Moroboshi saw satsumakōbai in the gardens of the politicians' villas - this powerful floral splendor that was supposed to calm the homesickness of the Satsuma politicians...\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The first line in the picture was probably the thick, S-shaped branch that crosses the picture. In order not to make it too dominant in terms of color, Moroboshi chose a watery ink, but then drew the line very quickly in order to achieve an expressive fiber, especially on the upper side. The thinner branches bearing flowers are rather dark, almost black, which increases the potency of the red color. In keeping with the classic tradition of the old Shijō school, the painter placed the flowers in the formally important places in the composition: they accentuate the end of a branch or the crossing of branches, and they form a brilliant flower court for the delicate, lively nightingale. The irresistible red of the flowers is not only to be achieved through formal aspects and the well-considered gradation of the ink intensities, but also through the original fresh blue of the mount.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003ebe crossed out.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"48cm x 179cm \/ silk","offer_id":54077370270081,"sku":"131122 E3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2809.jpg?v=1740517933"},{"product_id":"kalligrafie-erleuchtungsschrei-katsu-喝-asahina-sogen-朝比奈宗源-signiert-mit-圓覚別峰-1881-1979","title":"Calligraphy “Enlightenment Cry” katsu 喝 | Asahina Sōgen 朝比奈宗源 signed 圓覚別峰 | 1881-1979","description":"\u003cp class=\"MsoNormal\"\u003eKatsu, which is referred to here as \"enlightenment cry\", is an important physical element in Zen meditation. A spontaneous, loud cry should help the meditator to concentrate - a lightning-like muscle contraction of the lungs and an acoustic shock should create a spiritual sense of presence that is so important for meditation. This technique came to Japan with the Rinzai school in the 12th century. The patriarch of this sect, Linji Yixuan (Japanese Rinzai Gigen), is usually depicted in this state of ecstatic crying (see image quote).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e In Japan, katsu spread to many other areas in the form of kakegoe; this shouting technique is also known in most budō disciplines such as kendo or kempō, etc. In Nō theatre, such shouts were even incorporated into the musical texture and are essential for achieving the highest level of concentration.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eAsahina Sōgen was a respected priest of the Rinzai school. He was an influential author and is famous as a calligrapher. He chose a brush for this character that appears bristly in the stroke, so as not to give the impression of false suppleness, because the practice and expression of katsu is close to the animalistic, uncivilized. Elegance and virtuoso flair can only be discovered in this calligraphy in the small accompanying characters of the signature with his priestly name\u003cspan style=\"font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\" lang=\"EN-US\"\u003e圓覚別峰\u003c\/span\u003eEnkaku Beppō on the left.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The mount is made of paper (which Zen monks value more than silk anyway), but its quality will elicit an expression of delight from any connoisseur of mounts. It is original and could not be redesigned today. And it doesn't need to be, because it is in first-class condition.\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"65cm x 112cm \/ Paper","offer_id":54077383442817,"sku":"160513 EE3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_2770.jpg?v=1740598420"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/collections\/IMG_5469_c2281540-51b9-4235-9010-5071085099d1.jpg?v=1781610010","url":"https:\/\/guignard-kyoto-collection.ch\/en\/collections\/alle-bilder.oembed?page=3","provider":"Guignard Kyoto Collection","version":"1.0","type":"link"}