{"title":"Landschaften","description":null,"products":[{"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":"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":"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":"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":"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":"gardinen-yokoyama-taikan-sign-横山大観-落款-1868-1958","title":"4-fold screen \/ gold foil | Yokoyama Taikan (sign.) 横山大観 (落款) | 1868-1958","description":"\u003cp\u003eYokoyama Taikan is one of the great personalities in early 20th century painting. He was the most famous student of Hashimoto Gahō, who redefined painting during the Meiji period (1868-1912). Taikan became a professor at the country\u0026amp;#39;s leading art institutions, but he maintained an independent spirit and traveled extensively to various countries. He was greatly admired and frequently imitated. His styles range widely, but he found a way of depicting things in all his paintings that one quickly perceives as \u0026amp;quot;typically Taikan.\u0026amp;quot; Taikan plays with various classical elements here, but his new approach to them is a lack of self-evidence. Many aspects of this landscape painting, upon closer inspection, appear illogical in their combination - but this was precisely what appealed to Taikan.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eThe relationship between interior and exterior space is ingenious. The use of blinds (sudare), for example, inspired him to play with the decorative elements of the blind edge and the view of the pine tree. The pine tree and the blind edge merge together in a completely unrealistic way. Taikan also didn\u0026amp;#39;t shy away from drawing a golden cloud in front of the blind on the far right – in the interior! In his world – and this is a modern trait for him – anything that makes a good formal impression and has an attractively playful effect is permissible.\u003c\/p\u003e\n\u003cp\u003eThe coloring of the entire screen with shades of brown, green, and gold is exceptionally elegant. However, the use of white (for the chrysanthemums) was fashionable at the time and irritated the classical approach to painting.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"168cm x 91cm \/ Paper \/ gold foil","offer_id":54432989020545,"sku":"100626 H4  -1","price":3800.0,"currency_code":"CHF","in_stock":true},{"title":"168cm x 91cm \/ Gold foil 4-fold screen","offer_id":54432989053313,"sku":"100626 H4  -2","price":3800.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_3815_2.jpg?v=1750965279"},{"product_id":"raben-im-herbst-yamamoto-shunkyo-山元春挙-1872-1933","title":"Ravens in autumn | Yamamoto Shunkyo 山元春挙 | 1872-1933","description":"\u003cp class=\"MsoNormal\"\u003eYamamoto Shunkyō is one of those important artists of the early 20th century who enjoyed a wealthy clientele. He owned a villa with a studio in Otsu, right on Lake Biwa, complete with a magnificent Japanese garden. However, Yamamoto Shunkyō has faded from public view, not because his art isn't appreciated, but because he had a—now unpopular—clearly discernible predilection for large formats and monumental, grandiose formal concepts. Shunkyō deserves a reassessment that does justice to his true position in Japanese art history, for every painting one finds at auction or in an art dealer's shop often astonishes with its high quality.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThis painting, with its length, requires a room with a ceiling height of approximately 3 meters. (Such high ceilings were once only found in the homes of the very wealthy.) Shunkyō, however, fits this format perfectly. The main scene, with the bare trees, occupies about a third of the picture – below is a broad strip of white snow, and above the treetops, ravens frolic in the snowy sky. They perch in the foreground on the prominent tree, while above, they fly off in groups, their wings shrinking into the snowy sky. This creates a sense of depth that we also strongly perceive in the trees, which seem to recede into the hazy background. This emphasis on depth through the ravens and trees achieves a natural balance with the painting's height.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The overall mood is immediately apparent: it is winter, there are no colors, melancholy prevails, exemplified by the two trees in the foreground, standing isolated and at an angle in the snow; their soaring crowns convey a sense of longing. The only signs of life are the ravens, but they will all soon take flight and leave the desolate scene.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"42cm x 211cm \/ Paper","offer_id":55019441717633,"sku":"211102 FH3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_4889.jpg?v=1764156192"},{"product_id":"byodoin-im-schnee-雪景色の平等院-okajima-seiko-岡嶋清曠-1828-1877","title":"Byōdōin in the snow 雪景色の平等院 | Okajima Seikō 岡嶋清曠 | 1828-1877","description":"\u003cp class=\"MsoNormal\"\u003eByōdōin Temple in Uji, south of Kyoto, is one of Japan's most famous and best-preserved medieval temple complexes. It adorns the reverse of the 10-yen bronze coin and is a must-see for every tourist. Spectacular photos can be taken of this magnificent temple against the backdrop of a pond where it is reflected.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e But Okajima Seikō doesn't think in such terms. He belongs to the Shijō school and is a true Kyoto native, for whom intimacy is more important than ostentatious grandeur. Style, for him, lies in what is refined and conveys human warmth. The snow-covered pines impress with their elegance at least as much as the 10th-century temple complex. The two imposing golden phoenix figures adorning the roof of the central building are, in his painting, just two pretty little birds.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e What the painter truly admired, however, were the rich arrangements of beams, columns, and roofs within the complex. He masterfully rhythmically arranges them all, disregarding their actual proportions. In this way, Byōdoin becomes an intimate temple in this painting, one that, in its winter attire, delights every discerning visitor to Kyoto.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"55cm x 111cm \/ silk","offer_id":55019476812161,"sku":"220710 H3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_4896.jpg?v=1764156448"},{"product_id":"kinkakuji-im-winter-冬景色の金閣寺-mori-kansai-森寛斎-1814-1894-gemalt-1869","title":"Kinkakuji in Winter 冬景色の金閣寺 | Mori Kansai 森寛斎 | 1814-1894 (painted 1869)","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eMori Kansai came from a samurai background, but he recognized the signs of the times and embraced the reshaping of Japan during the Meiji period (1868-1912). He thus considered himself (at times actively, which caused him difficulties) part of the \"Imperial camp.\" He painted this picture in 1869, a year after the start of the Meiji Restoration. This new era of profound change (especially in painting through its confrontation with European art) left little mark on him. Until the end of his life, he remained fundamentally true to the old aesthetic values and rarely experimented.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eThe subject here is one of Kyoto's most magnificent winter scenes. The \"Golden Pavilion,\" as Kinkakuji is known in the West, remains a must-see for every Kyoto tourist. The setting is indeed highly impressive, as the pavilion is nestled within a splendid landscaped garden featuring a pond and a so-called \"borrowed landscape\" ( \u003cem\u003esh\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan lang=\"JA\" style=\"font-size: 10.0pt; font-family: 'MS Mincho'; mso-ascii-font-family: Arial; mso-hansi-font-family: Arial; mso-bidi-font-family: Arial; mso-ansi-language: DE-CH;\"\u003eakkei\u003c\/span\u003e \u003c\/em\u003e\u003ci\u003e\u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE-CH;\"\u003e)\u003c\/span\u003e\u003c\/i\u003e \u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eof the mountains behind it. This very point reveals how little Mori Kansai cared about a \"correctly realistic\" veduta, that is, how much he romanticized the entire scene. The large mountain range behind the pavilion is (even taking into account the painter's vantage point) far too high.\u003cspan style=\"mso-spacerun: yes;\"\u003e\u0026nbsp;\u003c\/span\u003eIt serves as a means to suggest monumentality and vastness. The flock of birds flying away above, which become progressively smaller towards the top of the picture, contributes to the effort to make the viewer sense \"infinite depth\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eThe pavilion's sense of enclosure by surrounding pine trees is likely a product of artistic imagination – at least nowadays, no tall pines rise behind the building. With such poetic rendering, the painter follows firmly in the footsteps of his great role model, Maruyama Ōkyō (1733-1795), who rarely contented himself with mere realism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 10.5pt; mso-bidi-font-size: 11.0pt; font-family: 'Century',serif; mso-fareast-font-family: 'MS Mincho'; mso-bidi-font-family: 'Times New Roman'; mso-font-kerning: 1.0pt; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA; mso-no-proof: yes;\"\u003e \u003c\/span\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;\"\u003eBut one detail goes beyond Maruyama and reveals him as a connoisseur of the new stylistic devices of his time: snow was generally depicted simply by omitting a layer of paint, meaning the light background had to create the snowy effect. This is also the case here, but the artist was determined to paint some snowflakes as well, which isn't possible with the omission technique. And so he added white dots afterward using chalk-white paint. Such use of snow-white paint was fashionable at the time; it's only found among the \"avant-garde\" artists of the Meiji period—which, in principle, Mori Kansai didn't want to be.\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"62cm x 199cm \/ silk","offer_id":55323821900161,"sku":"120504 CD3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_5449.jpg?v=1770391116"},{"product_id":"diptychon-landschaft-haubenmaina-auf-pflaumenblute-hasegawa-settan-attr-長谷川雪旦-伝-1778-1843","title":"Diptych Landscape \/ Crested maina on Plum blossom | Hasegawa Settan (attr.) 長谷川雪旦 (伝) | 1778-1843","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\" lang=\"DE\"\u003eHasegawa Settan was primarily known as a woodblock print artist. He made a lasting name for himself with a collection of vedutas of Edo (in \u003ci style=\"mso-bidi-font-style: normal;\"\u003eEdo Meishō Zue\u003c\/i\u003e ). But like so many other visual artists of his time, he possessed diverse painting skills. Here, he moves with complete confidence in the style of ink painting, as we have known it in Japan since the 15th century. One might think this was his main medium. For it is not only the fluidity of the brush that captivates, because it seems to have arisen spontaneously in a Zen-like spirit; no, one also senses an intelligent, overarching composition of the two subjects, which is somewhat unusual as a diptych.\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\"\u003eThe curve of the branch on which the \"Laughing Bird\" sits (the English translation of \u003ci style=\"mso-bidi-font-style: normal;\"\u003ekakachō,\u003c\/i\u003e the Japanese ornithological name for crested myna) is mirrored in the curved line of hills in the landscape to the left. The trees in this landscape, in turn, extend away from this line, thus corresponding in their opposite movement to the branch on which the bird sits.\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\"\u003eThus, these two pictures truly belong together formally, even though they can be hung independently of each other, because they are perfectly balanced in themselves.\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\"\u003eSignature and seal could not be verified, as woodblock print artists are often not found in reference works on painting, and conversely, the signatures on paintings by woodblock print artists are not recorded in reference works on woodblock print artists… In the aforementioned Edo veduta collection (in \u003ci style=\"mso-bidi-font-style: normal;\"\u003eEdo Meishō Zue\u003c\/i\u003e ), his signature is frequently found, but there the first character (unlike in this image) is always clearly written as \"snow\"\u003c\/span\u003e \u003cspan style=\"font-size: 10.0pt; font-family: 'MS Mincho'; mso-ascii-font-family: Arial; mso-hansi-font-family: Arial; mso-bidi-font-family: Arial; mso-ansi-language: DE;\" lang=\"JA\"\u003e(雪\u003c\/span\u003e) \u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\" lang=\"DE\"\u003e, and thus this diptych should be considered \"dedicated\" to him.\u003c\/span\u003e \u003cspan style=\"font-size: 10.0pt; font-family: 'Cambria',serif; mso-bidi-font-family: 'Apple Color Emoji'; mso-ansi-language: DE;\" lang=\"DE\"\u003e-\u003c\/span\u003e \u003cspan style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\" lang=\"DE\"\u003eThe mounting shows signs of age, but is very harmonious within the ensemble.\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"45cm x 185cm \/ silk","offer_id":55323848147329,"sku":"130128 F4","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_5457.jpg?v=1770391399"},{"product_id":"marz-aus-zwolf-monatsbilder-四季図-12幅-yoshimura-kokei-吉村孝敬-1769-1836-kopie-kopie","title":"Twelve Pictures of the Months: 3. The March Picture | Yoshimura Kokei 吉村孝敬 | 1769-1836 ","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eIn March, the main theme is \u003ci\u003esakura\u003c\/i\u003e . However, it's not just a single cherry tree in a garden that's depicted, but presumably wild \u003ci\u003esakura\u003c\/i\u003e growing in the mountains. Such a scene can best be admired in Yoshino, south of Nara, where there are also old varieties of cherry trees that, viewed up close, don't yet appear as brilliant and lush as the newer varieties usually seen in city parks and temple gardens; the subtle coloring suggests this rural cherry blossom variety.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eThe top bar contains only decorative cloud formations, but the bottom bar shows a group of flowers that are difficult to identify. One might think of \u003ci\u003esumire\u003c\/i\u003e violets (which would also be seasonally accurate), but the shape of the leaves is not convincing…\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"29cm x 179cm \/ Paper with painted silk mounting","offer_id":55328730579329,"sku":null,"price":0.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_5477_369e7569-0d6e-474b-b346-2c258ea53d45.jpg?v=1770728705"},{"product_id":"meeres-landschaft-hashimoto-gaho-橋本雅邦-1835-1908-1905-kawai-gyokudo-川合玉堂-1873-1957","title":"Landscape | Hashimoto Gahō 橋本雅邦 | 1835–1908 (1905) | Kawai Gyokudō 川合玉堂 | 1873–1957","description":"\u003cp class=\"MsoNormal\"\u003eHashimoto Gahō is regarded as one of the great innovators of Japanese painting at the end of the 19th century. This was a turbulent period in Japan. The island nation was being swept away by cultural, political and social upheaval. Finding a compass for the future suddenly became difficult in many aspects of life.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eIn painting, artists were confronted with new techniques, new motifs and entirely new perspectives, which demanded an immense intellectual effort to come to terms with. Japan could, after all, already look back on a rich, thousand-year history of art and had to find a way to create contemporary works without betraying its own heritage.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eOne significant five-hundred-year-old legacy was ink wash painting, which had no equivalent in Europe. Gahō, in particular, grappled with this problem. Simply painting ‘as in the past’ was certainly not the answer, but how could one draw on the treasure of one’s own history whilst still creating something ‘modern’?\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eIn this veduta, Gahō takes the classical seascape as his starting point – a bay in the distance and a peninsula in the foreground. In principle, there is nothing revolutionary about this. Yet if one looks closely at how the bay is painted, one senses that this was not how artists painted from the 15th to the early 19th century. For the bay, Gahō chooses a very wet, broad brush, in whose brushstrokes the subtle vibrations of the painting hand are discernible (from the perspective of tradition, this is ‘impossible’). On the left, at the start, where the brush still holds the most water, he immediately followed the ‘bay stroke’ by painting pine trees, which blur on the paper due to the moisture, creating the illusion of a haze. (This \u003cem\u003etarashikomi \u003c\/em\u003etechnique originates from the Rinpa school – and thus does not belong to the ink-wash painting tradition). The pine trees at the front of the peninsula then appear perfectly distinct by contrast – even though they are nothing more than skilfully arranged dabs.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe two ships off the peninsula are also merely three horizontal strokes with a few dots on them. Further down, however, another ship is moving, larger and more realistic – here, a stooped boatswain is clearly rowing. All these details lend the picture atmosphere and a sense of depth, which radiate out into a vast ‘emptiness of the sky’.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe picture is mounted on extremely precious gold silk, probably by Gahō’s pupil and great admirer, the highly esteemed painter Kawai Gyokudō, who also created, signed and sealed the box.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"36cm x 196cm \/ Paper","offer_id":55968286802305,"sku":"230615 B4","price":3500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_7546.jpg?v=1786444471"},{"product_id":"zen-haboku-landschaft-kano-tanyu狩野探幽-1602-1674","title":"Zen haboku Landscape | Kanō Tanyū (狩野探幽) | 1602–1674","description":"\u003cp class=\"MsoNormal\"\u003eTanyū is undoubtedly the most outstanding artistic figure of the all-powerful Kanō school in the early 17th century. It was he who formulated the new style of the Edo period (1602–1867), enabling the school to build upon his creations in terms of content and leave its mark on the new artistic era.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eA defining feature of his artistry is his versatility, which responded to the needs of a society that was becoming increasingly bourgeois. The stylistic richness of his style became the ideal of virtuosity for the most talented painters of the era.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe subject of this painting is ‘Zen painting in the \u003cem\u003ehaboku\u003c\/em\u003e style’, as introduced from China by Sesshū in the 15th century and brought to perfection in Japan.\u003cspan style=\"mso-spacerun: yes;\"\u003e\u0026nbsp; \u003c\/span\u003e\u003cem\u003eHaboku\u003c\/em\u003e translates literally as ‘broken ink’. It refers to a quickly sketched ink drawing that alludes to Zen enlightenment. Tanyū (unlike Sesshū) had never received any formal Zen training, but his genius was so outstanding that he nevertheless mastered this Zen style with great skill.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThis small landscape might (by chance?) have emerged from a large ink blot, from which the inspired painter then created a group of trees. However, he did not do this by laboriously working on the blot. No, he simply added a few more strokes in a flash and with sure intuition (using varying intensities of ink), and suddenly there was a hill, a high mountain, a temple and a fisherman on the lake, and so on.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe danger with such spontaneous images is that the barely planned brushstrokes fail to form a coherent whole. Yet it is precisely this aspect that makes this little gem so appealing. The pace at which Tanyū worked, once an ink blot had, as it were, ‘happened’, did not prevent him from creating a landscape painting that was perfectly balanced in itself (a balance that, in terms of composition, also includes the signature and seal).\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"28cm x 139cm \/ Paper","offer_id":56274005623169,"sku":"200615 E3","price":2800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_7789.jpg?v=1789556087"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/collections\/IMG_7546.jpg?v=1792581837","url":"https:\/\/guignard-kyoto-collection.ch\/en\/collections\/landschaften.oembed","provider":"Guignard Kyoto Collection","version":"1.0","type":"link"}