{"title":"Vögel","description":null,"products":[{"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"meise-auf-ginster-tanaka-nikka-田中日華-1845","title":"Titmouse on gorse | Tanaka Nikka 田中日華 | ?-1845","description":"\u003cp class=\"MsoNormal\"\u003eTanaka Nikka is a renowned painter who trained in the prestigious Shijō school in Kyoto. His works hang in the Boston Museum of Fine Arts and the Ashmolean Museum in Oxford.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe motif is quite unusual. The small bird is neither a nightingale nor a sparrow, as they are often depicted on flowering branches, but probably a tit. The yellow broom is also a rather rare floral motif.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Upon closer inspection, one recognizes the master's masterful arrangement of the branches, the clusters of flowers contrasting with individual blossoms. The bird's gaze seems to be fully focused on the beauty of the blossoms, forcing us to pay close attention to this quiet, delicate, yet masterful brushwork.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The image is very bright in color—the light effect is further enhanced by the yellow silk of the new mount. Light blue silk was combined at the top and bottom, subtly reflecting the delicate green leaves of the broom.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"46cm x 189cm \/ silk","offer_id":54434993963393,"sku":"101024 DF3　","price":1600.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_3701.jpg?v=1751036101"},{"product_id":"schnepfen-unter-hibiskus-鴫二羽-goto-koho-五島耕畝-1882-1958","title":"Snipes under Hibiscus 鴫二羽 | Gotō Kōho 五島耕畝 | 1882-1958","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eGotō Kōho is one of those serious \u003ci style=\"mso-bidi-font-style: normal;\"\u003enihonga\u003c\/i\u003e painters who underwent rigorous training and subsequently distinguished themselves through incredible conscientiousness in the practice of their craft. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eNihonga\u003c\/i\u003e means \"Japanese painting\" and, since the late 19th century, has been an aesthetic movement within the ever-increasing stylistic diversity of Western and Chinese painting styles, whose motifs are oriented toward Japanese identity. However, the best \u003ci style=\"mso-bidi-font-style: normal;\"\u003enihonga\u003c\/i\u003e painters were repeatedly tempted to break the traditional motif framework.\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;\"\u003eHere, Gotō Kōho combines snipe with hibiscus. Both the animal and the plant are native to Japan, but the combination and selection of motifs are unusual. The artist was likely fascinated by the pink color of the blossoms and sought to balance the color accent with the brown tones of the birds and the various greens of the leaves. The picture is executed with exquisite finesse in every detail and exudes a poetry that may seem somewhat old-fashioned today, but whose charm is hard to resist.\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"55cm x 196cm \/ silk","offer_id":54435007365505,"sku":"120607 CA3","price":1800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_3715.jpg?v=1751037001"},{"product_id":"fasan-mori-kansai-森寛斎-1814-1894","title":"Pheasant | Mori Kansai 森寛斎 | 1814-1894","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eMori Kansai is one of the three most important representatives of the Mori School in the 19th century. During his lifetime, he received high honors in the art world and participated in important exhibitions. His name is part of the core of 19th-century painting. His works can be found in major museums in Japan, the Ashmolean Museum in Oxford, and the Boston Museum of Fine Arts.\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 of the magnificent pheasant is certainly a standard one, even if it is certainly less common in the Japanese art world than cranes, wild geese, and others. Because of their magnificent plumage, pheasants are often depicted in lavish colors. However, Mori Kansai restrains the colorfulness here, shifting the richness into nuances of brown and gray with a diverse brushwork.\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\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 bird perches on a blossoming branch from a tree whose species is not entirely easy to identify. More important than botanical clarity, however, is the painter's reasoning: the restrained color scheme, the delicate pink blossoms, are not meant to compete with the red of the bird's head, and the delicate light green of the leaves is meant to remain subdued so as not to detract from the fascinating interplay of various shades of brown and gray in the magnificent plumage.\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 pheasant painting was a scroll painting measuring 220 cm in length. Hanging such a painting requires a ceiling height of at least 250 cm. This was not common in a Japanese middle-class house of that time—only imposing villas had such rooms. This also makes it clear for whom this famous painter painted this magnificent subject.\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"31cm x 137cm \/ Panel (paper)","offer_id":54435013099905,"sku":"081203 A5","price":2300.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_3694.jpg?v=1751037489"},{"product_id":"zwei-vogel-auf-einem-nandinenbusch-oda-kaisen-小田海僊-1785-1863","title":"Two Birds on a Nandine Bush | Oda Kaisen 小田海僊 | 1785-1863","description":"\u003cp class=\"MsoNormal\"\u003ePaintings by Oda Kaisen can be found in many Asian art collections in Japan and overseas. He was a student of Maruyama Ōkyō and later of his student Goshun, but was primarily interested in early Chinese painting and also studied Confucianism. Chinese influences can be felt in many of his paintings. This painting is somewhat un-Japanese, at most, in its spatial layout – classically trained painters of the Shijō school, to which he owes his training as a student of Goshun, would probably work with more empty spaces when depicting this subject.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The painting is very virtuosic. The birds are captured with extraordinary vividness in their eagerness to peck at the nandina berries. It's also clever to have both birds perched on the same branch, causing the branch to curve and thus fit the picture format... The picture exudes an enchanting lightness. With a beautiful, intact old mount, it appears very elegant.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The signature appears to be flawless; the stamp could not be verified—Kaisen used a large number of stamps, which increases the chance of a single stamp not being found in any documentation.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"85cm x 138cm \/ silk","offer_id":54595525345665,"sku":"120104 BC3","price":1500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_3761.jpg?v=1762682561"},{"product_id":"falke-auf-zierstange-toki-tomikage-土岐富景-evtl-auch土岐頼芸-1501-1582-oder土岐洞文-16-jh","title":"Falcon on decorative pole | Toki Tomikage 土岐富景 (possibly also 土岐頼芸 1501-1582, or 土岐洞文) | 16th century","description":"\u003cp class=\"MsoNormal\"\u003eJapan's most famous falcon painters lived in the 16th and 17th centuries. However, the authorship of their paintings is often unclear. This painting, too, remains unclear, although the stamp clearly indicates the name Tomikage—the box mentions him as a student of Shūbun, which is common in Tomikage literature. The only thing that is certain is that the Toki family was a highly respected aristocratic line, and if this falcon artist belonged to it, he didn't have to provide identification (like a commercial painter).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e This bird painting undeniably exudes dignity and courtly elegance. Like most falcon paintings of the period, it is representational art of the finest kind. The head profile, with its sharp eyes, expresses power and concentration. The attention to detail in the plumage betrays the admiration for the beauty of this bird. The falcon sits on its beam, which is beautifully painted in color—including precious crimson. The ribbons, cords, and rope are tied with a finely crafted brass button. The braiding and knots are accurately reproduced, and a precious cord completes the composition at the bottom.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Crucial to the cultivated aura of this princely status symbol are its carefully calculated dimensions: The aforementioned brass knob in the rope is placed with millimeter precision in the horizontal center, and the distance from the tip of the beak to the right edge is exactly the same as that from the breast to the edge. This exact 7 cm is also the distance from the tip of the wing to the bottom left edge. This centering is partly responsible for the monumental, heroic expression of this falcon's portrait.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"56cm x 190cm \/ Paper","offer_id":54595596616065,"sku":"240710 A5","price":3800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_3800.jpg?v=1762682621"},{"product_id":"reiher-unter-lotos-blatt-kano-furunobu-eisen-attr-狩野栄川-1694-1731","title":"Heron under Lotus Leaf | Kanō Furunobu (Eisen) attr.  狩野栄川 | 1694-1731","description":"\u003cp class=\"MsoNormal\"\u003eThis painting is unsigned, but the box it came in bore an inscription stating that the painter was Kanō Furunobu. Therefore, the object is treated only as \"attributed.\" Stylistically, it is certainly a painting from the Kanō school of the 17th\/18th century, and its quality makes it quite conceivable that it was indeed by the son of the famous Kanō Takanobu.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e The motif is associated with the Zen world; Zen priests often used it in their paintings. The white (pure!) heron, standing motionless on one leg in a murky pond beneath a weathered or even rotting lotus leaf, is completely focused on hunting its prey. When it sees a fish, it strikes in a split second. This is a metaphor for the meditator, for whom complete stillness and concentration are also required. Only then is it possible to achieve enlightenment, experienced as instantly as the heron snatches its prey.\u003cspan style=\"mso-spacerun: yes;\"\u003e       \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe image was mounted on a wooden panel and framed with a band of iridescent watercolors, like those associated with a pond.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"33cm x 70cm \/ Paper on wood panel","offer_id":54959319056769,"sku":"141016 B4","price":1500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_4778.jpg?v=1762682902"},{"product_id":"zwei-tauben-auf-winterkiefern-yanagisawa-satoyasu-kien-柳沢里恭柳沢淇園-1706-1758","title":"Two pigeons on winter pine trees | Yanagisawa Satoyasu (Kien) 柳沢里恭(柳沢淇園) | 1706-1758","description":"\u003cp class=\"MsoNormal\"\u003eYanagisawa Kien was the son of a prominent scholar of Chinese philosophy and literature and was himself very knowledgeable in various aspects of Chinese culture. Therefore, it is not surprising that as a painter he was strongly influenced by the art of the Ming (1368-1644) and Qing (1644-1912) dynasties. He is considered one of the first great Nanga painters (i.e., Japanese painting in the Chinese style).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e Kien is always meticulous in his expression, as he also takes Japanese aesthetic aspects into account. In this winter scene, the formulaic depiction of the pine trees with their wet snow crowns is entirely in the style of the Rinpa school. Its decorative approach, which often maintains a somewhat capricious distance from realism, contrasts with the exceptionally fine observation of the two doves. The male's plumage displays as many color nuances as nature bestows upon doves.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e However, the treatment of the open space has a distinctly Chinese feel. While some areas are not covered by the spherical pine needle pattern, one could imagine that in a completely Japanese approach to the subject, a poignant \"dream sky of emptiness\" would open above the two sleeping doves, intensifying the feeling of the animals huddling together due to the vastness of the open space.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"45cm x 183cm \/ silk","offer_id":55019291771265,"sku":null,"price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_4856.jpg?v=1764154518"},{"product_id":"vogel-im-winter-mit-kamelien-kano-sanraku-attr-狩野山楽-伝-1559-1635","title":"Birds in winter with camellias | Kanō Sanraku (attr.) 狩野山楽（伝）| 1559-1635","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eKanō Sanraku's mindset remained firmly rooted in the 16th century, although the second half of his life extended into the 17th century. He was a student of Kanō Eitoku, who served the shoguns Oda Nobunaga and Hideyoshi with art in the 16th century, and remained true to Eitoku's painting tradition.\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;\"\u003eIn this winter scene, Sanraku chose two birds that are particularly common in the art of the Muromachi period (1336-1573). It is (presumably) the long-tailed tit, although in paintings of that time the coloration of the belly often shows a red that is not ornithologically typical of these birds. Long-tailed tits were usually depicted in pairs, huddled together in the cold. Sanraku thus drew on a well-established motif.\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;\"\u003eThis also applies to the other bird on the right, a brown-cheeked bulbul, which feeds on camellia nectar. It is thus a symbol of approaching spring, because camellias bloom in Japan in winter, and such feeding (which is not directly a subject of the artwork here) heralds new, awakening life.\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 reason for the long-tailed tits' red bellies is surely for color balance – they are meant to provide a counterpoint to the intensely red camellias on the left. The green of the camellia leaves seems somewhat unusual. This has chemical reasons, as the color green (most likely derived from malachite) has always been problematic in ancient Japanese art.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\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;\"\u003eThis painting style is fundamentally ink painting, but even in the first generation of the great Kanō school, colors were sometimes added to the black and white paintings. The paintings of the school's founder, Kanō Motonobu (1434-1530), are famous examples of this.\u003c\/span\u003e\u003c\/p\u003e\n\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;\"\u003eThe picture is unsigned and unstamped, which was not uncommon at the time. The old box bears the name Sanraku, which at least justifies an attribution.\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"53cm x 193cm \/ Paper","offer_id":55323868758401,"sku":"230328 A0B3","price":5800.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_5530.jpg?v=1770391909"},{"product_id":"zwolf-monatsbilder-四季図-12幅-yoshimura-kokei-吉村孝敬-1769-1836","title":"Twelve Monthly Pictures 四季図（12幅) | Yoshimura Kokei 吉村孝敬 | 1769-1836 (only to be purchased as series)","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eYoshimura Kokei is among the \"Ten Best Students of Maruyama Ōkyō (1733-1795).\" This has been a distinction since in the 19th century, as at least 50 students are documented by name, and there were certainly dozens more talented individuals who studied in Maruyama's studio—one of the largest in the 18th century. Although his father was also a professional painter, Kokei apprenticed with Ōkyō to further his career. Together with his father, he received a commission to paint the sliding doors at Nishi-Honganji, one of Kyoto's most important temples, and the temple is said to still possess many of his works today.\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;\"\u003eWhat could one learn most from Ōkyo? Virtually everything, for this genius, who excelled in every discipline except calligraphy (a field he rarely attempted), attracted the attention of all art lovers in Japan primarily through his striving for realism, or even naturalism. This is also evident in these monthly paintings by Kokei. Yet, as with his master, the poetic rendering of the essentially true-to-life subject matter remains a crucial element in Kokei's work.\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;\"\u003eIn this series of paintings, Yoshimura Kokei cultivates a refined style characterized by understated color – an approach typical of sophisticated Kyoto taste. The primary colors are brown, beige, and gray; only rarely is a more vibrant accent ventured. All the more evident, however, is his intelligent and fluid handling of symbols and motifs. In Japanese culture, all seasons and festivals are associated with fixed symbols. To develop imagination within this realm is a challenge for a classical painter. Hardly any of the paintings employ a clichéd theme, which makes engaging with them all the more compelling.\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;\"\u003eAll pictures are signed and have a verifiable stamp.\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;\"\u003e\u0026nbsp;\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;\"\u003eExample:\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; mso-no-proof: yes;\"\u003eIn the \u003cb\u003eJanuary\u003c\/b\u003e image,\u003c\/span\u003e \u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003ea small bird (likely a Japanese nightingale,\u0026nbsp;\u003cem\u003euguisu\u003c\/em\u003e) clings to the branches of\u0026nbsp;\u003cem\u003eshidare-ume\u003c\/em\u003e\u0026nbsp;(plum blossom trees with drooping limbs), which begin to bloom even during the snowfall. The bird is trying to nibble on the emerging buds – a harbinger of spring in the cold winter. Ferns are painted along the top and bottom of the image; these are traditionally part of New Year's decorations but are rarely depicted as New Year's symbols. Because ferns are white at the back, they were considered a symbol of sincerity: one has no dark underbelly, meaning one is honest and pure (white) even in secret.\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"29cm x 179cm \/ Paper with painted silk mounting","offer_id":55323927347585,"sku":"191023 BG3","price":3600.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_5467.jpg?v=1770728237"},{"product_id":"nachtigall-auf-pflaumenblute-matsumura-keibun-松村景文-1779-1843","title":"Nightingale on Plum Blossom | Matsumura Keibun 松村景文 | 1779-1843","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"DE\" style=\"font-size: 10.0pt; font-family: 'Arial',sans-serif; mso-ansi-language: DE;\"\u003eMatsumura Keibun is one of the grand masters of classical painting in early 19th-century Kyoto. He is the younger brother of Goshun, who founded the Shijō school in Kyoto together with the genius of the 18th century, Maruyama Ōkyo (1733-1795). This school set the tone for classical Japanese elegance, which Keibun embodies inimitably in his oeuvre. \u003c\/span\u003e\u003c\/p\u003e\n\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;\"\u003e“Nightingale on Plum Blossom Branches” has been a standard theme in Japanese painting since at least the 15th century. This makes it a challenge for an artist like Keibun to reformulate this motif in an appealing way each time. Here, Keibun ventures an incredibly generous arrangement of branches that protrude into the picture, leave it, and cross the picture window again. A delicate branch in the center bundles this energetic game of hide-and-seek with the format and gives the picture the necessary calm and inner composure. It is no coincidence that the nightingale is sitting on this branch, which centers the picture. Its formal function is thus emphasized once again.\u003c\/span\u003e\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"43cm x 196cm \/ Paper","offer_id":55423223562625,"sku":"111220 CB3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_57682.jpg?v=1773408773"},{"product_id":"hahn-und-huhn-im-fruhling-watanabe-seitei-渡辺省亭-1852-1918","title":"Rooster and Hen in Spring | Watanabe Seitei 渡辺省亭 | 1852-1918","description":"\u003cp class=\"MsoNormal\"\u003eWatanabe Seitei is particularly famous for his depictions of chickens. He created many variations of this subject, but a fully realized, meticulously composed, large-scale painting by him on this theme is rare. His handling of the red combs of the two birds is striking; he makes them flare out both colorfully and formally. He skillfully combines this with the yellow of the beaks and feet to introduce the strong red accent into the light background of the picture. The black dots of the eyes and claws further intensify this striking, colorful focal point of the image.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e In contrast, the white plumage appears light and airy because it is effectively barely painted. It is only discernible against a subtly tinted background and delicately light green accented grass. The gray of the plum tree branches makes the pair of chickens stand out clearly. The delicacy in the rendering of the tree's blossoms makes us feel as if we can almost smell the fragrance of spring.\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWatanabe Seitei's painting has truly become international; his works can be found in the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Art Institute of Chicago, and in many collections in Europe.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"65cm x 198cm \/ silk","offer_id":55423237292417,"sku":"130108 DB3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_5774.jpg?v=1773408970"},{"product_id":"zwei-spatzen-reisahren-auf-der-montierung-nakajima-raisho-1859-watanabe-nangaku-渡辺南岳-1767-1813","title":"Two Sparrows | Watanabe Nangaku 渡辺南岳 | 1767-1813 | Rice Ears on the Mounting: Nakajima Raishō 1859","description":"\u003cp class=\"MsoNormal\"\u003eWatanabe Nangaku was among the \"Ten Best Pupils\" of Maruyama Ōkyo (1733-1795), the preeminent painter of the 18th century. This official distinction cemented his status. He became particularly famous for his portraits of women and for his paintings featuring carps.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHere, he chose only two sparrows as his subject, yet their lively expression and the confident rendering of their plumage with the brush are admirable. What is truly special about this painting, however, is the integration of the mounting into the painting itself. His considerably younger colleague, also a renowned painter and a student of Ōkyo's grandson, Nakajima Raishō (1796-1871), likely mounted the painting himself, 46 years after Nangaku's death, and painted ears of rice onto the silk mount. He signed this painting on the back of the scroll and also created the box. Inside the box lid, he inscribed a tribute to the \"master,\" who was thirty years his senior, and confirmed not only the authenticity of the sparrow painting but also his own work.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe rice ears protrude into the frame from the left, disappear beneath the image, and reappear below. Their angle of incidence corresponds precisely to the diagonal line along which the two birds converse and on which the signature lies. Raishō thus clearly responded to Nangaku's composition, modestly placing his homage painting beneath the sparrows. Given his great reverence for the master, he likely would not have dared to paint rice ears above the sparrows, even though there would have been ample space. One can easily imagine that in ancient Japan, such a decision would have been a matter of etiquette.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"56cm x 103cm \/ Paper","offer_id":55423281037697,"sku":"180528 F4","price":1500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_57962.jpg?v=1773409618"},{"product_id":"blumen-kranich-anonym-18-jh","title":"Flowers and Crane | anonymous | 18th Century","description":"\u003cp class=\"MsoNormal\"\u003eThis magnificent painting probably comes from a folding screen. Iconographically, many things are combined here that do not necessarily belong together in this way. But the purpose of this painting is not to visually implement a philosophy, but simply to capture beautiful things that delight the heart in an image. In the foreground is a crane – a symbol of \"long life.\" It appears especially during New Year's celebrations. Bamboo and white plum blossoms also belong to the New Year or other important festivities. As the third plant in the group – they are also called \"The Three Friends of Winter\" – there should be a pine tree. However, this is missing; it is replaced by a red plum blossom branch. Red and white are two colors that belong together in Japan: in the indigenous Shintō religion, they symbolize \"purity and impurity\" (and are therefore also the colors of the Japanese flag).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eOn the right side of the painting, two pheasants are sitting, which only have symbolic value insofar as they are a male and a female, representing the basic unit of Confucian society. In the Edo period (1603-1867), animals were usually depicted in such a paired form. However, they are probably placed in the picture here simply because they are beautiful.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBehind the two pheasants, chrysanthemums and Susuki pampas grass can be seen, marking an autumn mood. This means that the season differs from the left part of the painting. But even if all these plants in the painting never bloom simultaneously, it doesn't matter – one likes spring as much as autumn, and so all glories should be united in a single painting – adorned with gold dust.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"58cm x 74cm \/ Paper (framed)","offer_id":55775744426369,"sku":"240925 C4","price":1200.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_6662.jpg?v=1780906255"},{"product_id":"weisser-reiher-auf-beutefang-nishiyama-kanei-西山完瑛-1833-1897","title":"White Heron Hunting Prey | Nishiyama Kan'ei 西山完瑛 | 1833-1897","description":"\u003cp class=\"MsoNormal\"\u003eThis painting, mounted on very fine fabrics (brocade featuring ancient water symbols), plays upon the classical art of omission – the white heron is not painted white, but appears white solely due to the delicate grey tint of the background. The bird’s intense focus, as it appears on the verge of catching its prey, captivates the viewer. Fleeting brushstrokes and the precise, meticulous observation of an animal lying in tense wait complement one another here in a masterful manner.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eStylistically, Nishiyama belongs to the great Shijō School in Kyoto, which set the tone in the 19th century. However, he lived in Osaka and worked as a Confucian scholar in the service of the Akashi clan. His works can be found at the Worcester Art Museum in Massachusetts, the Victoria and Albert Museum in London, and in many Japanese collections.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe box for this painting was created by Kawai Gyokudō, a highly respected painter.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"33cm x 182cm \/ Paper","offer_id":55927376445825,"sku":"090830 E3","price":1200.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_7041.jpg?v=1784286516"},{"product_id":"spatzen-und-schildkroten-雀と亀-nagasawa-rosetsu-長沢芦雪-1755-1799","title":"Sparrows and Turtle 雀と亀 | Nagasawa Rosetsu 長沢芦雪 | 1755 -1799","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"IT-CH\" style=\"mso-ansi-language: IT-CH;\"\u003eAlthough Nagasawa Rosetsu was a star pupil of Maruyama Ōkyo (1733–95), the painting genius of the 18th century, he was, along with the two other painters Itō Jakuchū and Soga Shōhaku, one of the ‘Three Eccentrics’ of the 18th century, who took an aesthetic stance in opposition to Ōkyo’s pleasing conventionality. Like these colleagues, Rosetsu also experimented with unfamiliar pictorial compositions and approaches that could often be described as extremely expressionistic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"IT-CH\" style=\"mso-ansi-language: IT-CH;\"\u003eThis painting exists\/existed in an almost identical variation (at the Seto art dealer’s in Kyoto); its authenticity here is confirmed by an inscription on the inside of the lid of the painting’s box by his adopted son Nagasawa Roshū (1767–1847) and a further inscripten by the famous painter Kawabata Gyokushō (1842-1913).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"IT-CH\" style=\"mso-ansi-language: IT-CH;\"\u003eSeveral aspects of this painting are unusual and original. Of particular note is a huge boulder that dominates the centre of the composition; the vividly rendered chattering sparrows perched upon it are typical of the realism that Rosetsu owed to his teacher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eIn the lower part of the picture, a turtle is swimming in the water. Its avian counterpart would not actually be the sparrow, but the crane. Such a pairing of motifs is therefore quite unusual.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eAnother unusual element is the rose motif in the centre-right: roses are rarely depicted in classical Japanese art. Here, they clearly serve as a splash of colour to balance the almost menacing grey of the rock.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThis is a painting whose subject matter is anything but straightforward – yet it was precisely this sort of deviation from convention that the ‘eccentrics’ loved, although Rosetsu was by far the least daring among them.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"52cm x 180cm \/ Silk","offer_id":56273958666625,"sku":"110121 DA4　","price":6500.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_7816.jpg?v=1789554929"},{"product_id":"schwalben-auf-weide-konoshima-okoku-木島桜谷-1877-1938","title":"Swallows on a Willow Tree | Konoshima Ōkoku 木島桜谷 | 1877–1938","description":"\u003cp class=\"MsoNormal\"\u003eKonoshima Ōkoku is a painter who, fortunately, is once again coming to the attention of the Japanese art-loving public. In 2013, a comprehensive solo exhibition opened in Kyoto, which was subsequently shown in Tokyo as well. A beautiful catalogue quickly demonstrates just how much this painter deserves to be taken more seriously once again. In his day, Ōkoku enjoyed great success, but then – even in his later years – he faded from the limelight. One problem with his art was perhaps his frequent engagement with the historical and genre painting that was popular at the beginning of the 20th century (the late Meiji and Taishō periods). Some of these works may no longer speak to us directly today. But his landscape and animal paintings have lost none of their charm. On the contrary – they are masterful, lively and consistently surprising in their composition within the discipline of painting.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eIn this large-format painting, Ōkoku dares to confine his swallow motif to just the upper sixth of the picture; the remaining five-sixths depict what appears to be a playful swaying of willow branches in the spring breeze. (A closer look reveals a highly subtle arrangement of leaves and twigs).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe black swallows appear, as nature would have it, to be perched haphazardly side by side; yet one soon recognises a distinct group of three, alongside a chattering female with outstretched wings and, opposite her, a bird that seems to be listening intently, its brown neck and head providing a significant formal accent. Five birds in conversation – this is, not coincidentally, a classical number.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWith Ōkoku, it is always worth taking a close look at the mounting. Woven into the elegant mouse-grey of the surrounding silk (\u003cem\u003echūmawashi\u003c\/em\u003e) are image stamps designed by Ōkoku himself.\u003c\/p\u003e","brand":"Guignard Kyoto Collection","offers":[{"title":"51cm × 214 cm \/ Silk","offer_id":56273981473153,"sku":"161213 DF3","price":2400.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/files\/IMG_7800.jpg?v=1789555511"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/3092\/9452\/collections\/IMG_7800.jpg?v=1792582127","url":"https:\/\/guignard-kyoto-collection.ch\/en\/collections\/vogel.oembed?page=2","provider":"Guignard Kyoto Collection","version":"1.0","type":"link"}