Quail | Mochizuki Gyokusen望月玉泉 | 1834-1913

Mochizuki Gyokusen signs here with the artist name Heian平安, 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.

As 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. 

In 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.