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MARUYAMA OKYO: A FINE PAINTING OF THE SEVEN LUCKY GODS (SHICHIFUKUJIN) MARUYAMA OKYO: A FINE PAINTING OF THE SEVEN LUCKY GODS (SHICHIFUKUJIN) By Maruyama Okyo (1733-1795), signed Okyo with two seals Okyo no in and Chusen Japan, dated 1790, Edo period (1615-1868) Ink, watercolors, gold paint, and gouache on silk. Mounted on a silk brocade frame and set inside a vintage frame, behind glass. A charming painting of the seven Lucky Gods engaged in different activities and games with small boys who are running around and playing with the various attributes of the deities. Inscriptions: Inscribed and signed to the bottom-right corner, ‘Kansei Kanoeinu Chushun sha, Okyo’ [Painted by Okyo in the middle of spring, Kansei Kanoeinu (corresponding to the year 1790)] 寛政庚戌仲春写, 應舉, with two seals "Okyo no in 應舉之印" [The seal of Okyo] and Chusen 仲選". Chusen was one of the art names (go) used by Okyo. Image SIZE 123 x 55 cm, SIZE incl. frame 155.5 x 74.5 cm Condition: Good condition with wear. Some creasing, folds, and soiling. Maruyama Okyo (1733-1795), from present-day Kameoka, Kyoto, was a student at the Kano School of painting. He gained much renown after his first commission, the Seven Misfortunes and Seven Fortunes. As his public image grew, Okyo founded his own school in Kyoto, the Maruyama School of painting, dedicated to his style of blending Western naturalism with Eastern decorative designs. He taught his students to rely on nature to render images in a realistic picture of light, shadow, and forms. The school grew popular, and branches soon appeared in other locations, including Osaka. Much of the school's work is today preserved at Daijo-ji, a temple in Kasumi. Noteworthy pupils include Okyo's son, Maruyama Ozui, Nagasawa Rosetsu, and Matsumura Goshun.

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MARUYAMA OKYO: A FINE PAINTING OF THE SEVEN LUCKY GODS (SHICHIFUKUJIN) MARUYAMA OKYO: A FINE PAINTING OF THE SEVEN LUCKY GODS (SHICHIFUKUJIN) By Maruyama Okyo (1733-1795), signed Okyo with two seals Okyo no in and Chusen Japan, dated 1790, Edo period (1615-1868) Ink, watercolors, gold paint, and gouache on silk. Mounted on a silk brocade frame and set inside a vintage frame, behind glass. A charming painting of the seven Lucky Gods engaged in different activities and games with small boys who are running around and playing with the various attributes of the deities. Inscriptions: Inscribed and signed to the bottom-right corner, ‘Kansei Kanoeinu Chushun sha, Okyo’ [Painted by Okyo in the middle of spring, Kansei Kanoeinu (corresponding to the year 1790)] 寛政庚戌仲春写, 應舉, with two seals "Okyo no in 應舉之印" [The seal of Okyo] and Chusen 仲選". Chusen was one of the art names (go) used by Okyo. Image SIZE 123 x 55 cm, SIZE incl. frame 155.5 x 74.5 cm Condition: Good condition with wear. Some creasing, folds, and soiling. Maruyama Okyo (1733-1795), from present-day Kameoka, Kyoto, was a student at the Kano School of painting. He gained much renown after his first commission, the Seven Misfortunes and Seven Fortunes. As his public image grew, Okyo founded his own school in Kyoto, the Maruyama School of painting, dedicated to his style of blending Western naturalism with Eastern decorative designs. He taught his students to rely on nature to render images in a realistic picture of light, shadow, and forms. The school grew popular, and branches soon appeared in other locations, including Osaka. Much of the school's work is today preserved at Daijo-ji, a temple in Kasumi. Noteworthy pupils include Okyo's son, Maruyama Ozui, Nagasawa Rosetsu, and Matsumura Goshun.

Estimate 600 - 1 200 EUR
Starting price 600 EUR

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For sale on Wednesday 04 Sep : 11:00 (CEST)
vienna, Austria
Galerie Zacke
+4315320452
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A SCROLL PAINTING OF TENJIN VISITING CHINA, AFTER MARUYAMA OKYO, c. 1900s A SCROLL PAINTING OF TENJIN VISITING CHINA, AFTER MARUYAMA OKYO, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame and wooden handles. Depicting a monk dressed in voluminous robes clutching a pruned branch of plum. Inscriptions: Signed ‘Maruyama Okyo’ 円山応挙 . One inscription to the back ‘Toto Tenjin Zo’ 渡唐天神像 . Image SIZE 56.5 x 22.5 cm, SIZE incl. mounting 133 x 29 cm Condition: Good condition with minor wear and slight browning of paper. Creasing, folds, and tiny tears. The frame with age related wear and wormholes. The theme Tenjin Visiting China is one of the most complex and revealing subjects in the Chan/Zen figural canon. Tenjin, an indigenous Japanese kami (sacred spirit), was imagined by medieval Japanese communities to have visited the Chinese Chan master Wuzhun Shifan (1177–1249), becoming the recipient of his authentic dharma transmission. The painting Tenjin Visiting China seen here is one of many dozens of examples that depict the deity in accordance with this popular legend. Usually depicted against a blank background, Tenjin is dressed in Daoist robes, with his hands folded together and a flowering plum branch in his arms; a Chinese scholar’s headgear completes the ensemble. The plum branch refers to a famous episode in Tenjin’s legendary biography. Maruyama Okyo (1733-95) is pivotal to Japanese art history for being one of the first artists to paint directly from nature rather than from paintings and sketches.

A FINE SCROLL PAINTING OF A TIGER, SCHOOL OF MARUYAMA OKYO A FINE SCROLL PAINTING OF A TIGER, SCHOOL OF MARUYAMA OKYO Inscribed Kamei and sealed Anagura and Kameisai Japan, Kyoto, late 18 th – early 19 th century, Edo period (1615-1868) Finely painted in ink and watercolors on silk, with a silk brocade frame and mounted as a hanging scroll, depicting a tiger standing foursquare on a rocky slope, with brown leaves and twisted vines and roots in the background, as well as bamboo leaves below the tiger, calling to mind the popular motif take no tora (tiger in bamboo). The tiger’s striped fur is neatly detailed and both its large side-glancing eyes and dynamic pose suggest a certain mischief to the mysterious animal. Inscribed and signed center right, ‘KAMEI shujin, Heian shuchikuro chu ni oite utsutsu’ (‘Painted by Master Kamei, at the Shuchikuro Studio, Kyoto’). SIZE 103 x 51 cm (image) and 178 x 67 cm (total) Condition: Very good condition with minor wear, creasing, little soiling, the brocade frame with few minuscule losses to edges. Provenance: From a private collection, Illinois. Although there is no information available about this artist, it is likely that he was a follower of Maruyama Okyo (1733-1795). The name Kamei literally means ‘Turtle Abode’. Maruyama Okyo and his students painted numerous paintings for the Daijoji Temple, whose mountain name (sango) is Kamei Temple (also known as Okyo Temple); the commission was carried out at the Okyo's studio in Kyoto, though the Kamei Temple (Okyo Temple) is located in nearby Hyogo.   Tiger imagery has a long history in East Asia. Tigers were frequently paired with dragons—the tiger representing the ‘male’ principle, the yin to the female ‘yang’ of the dragon, ancient cosmological symbols. Tigers are also commonly paired with bamboo, which is known as take no tora, or ‘tiger in bamboo’, and has many different interpretations; the tiger has a strong nature, is flexible and resilient like the bamboo, but it is also said that the strong tiger is looking for shelter underneath the bamboo, as any earthly power is inferior to the forces of nature. Moreover, the tiger and bamboo represent the power of faith in Buddhism. Auction comparison: Compare a closely related painting of a tiger, described as “School of Maruyama Okyo”, 104 x 15.5 cm, at Christie’s, Japanese & Korean Art, 23 March 2011, New York, lot 879 ( sold for 10,000 USD).