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Japanese Hanging Scroll : GANKU "Roaring Tiger"    

1.400 $






Signature and seal: Ganku

Scroll end: wood

Technique: handpainted on silk

Size: 70 x 186 cm / 27,5'' x 73,2''


Ganku 岸駒 (1749 or 1756 - January 19, 1839), or more formally Kishi Ganku, was a noted Japanese painter of the late Edo period and founder of the Kishi school of painting. He is perhaps best known for his paintings of tigers.

Ganku was born in Kanazawa as Kishi Saeki, studied painting styles including those of Chinese painter Shen Nanpin (沈南蘋) and the Maruyama school, and arrived in Kyoto around 1780. By the late 18th century, Ganku's paintings were appreciated by patrons that included the imperial family, leading to a position under Prince Arisugawa. His students included his son, Gantai 岸岱 (1782–1865), son-in-law Ganryou 岸良 (1797–1852), adopted son Renzan 連山 (1804–59), Yokoyama Kazan 横山華山 (1784–1837), Shirai Kayou 白井華陽 (fl. ca 1840-60), and Kawamura Bumpou 河村文鳳 (1779–1821). He was made honorary governor of Echizen (Echizen no kami, 越前守) toward the end of his life.

Ganku died on January 19, 1839, in Kyoto.

His pseudonyms are

Doukoken, Doko, Kayo, Kakando, Kotokan, Tenkaio.




Japanese old hanging buddhist scroll

         Hermit with tortoise in KANO-HA style        

    750 $






This painting was drawn about 200 years ago during the Edo Period in Japan.  It is hand paintted on paper.
You will find a Hermit with tortoise with a Wabi-Sabi atmosphere.
It is drawn very well and it is a very good composition.
Such simple touch is the soul of a Japanese painting. It leads to WABI-SABI. This style of painting is called KANO-HA painting. It is traditional from ancient times and it is the most popular style.

The Kobikicho branch of the Kano school was founded by Kano Naonobu and further popularized by Kano Tsunenobu during the late 18th century.


The subject matter of the Kano school was very popular with the ruling samurai class, who commissioned many screens, murals, sliding panels, and scrolls as presents that were given to foreign dignitaries throughout Europe and Korea.


I was not able to investigate this painter's name or details.

CONDITION : Subtle. ( stains, wrinkles, damages. )

SIZE : Width ca. 41cm (16,2''), Height ca. 144cm (56.8''), Weight 160 g

A hermit (adjectival form: eremitic or hermitic) is a person who lives, to some degree, in seclusion from society. In Christianity, the term was originally applied to a Christian who lives the eremitic life out of a religious conviction, namely the Desert Theology of the Old Testament (i.e., the forty years wandering in the desert that was meant to bring about a change of heart).

In the Christian tradition the eremitic life is an early form of monastic living that preceded the monastic life in the cenobium. The Rule of St Benedict (ch. 1) lists hermits among four kinds of monks. In the Roman Catholic Church, in addition to hermits who are members of religious institutes, contemporary Roman Catholic Church law (canon 603) recognizes also consecrated hermits under the direction of their diocesan bishop as members of the Consecrated Life ("consecrated diocesan hermits"). The same is true in many parts of the Anglican Communion, including the Episcopal Church in the US, although in the canon law of the Episcopal Church they are referred to as "solitaries" rather than "hermits".

Often, both in religious and secular literature, the term "hermit" is also used loosely for any Christian living a secluded prayer-focused life, and sometimes interchangeably with anchorite/anchoress, recluse and "solitary". Other religions, for example, Buddhism, Hinduism, Islam, (Sufism) and Taoism, also have hermits in the sense of individuals living an ascetic form of life.

In modern colloquial usage, the term "hermit" denotes anyone living a life apart from the rest of society, or who simply does not participate in social events as much as is common, regardless of their motivation in doing so, including the misanthrope.



Japanese Hanging Scroll: TANOMURA CHOKUNYU 'Remote Landscape'        450 $


Signature & Seal = Chokunyu
Scroll Box = None
Roller Ends = Wood
Technique = Handpainted on Paper
Condition = Refer to all pictures


Tanomura Chokunyu (1814~1907)

Chokunyu was the step son of Tanomura Chikuden and he studied Chikuden's work. Chokunyu started to learn from Chikuden when he was 9 years old, and Chikuden found his talent and adopted him. Chokunyu learned Confucianism from Tsunoda Kyuka and Chinese poetry from Hirose Gyokuso. He also learned and got skills of Omotesenke Tea Ceremony, Kodo (Japanese art of appreciating incence) and  Kenjutsu (the art of the sword). When he was 20 years old, he moved to Osaka with Chikuden.

After Chikuden has died, Chokunyu was touring around Kyoto and Osaka. When he turned 27, he founded SHISHAKOSAIGINSHA, he's got disciples over 300. Chokunyu took over Chikuden's will as he wanted to spread the middle grade tea ceremony and worked on it so hard. In 1880, he became the principal of Kyoto Painting School. After he quited this position, he opened his private painting school at his house. Chokunyu died when he was 95 years old. 

His pseudonyms are Chikuou, Bousai, Kousai, Hoteian, etc... 

Size: 65.6cm x 194.3cm / 25.8" x 76.4"


Shunga Woodblock Print Meiji Period       150 $




Japanese shunga woodblock print from the Meiji period.  The print  features a close-up of a Japanese woman and her lover - a rare find! The print was purchased in an antique bookstore in Jinbocho Tokyo 1951 and is in good condition with minor staining (see photos below).  

Size of print: Approx. 19.5cm x 13cm.



Four big sheets of hand painted Kimono designs - signed     995 $




Absolutely rare and precious - ready to frame to a great collage of Japanese Kimono fashion history: 4 big sheets of hand painted Kimono designs, painted on ricepaper in the late Edo Period/early Meiji Period. Around 1850.

They all are signed by the same artist. Strong and vivid colours.

Great condition with traces of wear and book stiching.

Size of each sheet: ca. 35cm x 42cm

Shipping included

Further information:

Originally, "kimono" was the Japanese word for clothing. But in more recent years, the word has been used to refer specifically to traditional Japanese clothing. Kimonos as we know them today came into being during the Heian period (794-1192).

From the Nara period (710-794) until then, Japanese people typically wore either ensembles consisting of separate upper and lower garments (trousers or skirts), or one-piece garments. But in the Heian period, a new kimono-making technique was developed. Known as the straight-line-cut method, it involved cutting pieces of fabric in straight lines and sewing them together. With this technique, kimono makers did not have to concern themselves with the shape of the wearer's body.

Straight-line-cut kimonos offered many advantages. They were easy to fold. They were also suitable for all weather: They could be worn in layers to provide warmth in winter, and kimonos made of breathable fabric such as linen were comfortable in summer. These advantages helped kimonos become part of Japanese people's everyday lives.

Over time, as the practice of wearing kimonos in layers came into fashion, Japanese people began paying attention to how kimonos of different colors looked together, and they developed a heightened sensitivity to color. Typically, color combinations represented either seasonal colors or the political class to which one belonged. It was during this time that what we now think of as traditional Japanese color combinations developed.

During the Kamakura period (1192-1338) and the Muromachi period (1338-1573), both men and women wore brightly colored kimonos. Warriors dressed in colors representing their leaders, and sometimes the battlefield was as gaudy as a fashion show.

During the Edo period (1603-1868), the Tokugawa warrior clan ruled over Japan. The country was divided up into feudal domains ruled by lords. The samurais of each domain wore identified by the colors and patterns of their "uniforms." They consisted of three parts: a kimono; a sleeveless garment known as a kamishimo worn over the kimono; and a hakama, a trouser-like split skirt. The kamishimo was made of linen, starched to make the shoulders stand out. With so many samurai clothes to make, kimono makers got better and better at their craft, and kimono making grew into an art form. Kimonos became more valuable, and parents handed them down to their children as family heirlooms.

During the Meiji period (1868-1912), Japan was heavily influenced by foreign cultures. The government encouraged people to adopt Western clothing and habits. Government officials and military personnel were required by law to wear Western clothing for official functions. (That law is no longer in effect today.) For ordinary citizens, wearing kimonos on formal occasions were required to use garments decorated with the wearer's family crest, which identified his or her family background.

Nowadays, Japanese people rarely wear kimonos in everyday life, reserving them for such occasions as weddings, funerals, tea ceremonies, or other special events, such as summer festivals.


Toyohara Kunichika Woodblock Print Kabuki Nishike-e     250 $


Strong, vivid and colorful Ukiyo-e woodblock print of famous Toyohara Kunichika.

It is titled Nishike-e, Oban tate-e, and it shows an Kabuki theatre actor portrait.

Sign of Toyohara Kunichika hitsu with Toshidama seal from 1865. Great condition with only little traces of use.

Toyohara Kunichika (30 June 1835 – 1 July 1900) was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of ukiyo-e actor-prints, which are woodblock prints of kabuki actors and scenes from popular plays of the time.

An alcoholic and womanizer, Kunichika also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. He worked successfully in the Edo period, and carried those traditions into the Meiji period. To his contemporaries and now to some modern art historians, this has been seen as a significant achievement during a transitional period of great social and political change in Japan's history.

Size: 24,8 x 36,5 cm.

Shipping included.






Copyright © Momoyama Gallery - All Rights Reserved


Copyright © Momoyama Gallery - All Rights Reserved