Japanese Two-Panel Screen: Bamboo in the Moonlight on Silver

Japanese two panel screen: Moon rising through bamboo on silver leaf, Meiji period painting (1868 - 1912) of the moon rising on the horizon with a garden stone in the foreground. Lic...

Symbolizing the Sun, gold is often used in shrines and temples in Japan. Gold has been extensively recognized to represent wealth, while bamboo is said to bring good luck due to its ability to regenerate in the forest. A beautiful composition of the two together...

Bamboo in moonlight Gamo Rakan (1784-1866) Hanging scroll, ink on silk. Dimensions: Scroll: 201 cm x 58 cm Image: 137 cm x 45 cm In this early 19th century work by Gamo Rakan a light ink wash applied to the silk background silhouettes the moon and suggests the atmosphere of early evening. Even though it is a literati subject, Rakan’s bamboo is quite realistic with a strong decorative style. The painting finds its inspiration from Chinese Ming dynasty painters who often used a single-tone, jet black stroke to emphasize the calligraphic nature of bamboo. In a different era, decorative would have been seen as somewhat unrefined. But increasingly in the Edo period, it was the hallmark of high style. The Japanese people, in particular the rising merchant class, had gradually become apathetic toward the traditional Sesshu and Kano schools of painting. Chinese professional and amateur painters living in the port of Nagasaki during the 18th century had a profound effect on Japanese painting and the freshness of their style and its decorative appeal contributed greatly to its popularity. Gamo Rakan’s teacher, Tani Buncho...

Three Friends of Winter Nakajima Raisho (1796-1871) Late Edo period, circa 1850 Ink and gold leaf on paper. This is a double-sided Japanese Furosaki or tea-ceremony screen from the mid 19th century; bamboo and plum on the front, young pines the back. It by Nakajima Raisho, a master painter of the Maruyama school in the late Edo and early Meiji periods. In this work Raisho combines exquisite ink brushwork with large open spaces of brilliant gold-leaf to inspire the viewers imagination. Rather than naturalism, he is searching for the phycological impression of the motifs, resulting in abstraction and stylization. His simplification of the motifs the result of looking to capture the inner nature of the objects. This art motif is known as Sho Chiku Bai, or the Three Friends of Winter. Evergreen pine connotes steadfastness, bamboo suggests both strength and flexibility, while plum blossoms unfurling on snow-laden branches imply hardiness. Combined, this trio is emblematic of Japanese new year. Chinese literati were the first to group the three plants together due to their noble characteristics. Like these resilient plants flowering so beautifully in winter, it was expected of the scholar-gentleman to cultivate a strong character with which he would be able to show the same degree of perseverance and steadfastness even during times of adverse conditions. The screen would have been placed near the hearth of a room used for the Japanese tea ceremony, shielding the fire from draughts and also forming a stimulating and decorative backdrop behind the tea utensils. It would have been used in the Hatsugama, or first tea-ceremony of the new year. Nakajima Raisho (1796-1871) originally studied under Watanabe Nangaku before entering the school of Maruyama Ozui. He was the highest ranking Maruyama school painter at the end of the Edo period and was known as one of the ‘Four Heian Families’ along with Kishi...