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JOKA: A RARE LACQUERED SHIBUICHI KOZUKA DEPICTING MOUNT FUJI, AFTER KANO TAN'YU
奥地利 北京时间
12月06日 下午5点 开拍 / 12月04日 下午3点 截止委托
拍品描述 翻译
JOKA: A RARE LACQUERED SHIBUICHI KOZUKA DEPICTING MOUNT FUJI, AFTER KANO TAN'YU

By the Joka family, signed Tan'yusai zu, Joka and kakihan
Japan, 19th century, Edo period (1615-1868)

The shibuichi kozuka finely lacquered in iro-e hiramaki-e and takamaki-e to depict Mount Fuji looming majestically above low foothills, partially obscured by thick mist. Signed to the verso in gilt Tan'yusai zu, JOKA with a kao [copied from Tan’yusai, by Joka and with the artist’s cursive monogram].

LENGTH 9.8 cm
WEIGHT 26.8 g

Condition: Very good condition with surface abrasions.
Provenance: Ex-collection Karl Florenz, by repute. A private collection in Netherlands, acquired from the above. An inventory label to the interior, ‘162’. Karl Florenz (1865-1936) was a pioneer of German Japanese studies. He became known above all for his work on the history of Japanese literature as well as for his translations of half of the Kojiki from the Nihongi (Japanese Annals, 1892–1897) and the entire Kogo shui (Japanese Mythology, 1901, and The Historical Sources of the Shinto Religion, 1919). In 1889 he became a lecturer in German language and literature at the Imperial University of Tokyo, and in 1891 full professor of German literature and comparative linguistics. In 1914 he was also chairman of the OAG Tokyo. In 1914 he received the first professorship for Japanese Studies at a German university, the chair at the Seminar for Japanese Language and Culture at the Hamburg Colonial Institute.

The work is after a design by Kano Tanyu (1602-1674), the most famous Kano painter of the 17th century. Tan’yu appropriated the famous volcano, the highest peak in the country, as his signature subject—his muse—and made it an emblem of Kano identity. There are at least twenty-seven paintings of Fuji by Tan’yu from the 1660s. As the patriarch of the Edo branch of the Kano family and the chief official painter to the military government in Edo (now Tokyo), his atelier was located immediately outside the shogun’s castle. No artist was more influential in his day. His conservative style, drawing on both Chinese and Japanese traditions, was perpetuated for generations.

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