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HIKATA HOSHO: AN IMPRESSIVE PAIR OF TWO-PANEL ‘TIGER AND DRAGON’ BYOBU (FOLDING SCREENS)
奥地利
06月12日 晚上7点 开拍 / 06月10日 下午3点 截止委托
拍品描述 翻译
HIKATA HOSHO: AN IMPRESSIVE PAIR OF TWO-PANEL ‘TIGER AND DRAGON’ BYOBU (FOLDING SCREENS)

By Hikata Hosho (1878-1934), signed Hosho and sealed Hosho
Japan, Taisho period (1912-1926)

Ink on paper. Each mounted on two wood panels. The first exquisitely painted to depict a fierce tiger crouching and poised, seemingly ready to pounce, with its muscular build and intense facial expression. The second screen presents a coiling dragon emerging through the clouds.

Inscriptions: One to the left, the other to the right, signed Hosho 芳沼 and sealed Hosho 芳沼.

SIZE 170 x 188 cm (each)

Condition: Good condition with wear, scattered foxing and browning of paper, soiling and streaked stains, and the edges and joints with associated touchups and restorations. The back with traces of wear and use. Presenting beautifully.

Hikida (Hikita) Hosho (1878-1934) was a Japanese painter born in Kyoto. He studied natural sciences and engineering at Ritsumeikan University before dedicating himself entirely to painting and studying under Kikuchi Hobun. His most famous work, ‘Mongolian Women Horse Riders’ from around 1917, showcases his ability to blend traditional Japanese elements with the cultural context of his subjects. Hosho was a regular exhibitor at Bunten exhibitions beginning from the first such exhibition in 1907, when he was twenty-nine, until the twelfth Bunten of 1918. Later, he exhibited works in the 1920 and 1931 Teiten exhibitions, earning the title of “Mukansa,” meaning that he had achieved such a solid reputation that he no longer had to submit works for approval by the jury. Hosho, however, eventually acquired a reputation as a reclusive artist, operating outside normal art societies and eschewing publicity; he is said to have lived a simple life and worked in a rather primitive atelier.

The pairing of the tiger and dragon is rooted in ancient Chinese cosmology, where these two creatures represent opposing yet complementary forces, embodying the yin (the feminine aspect) and yang (the masculine aspect). The tiger’s roar is believed to generate wind, while the dragon is associated with clouds, further symbolizing their balancing roles in the natural world. These creatures also signify a range of dualities: yang and yin, male and female, Autumn and Spring, west and east, and wind and rain. The tiger and dragon were two of the four supernatural beasts of the cardinal directions, and this visual tradition was initially established in China. It later spread to Japan, where it gained prominence through the importation of diptychs attributed to the Song dynasty painter Muqi (active mid to late 1200s), which are now held in the Daitokuji in Kyoto.

Auction comparison:
Compare a related Kano school six-panel screen depicting a tiger and dragon, dated 18th century, 169 x 375 cm, at Zacke, Fine Japanese Art, 14 June 2024, Vienna, lot 303 (sold for EUR 23,400).

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