Catalog: Artists (55)

A carved wood Noh-men Mask of a female demonic figure named Hannya. Carved wood covered with Gofun, gold and mineral pigments, 20th century. It is 25 x 19.2 cm and in overall fine condition bearing the carvers seal in the back. The Hannya is a mask that represents a female onryō (vengeful spirit). In Noh plays, the type of Hannya mask changes according to the degree of jealousy, resentment, and anger of the female characters.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of a spirit named Deigan. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.3 cm and in overall fine condition bearing the carvers seal in the back. The Noh play Lady Aoi (Aoi no Ue) by Zeami is based on Chapter 9, “Leaves of Wild Ginger” (Aoi). Lady Aoi, Genji’s first wife, is possessed by a spirit during childbirth and becomes seriously ill. The culprit appears to be the vengeful spirit of Genji’s neglected former lover, Lady Rokujō, humiliated by Aoi during the “battle of the carriages” scene. Lady Rokujō first appears on stage seeking retribution, wearing the deigan (“gilded” or “golden eyes”) mask. The mask represents a mature woman who carries within her the seeds of supernatural transformation, while simultaneously signaling a demonic spirit that will soon manifest.

A carved wood Noh-men Mask of a young female figure named Zou Onna. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of a warrior named Chujo. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.3 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

This type of mask originated from sarugaku, the predecessor of noh, in the latter part of the Heian period. This is the oldest type of noh mask. The "Kojo" mask is worn by the actor portraying the old man in the first part of "Takasago" and in other Noh plays. The mask, embodying dignity and divinity,
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of a young boy named Doji (Douji). Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.7 x 13.5 cm and in overall fine condition.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of an aged female figure named Ryojo Komachi. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21 x 14.5 cm and in overall fine condition.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of a female demonic figure named Hannya. Carved wood covered with Gofun, gold and mineral pigments, 20th century. It is 26 x 19.2 cm and in overall fine condition bearing the carvers seal in the back. The hannya is a mask that represents a female onryō (vengeful spirit). In Noh plays, the type of Hannya mask changes according to the degree of jealousy, resentment, and anger of the female characters.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of an elderly woman called Uba. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of a female figure. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.3 x 13.3 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of an aged male figure called Okina. Carved wood covered with Gofun and mineral pigments with horse-hair and chord, 20th century. It is 18.5 x 15.2 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A carved wood Noh-men Mask of a male figure named Chigusa Ayakashi. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21 x 14.7 cm and in overall fine condition bearing the carvers seal in the back. Ayakashi is a vengeful male ghost, often a warlord, bearing a grudge.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

Torn paper is layered to form the canvas for this unusual ink painting by master of the genre Nomura Seiroku titled Mori Kara (From the forest) published in the Museum catalog Nomura Seiroku by the Yamanashi Prefectural Museum of Art (2000, Figure 21 page 115). According to the Museum it was painted in 1971. Here Seiroku has applied vertically torn strips of paper then applied dark vertical strokes of ink, intimiating not just through the color the image of the forest, but also via the texture of the paper canvas itself. It is 215 x 70.5 x 1.5 cm (84-1/2 x 27-3/4 inches) mounted on a wood framed panel in excellent condition.
Due to size the cost of shipping will be accrued separately.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching.In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.

A masterpiece of simplicity and abstraction by Nomura Seiroku featuring various shades of black representing snowflakes slowly accumulating at the bottom of the long paper canvas enclosed in a period brushed metal frame with silver fabric mat. The frame is 96 x 31 x 6 cm (37-3/4 x 12 x 2 inches), the image itself is 71 x 14.5 cm (28 x 6 inches) and is in fine condition.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching.In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.

A framed Tanzaku Poem card dominated by a red camelia by Nomura Seiroku mounted in a period metal frame. Mineral pigment on paper mounted centered in a silver panel with cool color fabric. It is signed and titled on the back.
The imgage itself is 35.5×5 cm (14 x 2 inches), the frame size; 51.5 × 26.5 × 5,cm (20 x 10-1/2 x 2 inches) and is in overall excellent condition. : Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painters such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching. In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became freer and more spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.

There is something very intimate about this image of a small fish in a simple wash of ink by Nomura Seiroku enclosed in the original signed wooden box titled Kajika. Ink on psprt mounted in beige cloth, the scroll is 118 × 25.5 (10 x 46-1/2 inches) and is in overall excellent condition.
The Japanese fluvial sculpin is a species of freshwater ray-finned fish. It is endemic to Japan, where it inhabits mountain streams in Honshu, Shikoku, and Kyushu.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching.In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.

A frantic image of Higanbana flowers scratched onto a blue background by Nomura Seiroku Mineral pigment on paper mounted in a gilded frame signed the titled on the back. It is 60.5 x 45.5 cm (24 x 18 inches) and is in excellent condition.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching.In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.

A Dragon rises up in a brisk stoke past the character Noboru (ascending) on the dark mulberry paper of this scroll mounted work by Nomura Seiroku. The scroll is 48 x 210 cm (19 x 82-1/2 inches) and is in excellent condition. It has been cleaned and completely remounted in antique green cloth emblazoned with white crests, and features antique Japanese Sarasa dyed cotton.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching. In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.