Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
In accordance with the requests of local authorities our Kyoto gallery will be closed to visitors from April 14th until further notice.
Pair Painted Gold Rimpa Folding Screens by Hattori Shunyo
Please refer to our stock # ANR8134 when inquiring.
A pair of Rimpa floral scenes splayed across 2 small six panel screens by Hattori Shunyo dating from the early 20th century. Bold colors and strong design elements combined with the trademark tarashikomi (diluted elements created when water is applied to the surface before or after pigments causing them to diffuse) exhibit the artists deep devotion to this important Japanese painting tradition. Pigment on gilded silk, signed and sealed Shunyo. Perfect for wall hanging, each screen is 276 x 94 cm (108-1/2 x 37 inches) and both are in great condition.
Due to size the cost of shipping will be accrued separately.
Hattori Shunyo (b. 1883) was an artist from Kyoto who graduated the (now) Kyoto Municipal University of Art and fell under the circle of Yamamoto Shunkyo. His work Morning Wind was selected for and awarded at the very first Bunten National Exhibition in 1908. A pair of screens depicting the cultivation of rice through the seasons is held int eh collection of Musashino Art University.
According to the scholarship of the Yamatane Museum of Art: The Rimpa depiction of nature was colorful. The Rimpa style’s decorativeness (sic), with a lavish use of gold and silver, and its innovative design sense originated in Hon’ami Kōetsu’s and Tawaraya Sōtatsu’s day. Generation after generation of Rimpa artists continued those practices. In ink painting, the Rimpa school artists were distinguished by their use of the “tarashikomi” technique to create pooled, blurred colors in what is called boneless painting (painting in darker and lighter ink washes, without outlines). Works depicting flora and fauna using “tarashikomi” have a generous, heartwarming ambience; we sense in them the gentle gaze these artists directed at nature.
The Meiji period’s waves of Westernization wrought major changes in the world of Japanese art. At the same time, Japanese art was attracting intense interest in the West, where the Rimpa school came to be highly regarded. That led, in the twentieth century, to a reassessment of Rimpa in Japan and a full-scale Rimpa boom, extensive research, and the enthusiastic collection and display of Rimpa works. Works that showed Rimpa influence began to appear, particularly from about 1910 on. Artists had the opportunity to encounter Rimpa work not only through exhibitions and published collections of paintings but also through the works that collectors, who were also their patrons, had assembled. These interactions inspired artists to deepen their study of the Rimpa school and incorporate the results in their work
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