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Hsia Hui (mid-19th century)
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Hsia Hui (mid-19th century)

“Landscape after Ni Tsan”

Hanging scroll, ink on paper
142 x 39.5 cm. (56 x 15 1/2 in.)

Inscription:
“Done in emulation of the brush conception of Ni Kao-shih (Ni Tsan, 1301-1374) by Hsia Hui, called Yu-ku.”

Artist’s seals:
Hsia Hui; Yun-shan Yeh-shih (“Unofficial historian of cloudy mountains”)

FOR FURTHER DETAILS, INCLUDING A WRITE-UP, PLEASE CONTACT THE GALLERY

Tanomura Chokunyu (1814-1907)
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Tanomura Chokunyu (1814-1907)

“Sixteen Arhats Strolling Through the Woods” 1878

Hanging scroll, ink on silk
181 x 66.7 cm. (71 1/4 x 26 1/4 in.)

Inscription:
“Who built among numerous trees this ancient garden hall? With gate shut and walls in place we need not bar the door; Hoping to rely on the landscape to open our hearts and minds, we then take wine and tea to know intoxication and awakening.

The Classic of Rivers unites principles both abstruse and profound, grass and flowers together have the fragrance of moral beauty; Old rocks and strange trees naturally show their beauty, interrupted mist and flowing haze on the other hand have spirit.

Beginning close to rocks and springs both pure and cold, distant from the city the moss is thick and especially green; River frogs croak and preach prajna wisdom, mountain birds sing in tune with the Treasure Sutra.

Few men face the wall (in meditation) and seldom inscribe poems, the earth is old and beside the road are many mushrooms, Lights flickering through the clouds interfere with gazing above, far and near heavenly music delights the leisured ear.

Felling trees cheng! cheng! like a wooden bell, pine-wind gusts gracefully like a suspended wind chime; At sunrise and sunset our spirits communicate as we worship the red mirror, going or staying with subtle practice we play with green duckweed.

The Teacher of Law’s pleasures are simple and convey his tastes, the immortal’s spirit is pure and extends his age; Breaking and setting aside a dream of one thousand years, I drink three cups of ling wine from a hundred houses.

Don’t say that these circumstances seem to imply the lack of a master—its fullness leaves the universe empty! During the seventh month of the year 1878 of the Meiji era, in order to salute the worthy, inscribed by Chokunyu the Mountain Woodcutter, the Monk of Foolish Fields.”

Artist’s seals:
Kyushi ichiraku (“One pleasure in nine lives”); Den-chi (“Field of Fools”); Chiku-o oji (“Old man bamboo the recluse”)

Published:
Tanomura family: Chokunyu koji myoseki shu, Kyoto, 1917, pl. 16.

Recent provenance:
Mano Matsutaro, Owari

FOR FURTHER DETAILS, INCLUDING A WRITE-UP, PLEASE CONTACT THE GALLERY

Hayashi Roen (ea. 19th century)
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Hayashi Roen (ea. 19th century)

“Landscape with Elegant Trees”

Hanging scroll, ink and color on silk
105 x 38.5 cm. (41 3/8 x 15 1/8 in.)

Signed by the artist

Artist seals: two

FOR FURTHER DETAILS, INCLUDING A WRITE-UP, PLEASE CONTACT THE GALLERY

Sakai Hoshuku (1878 – ?)
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Sakai Hoshuku (1878 – ?)

“Boatman” 1933

Hanging scroll, ink and color on silk
138.5 x 50.2 cm. (54 1/2 x 19 3/4 in.)

Signed by the artist

Artist seal

FOR FURTHER DETAILS, INCLUDING A WRITE-UP, PLEASE CONTACT THE GALLERY

Luo Jianwu (b. 1944)
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Luo Jianwu (b. 1944)

“Han Dynasty Cypress” 2003-2011

Horizontal scroll, ink on paper (framed)
30.5 x 127 cm. (12 x 50 in.)

Inscriptions:
“Pure and odd, old and strange.”

“This cypress of the Han is two thousand years old, while the Republic is only one hundred years old. I took up my brush on this painting at age sixty (sui, i.e. in 2003) and completed at sixty-eight ((sui, i.e. in 2011). Luo Jianwu. Before my eyes what was pure has withered away.”

Artist’s seals:
Jianwu; Holuo (“The River Luo”)

FOR FURTHER DETAILS, INCLUDING A WRITE-UP, PLEASE CONTACT THE GALLERY

Fig 2
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Qiu Mai (Michael Cherney, b. 1969)

“Sacred Tree on Mount Lu” 2011

Photographs, ink on xuan paper
Mounted as four-panel screen
182.9 x 213.4 cm. (72 x 84 in.)

Artist’s seal: Qiu Mai xie zhen (“Qiu Mai writes the truth”)

FOR FURTHER DETAILS, INCLUDING A WRITE-UP, PLEASE CONTACT THE GALLERY

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