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Tanigushi KÔKYÔ

Recueil de 22 peintures sur soie

1890 (S.d), 8,5x18cm, relié.

KÔKYÔ Tanigushi
Album of 22 paintings on silk
N. d. [1890] 8,5 x 18 cm, silk embroidered binding
An album of 22 paintings on silk laminated on cardboard representing flowers, birds, landscapes and animals, genre of which the painter was in a fact a renowned specialist. Each painting possesses a red seal, either that Kôkyô, or Tanigushi.
A prized and very rare ensemble.
Black silk binding embroidered with gold threads (flowers and birds). Yotsugiri format in accordion, all the set on thick and flexible cardboard. Paper Mica in gold on the side of the painting, black or silver on the back. The paintings are framed with a band of gold paper. The borders of black silk overlaying the first and the last covers are frayed, otherwise the paintings and the carboards are in very good state. Handwritten note on one of the end pages: ‘‘Old Chinese painting bought at a sale at The Hotel Drouot, Paris.” This of course seemed to be an error of authentication.
Tanigushi Kôkyô (1864-1915) is one of the earliest celebrated painters of the Meiji period. He was one of the founders of the University of Fine Arts in Tokyo, professor at the municipal school of Kyoto and at the College of Fine Arts. His painting is marked by delicateness and finesse. The technique uses glue-bound distemper utilizing rice mixed with the other natural pigments, it is an ancestral technique which also appeared in the painting of fresco in the West. In the beginning of the Meiji era (1868), the Yoga style of painting, under European and Western influence was officially encouraged by the government and many painters were sent abroad to acquire the technique, but from 1880, this disruption of traditional Japanese art was abandoned, and one witnessed a renewed interest and a more important presence of Nihonga painting, which adhered strictly to the ancient traditional technique of Japanese painting.
Tanigushi Kôkyô belonged to the first generation of Nihonga painters, the present collection came in to being as an anthology and a manifesto on the theme of classic Japanese silk painting, which was itself borrowed from an ancient Chinese source: lavish scenery, flowers, birds and animals. One will notice in these paintings the importance of the brush stroke, which reminds the viewer that a Japanese painter is before anything a scholar whose first training is calligraphy. In the 20th century, the two pictorial movements will coexist, Yoga and Nihonga, with even some mixing between the two styles.
The collection of Kôkyô seems valuable in this sense, it testifies to this new Japan, transformed by its opening to the West, the renewal and the perpetuation of Japanese art. After the Meiji era, Japan will continue to be profoundly divided between the western and tradition influence, a division reflected in the many works of literature, especially in the work of Mishima.
The first period of Nihonga painting will have a great impact on Western museums, particularly in America.
$ 7 500

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