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Autumn Chrysanthemums

Kakemono, unique work, with box, 190 x 51 cm
Product number: 6460
  • Height 190 cm
  • Width 51 cm
  • Item Type Kakemono
  • Jikusaki Bone
  • Material Honshi Silk
  • Period of Creation Taishô (1912–1926)
  • Technique Hand-Painted
  • Unique Work Yes
  • Wooden Box Yes
Signature / Stamp:

€480.00

Available, delivery time: 1-3 Days

Description

Lush white chrysanthemum blossoms unfold in full splendor amid large, blue leaves, while red berries on delicate branches provide accents. A small, brown-feathered songbird sits on a moss-covered rock, gazing attentively into the scene. The composition captures the cool freshness of the autumn wind, as suggested in the calligraphy: "The west wind cools the chrysanthemums, in the autumn of the third year…". In Japanese tradition, chrysanthemums symbolize longevity, purity, and the quiet beauty of the late season, while the bird adds a lively, poetic touch.

The kakemono bears the signature and seal of Amano Shuryo, an artist of the Taisho period who specialized in fine kacho-ga painting. In this brief but culturally rich era (1912–1926), many painters combined traditional motifs with a sensitive, almost romantic sensibility that emphasized the transience of the seasons and the harmony of nature. Amano Shuryo's works are characterized by precise color gradients and an elegant compositional balance.

Painted on silk, this unique work unfolds a soft, luminous color palette with subtle gray and blue tones that make the petals appear delicate and dimensional. The jikusaki made of bone lend the piece a refined, classic mounting. It is presented with a wooden box. This hand-painted kakemono brings the meditative beauty of the Japanese autumn into any room and is especially suited to lovers of traditional flower-and-bird painting who value fine execution and poetic expression.

Frequently asked

Yes, this work is delivered with a wooden box.
Yes, this piece carries the signature or seal of Amano Shuryo
Based on the previous owners' information and the condition of the object we place it broadly in the Taishô (1912–1926) period, but cannot give a precise date.
Yes, this piece is a genuine handcrafted original that exists only once.
Because the two pieces of information speak about different things: the period designation describes the object – support, colors, condition – while the signature reflects which name appears on the painting. In most cases there is no attempt at deception behind this, but rather Japanese painting training: copying from workshop models was the curriculum for centuries, an utsushi is regarded as a bow to the teacher, workshops signed with the master's name, and artist names were passed down within a school. Such a hanging scroll is therefore not a forgery, but a hand-painted one-of-a-kind that continues the formal language of its school – just not the work of the famous name, and priced accordingly. We explain this in detail in the guide Why does a kakemono often bear the signature of an artist long deceased?.

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