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Birds in Autumn Maple

Kakemono, unique work, with box, 205 x 61 cm
Product number: 6449

Sold – no longer available

This piece was handmade by Imai Keiju and was a one-of-a-kind work. It cannot be reordered and will never exist in this form again. The page stays online as part of our archive.

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Details about the sold piece

  • Height 205 cm
  • Width 61 cm
  • Item Type Kakemono
  • Jikusaki Bone
  • Material Honshi Silk
  • Period of Creation Shôwa (1926–1989)
  • Technique Hand-Painted
  • Unique Work Yes
  • Wooden Box Yes
Signature / Stamp:
Sold

No longer available

Description

Between the slender branches of a mighty maple tree, a quiet scene of late autumn beauty unfolds. The subtly nuanced leaves – in tones of warm red, dark green, and golden ochre – frame several small tits sitting attentively yet calmly on the branches. The composition thrives on the elegance of its fine linework: the tree trunk appears monumental yet softly modeled, while the vivid color accents of the foliage set off the delicate bodies of the birds. The subdued, light background field enhances the depth of the scene without pushing itself into the foreground.

Imai Keiju succeeds in capturing the atmosphere of a quiet autumn day – a moment in which light falls gently through the last leaves and nature appears in a mixture of decay and radiance. The birds, at times sitting securely, at times gazing curiously, lend the image a quiet narrative of watchfulness and harmony between animal and season. Particularly striking is the successful balance between richly detailed observation and an almost poetic reduction, which lends the work an elegant lightness.

Painted on silk and fitted with jikusaki of bone, this kakemono dates from the Shōwa period. Signature and seal are by Imai Keiju. A finely executed example of classical Nihonga painting that convincingly captures the autumnal mood in all its color and calm.

Frequently asked

No – as a one-of-a-kind piece it exists in a single example only.
We would be glad to look for one. Get in touch with the details of the object you are looking for and we will see what we can do.
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?.