Chinese Beauty at Red Table

Name: Chinese Beauty at Red Table
SKU: 5802
Price: 750.00 EUR
Availability: InStock

Kakemono, unique work, 174 x 44 cm

Product number: 5802

Height 174 cm
Width 44 cm
Item Type Kakemono
Jikusaki Wood
Material Honshi Paper
Period of Creation Edo (1603–1868)
Technique Hand-Painted
Unique Work Yes

€750.00

Available, delivery time: 1-3 Days

Description

A lady in flowing robes has seated herself on a red, elaborately carved stool and turns her gaze pensively to the side. Her garments fall in soft, elaborately layered folds: a dark, patterned overrobe encloses a blue upper garment, while the white under-kimono reaches the ground in wide folds and terminates there in a lively rhythm. Before her, on a narrow bench, lie a book, a small incense vessel, and further utensils – props of cultivated leisure that point to the literary-cultivated sphere of Chinese models.

The depiction follows the tradition of Chinese-inspired figure painting, which was cultivated by Japanese painters in the Edo period and rendered in their own individual style. Fine line work in the face and hands, the careful rendering of the textiles with their delicate patterning, and the restrained, harmonious coloring bear witness to a practiced painterly hand.

The painting bears a signature and seal and is painted on paper. The jikusaki is made of wood, and the mounting consists of a dark, floral-patterned fabric. As a testament to the Edo period, this hand-painted unique work shows age-related traces that make its long history visible and at the same time lend the work its authentic antique character.

Frequently asked

When was the work created?

Based on the previous owners' information and the condition of the object we place it broadly in the Edo (1603–1868) period, but cannot give a precise date.

Is this genuine craftsmanship?

Yes, this piece is a genuine handcrafted original that exists only once.

Why does the date of creation sometimes not match the artist's dates

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?.