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Winter and Spring - Set of 2

Kakemono, unique work, 189 x 52 cm
Product number: 6368

Sold – no longer available

This piece was handmade by Ikeda Kyuka 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 189 cm
  • Width 52 cm
  • Item Type Kakemono
  • Jikusaki Bone
  • Material Honshi Silk
  • Period of Creation Meiji (1868–1912)
  • Technique Hand-Painted
  • Unique Work Yes
Signature / Stamp:
Ikeda Kyuka
Sold

No longer available

Description

This matched pair of kakemono unfolds a quiet dialogue between winter and spring. In one painting, a landscape lies beneath gentle snow: muted gray tones, veiled hills, and snow-covered trees create an atmosphere of deep stillness. A hidden building and restrained architectural hints lend the scene a human closeness without breaking the silence. The second kakemono opens up the space: melting ice, flowing water, and the first blossoms set colorful accents, while pines and delicate blossom branches mark the transition into a milder season.

In the juxtaposition, the true power of the ensemble unfolds. The two paintings are not conceived as isolated landscapes, but as a continuous rhythm of stillness and awakening. Empty spaces play a central role here: mist, sky, and water merge almost seamlessly into one another, letting the eye wander. The painting technique is finely tuned, with subtle nuances of color and controlled ink gradations that are typical of the landscape conception of the Meiji period.

Both kakemono are painted on silk and fitted with jikusaki made of bone. The seal refers to Ikeda Kyuka. The set is kept together in a wooden box, which underscores its character as a deliberately conceived seasonal pair and preserves the harmonious unity of winter and spring.

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?.