QIU YING BI MEI REN: QIU YING BRUSH PAINTING OF BEAUTIFUL WOWOMEN. Japanese Titl

[Japan ca. 1800-1810]. Hand scroll, silk brocade cloth, with ribbon tie,ivory clip,painted on fine hand-made crushed mica flecked Washi paper, giving a sparkling effect, very long: 27.5 x 6m.48 cm.,very clean, solid 21 color paintings. RARE! *** *** *** . . . YAMAKAWA'S TRIBUTE PAINTING TO . . . THE FAMOUS MING DYNASTY CHINESE PAINTER . . . CH'IU YING [QIU YING] [1494?-1522] . . . A STUNNING GOUACHE COLOR PAINTED CHINESE SCROLL . * WHO WAS YAMAKAWA SHUHO [SHUUHOO] [1898-1944]: . Was a well known Japanese painter, who specialized in birds and flowers under Ikegami Shuho [Shuuho], and from whom he derived his studio name. He also studied Bijinga [pictures of beautiful women] under Kaburagi Kiyokata. . There is a signature and four red cinnabar Hanko [seals or chops], two of which are small square shaped with Yamakawa's first name "Shu hoh" just left of his signature. Even though there is no last name indicated, these two Hanko match known seals he used. . A large square Hanko left of Yamakawa's seals, partially read: "NO ZO SHOI," meaning "Ex-libris" or a former owner's copy. The fourth seal at the lower right, is a large circle reading SHU-HOH. . There is not date anywhere or indication of a date on the painting. It is more than likely the work was done sometime after circa 1918 when he was twenty years old or older. . *** THE SUBJECT:. We know Yamakawa's appreciation and admiration of Ch'iu Ying is understandable. It would be entirely appropriate for artists to keep and refer to earlier Chinese and Japanese master's works, or even show respect by painting a 'tribute' inspired by an earlier or famous artist of the classic Ming and other dynasties. . The skill of the brush strokes, coloring and delicacy of the lines, the composition follows the Chinese style of earlier dynasties. . The work was expertly executed by a Japanese artist. In scene 18, there is a small note in Katakana, on the screen near the bronze gong, indicating the softness of the color. . Yamakawa admired beautiful ladies and painted them as well as created a large number of stunning color woodblock prints illustrating a variety of Japanese Bijin [beauties]. . *** THE CHINESE MASTER CH'IU YING [QIU YING]: Per the brushed title slip on the exterior of the scroll, and the first brushed name listed at the beginning of the scroll, there are Hanzi [Chinese characters] reading: "CH'IU YING" [QIU YING] the name of the original artist which inspired this Yamakawa artist to produce this tribute. . Continuing with the same brush and writing style below is also the brush-written name at the beginning of the scroll: "Shuuhoo Sei," followed by "Dai Jushi go" ["Number 40"]. The significance is moot, but can be a numbering system of chronological 'tributes' Yamakawa painted. . *** THE FOUR HANKO [Seals or chops]: There are a total of four red cinnabar Hanko found at the beginning of this scroll. There are two small square red cinnabar Hanko at the beginning, just left of the signature reading: "Shu hoh." . *** DATING: According to the kind of silk brocade binding and Washi [hand-made] paper, this painting is from the early part of the 20th century, circa 1908-1912. Most likely painted when Yamakawa was in his early twenties. Other examples of his paintings during this time frame have a similarities. . The work is painted on period Japanese Washi [hand-made] paper, with its distinctive mica-flecks. The use of mica on paper is a very special, seldom used. It takes far above average artistic skill and masterly technique to paint on this kind of specialty paper. In additions, mica-flecked paper is seldom used due its extravagant expense. The results of painting mica-flecked paper is that a subtle 'shimmering' comes through the gouache producing a lovely effect. . *** A NOTE ABOUT "TRIBUTE" PAINTINGS: Yamakawa was a known admirer of earlier Chinese and Japanese dynasty painters. His production of "tribute" paintings in the style of old master artists was a way for him to express his admiration and respect for these artists. They were in no way painted to be 'copies' or 'fakes' of the originals. There are a number of people who would like to believe this kind of painting was meant to deceive others. . We are aware a large number of famous paintings have been wrongly copied, faked and put on the market in an attempt to deceive the public with "fabulous fakes." This is an entirely opposite, spurious subject and intention ! In some cases "tribute" paintings have been misrepresented by unethical sellers as original art works of the old masters. . Within the artistic and literati world, there are large numbers of legitimate "tribute" paintings openly so noted and annotated by the respectful artist. This item is from that category, a respectful renditions from the ancient past masters' works. . *** A TENDER & CHARMING DEPICTION OF MING DYNASTY LADIES: The Ming Dynasty [1368-1644] was time of great paintings, lovely ladies in soft-flowing pastel gowns. . A most charming and lovely Nanga school painted long scroll. The work shows the more tropical looking foliage of South China, and is entirely devoted to beautiful Chinese women. Their costume, coiffeur and furnishings reflect the best of Ming advanced Chinese art and culture. . *** THE SCENES AND SUBJECTS: This lovely color work contains some twenty-one separate scenes divided the Chinese text before or after each example. . The scenes depict the most celebrated Chinese beauties from the Ming period and earlier in history. Each is delicately painted in pastel colors, with a steady and fine hand in very thin outline. The surrounding scenery is beautifully executed in much detail, as are the floral, architectural and other accommodations. . NAME, SCENE AND SIGNIFICANCE: Each painting is preceded by a Chinese text, giving the name of the lady, a brief comment about her charms and celebrity. . Each Chinese beauty is clad in the most stunning and beautiful silk garments, with elaborate coiffure, some hold various kinds of fans, or bamboo painting brushes and other items. . *** DESCRIPTION OF THE 21 COLOR GOUACHE, HAND-PAINTED SCENES: . 1. The work begins with a lady in her garden, she holds a fan and has red inner sleeves showing. Behind her is a group of long banana leaves painted in orange and a bit of green remaining, indicating they are at the end of their season, and about to dry out and die. They grow from a stylized Chinese rock, with a few green leaves on a small branch near the foot. . 2. Wearing a blue silken head cover, this lady holds a horse tail fly swatter, while standing in her garden. Behind her is a very ancient and gnarled tree trunk with several red flowers, below that is a stylized Chinese rock. . 3. A colorful garment-wearing lady faces away from the artist and looks up to her right at her fluffy sleeve. She is standing on a red carpet with floral pattern. She wears a white flower in her hair. . 4. Wearing a red gown, this lady stands in her garden, with a very stylized ancient pine tree-trunk-table which has a book with a red title slip upon it. She looks away in a dreamy fashion allowing her fan to drop down. Behind her the ancient pine tree rises with grace. . 5. A lady stands in her garden, she admires a gnarled stump with a vase and red coral. Behind her is an ancient pine tree with a sprig or two. . 6. A lady in a pale green garment plays a very thin long bamboo flute, serenading a Phoenix at her side. There are five peacock feathers behind her, and behind that is a tree and a few branches. . 7. A seated Chinese lady plays her Zheng [zither, harp] while seated. A white stork [or white crane] is to her right, and behind her is a stylized Chinese decorative rock. At her left is a small table with a Chuan case of several books, a small censor, a vase with red flowers, and a small red ceramic covered jar. . 8. The Chinese lady dressed in an orange gown is painting pale blue clouds a grand and large screen. Her maid is behind her and holds a large ink stone. There is a Foo-dog on the end of the screen. . 9 The lady is seated before a wide Ming period desk. She is holding a bamboo brush, and preparing to either write or draw. There is another, larger table to her right with a bronze bell suspended from a wooden frame, two orange cloth Chuan with many books, a golden statue of Buddha and a sprig of flowers in a ceramic vase, a single book in blue covers is on the table. . 10 This lady holds a pink ceramic jar and looks pleased. . 11 A Chinese lady adjusts her coiffure after rising from her bed. She has a water basin on the bed to wash her face. There is a small table behind the bed with a mirror and a silken scarf partially covering it. A very ancient gnarled tree is behind her, it has one single group of red fruits. . 12 A Chinese lady holds a group of silk-tied scrolls, she looks at a pair of large ceramic tables, each with vases and a cup. . 13 A mother and her two very young children sit near a checkered blanket. She holds a red silk cloth which perhaps holds a ceramic bottle while the youngest little boy reaches for it. An older boy in blue garment sits between his younger brother and mother. There is a group of rolled up scrolls tied with a silk cord before the blanket, along with an ink stone, paper, and a large silk bag, probably holding her Zheng [zither or harp]. . 14 A Chinese lady appears to be returning from her vegetable garden, with a thin bamboo pole over her shoulder holding a basket full of greens. She walks along a small river. . 15 A Chinese lady holds her hands inside her garment in the prayer form, before an old gnarled tree and makes her prayer. . 16 A stunning Chinese lady sits on a circular woven Chinese carpet, she has a small censor on a stand, and has her hands in the prayer mode as she smells the incense makes her prayer. . 17 A mother looks wistfully ahead while holding a large fan, her shy daughter stands partially behind her, holding a blue Chuan case with several books inside. Behind them is a stylized rough tree trunk with a few sprigs and leaves. . 18 A Chinese lady sits on a wooden chair, before a large screen. She is holding a bamboo brush, and is actively engaged in painting. She has an attendant made to her left, but she looks left, toward where the artist who painted this scene would be located. On her right side is a lovely Ming period table, with her ink stone, various paint cups and a vase with several other bamboo brushes, behind which is a stack of books and a small vase. There is a small table behind the larger table with a vase and cherry blossoms. . 19.This lady sits on a decorated mat in a pensive mode. Her Zheng [zither or harp], and a group of scrolls rolled inside of a silken cloth. Her teapot and two large ceramic vases are to her right side. . 20 This depicts a pensive lady, with her right hand holding a Mao bi [bamboo brush] supporting her chin. She looks down in a pensive and dreamy mood. There is a very stylized small table behind her with a group of peaches in a vase. . 21. Three ladies ride horses with saddles. The first lady holds her hand together under her gown in a prayer form. The second lady has a group of scrolls tied to her back with a silk scarf, she holds her sleeve-covered right hand to her mouth. The third lady carries a Chinese Pipa over her shoulder in a silken bag. *** . SCHOLARLY AND BOOK-RELATED SUBJECTS: A good number of the beautiful ladies are in rooms with books, scrolls, bamboo painting brushes, ink stones, paper and other scholar's desk articles. Scholar's stylized rocks and gnarled ancient tree trunks grace many of the paintings, as well as period Chinese furniture, ceramics, bronzes and large painted screens. . Please review the photos posted to our website for more details. * The work is exceptionally and brilliantly executed with the most delicate fine lines, superb depiction of gowns, hair style, and facial expressions. The adjacent furniture and household items are meticulously drawn and fitted in a most tastefully way. There is great charm and conveyance of the message found in the color-executed drawings. . *** SCROLL MOUNTING & CONDITION: The scroll is mounted in the typical 1800-1820's type of mica-flecked Washi paper. There is also a gold over pale green hand-woven cloth on the outer of the scroll when rolled up. The edges of the scroll had some thin and narrow reinforcing cloth earlier in its age, a good part of this has separated or detached and parts are gone. This does not affect the stability of the paper or scroll whatsoever, it is mostly cosmetic. . The paper has a backing which in some places is partially not attached to the painting, and a few small wrinkles common for scrolls of this period and age. Again, these can be pressed and reinforced to give a flat look. We prefer to leave this work in its current original state. Its in acceptable and clean condition. . There are a few tiny ink marks here and there, and a few of the reds have bled a bit from being in a humid climate, and a faint water stain at the upper margin in one place. . The wood ends were turned on a lathe, we don’t know their age, but the are clean, intact and have no chips or cracks, indicating they could be more recent than the mounting. The are Japanese style. . As a custom, we are overly critical of the smallest defects. By and large, the work is clean, presentable and free from any significant defects, marks or issues. There is no worming, or mends to this scroll or its verso. It is in original condition, as mounted ca 1800-1810. Please ask questions, or inspect photos posted to our website. . *** QIU YING [1594-1522]: Qiu was master, one of the most representative painters of Ming dynasty. He was one of the famous "Four Wu" and "Ming Four" the most emenint and celebrated painters of the dynasty. . He was especially skilled at capturing the character of tall and graceful women, in colour, with traces of white, using a wide variety of brushwork techniques. He occasionally painted Hua Niao [bird & flower] in bright, beautiful colors. . *** Please see images posted to our website for more details. . *** BIBLIOGRAPHY: . ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, p.195 cites Yamakawa Shuuhoo. He was a Japanese-style painter, born in Kyoto, pupil of Kaburagi Kiyokata & Ikegami Shuho. Showed in the Teiten. Strongly influenced by the Ukiyo-e tradition. . Yamakawa Shuho [Shuuhoo] used three "Go" or studio names, the third listed by Roberts as "Shuuhoo" is a match for the signature on this scroll, and 3 of the seals, and can be a logical connection. . He also lists a second artist: Ishida Shuuhoh who flourished in the 19th century, born in Omi province, pupil of Shirai Kayo. He used the exact same Kanji for his first name as Yamakawa. See p.154. . After careful research we could not find another single artist with the exact Kanji name, or plausible dates. * Ho, Wai-Kam et al.: EIGHT DYNASTIES OF CHINESE PAINTING: The Collections of the Nelson-Atkins Museum, Kansas City and The Cleveland Museum of Art. illustrations164, 165, 166 and the index for this artist, p.386 2nd entry from the bottom, shows Chinese the character name for Ch'iu Ying ca.1494-ca. 1552], see items 164, 165, 166. * QIU YING: Wikipedia: https://en.wikipedia.org/wiki/Qiu_Ying Was a Chinese painter who specialized in the "Gongbi" brush technique. Regarded as one of the Four Masters of the Ming dynasty. . *** .