REPRINT: CHIKUTO SHIKUNSHI GAFU: ALBUM OF PAINTINGS OF THE FOUR PARAGONS: BAMBOO

[Kyoto n.d. ca 1868 Unsodo]. Dark grey boards, very clean, accordion folded, 2 vol. set, 18 x 26.5 cm.,[29]double color Sumi type woodcut illustrations, bright copy, reprint of the Kyoto 1854 First Edition, complete, nicely done. SCARCE A lovely book, with tender illustrations from the Zen and Confucian genre. Illustrates flowers, grasses, rocks, large number of bamboos, plum, chrysanthemum, grapes, ancient pine trees & ordhids. Reminiscent of the Chinese classics: MUSTARD SEED GARDEN, and TEN BAMBOO. A stunning old reprint edition. * This is a famous and illusive book ! Nakabayashi Chikutoh lived between 1775-1853, was a native of Owari province, but spent most of his life in Kyoto, where he studied under the celebrated Miyasaki Impo. He was known for his rather peculiar painting technique, using his paint as dry as possible. His work was chiefly in landscape painting, although some of the pictures of bamboos left by him are very fine. * Other signatures used by him [studio names] were Seisho. Narimasa, Hakumei, Taigen-an, Yusai and Tozan Inshi. * He used his great skill and artistry to leave a legacy of other books: CHIKUTOH GAFU; YUSAI GAFU; CHIKUTO SANSUI GAKOH, CHIKUTOH SANJIN JIMBUTSU, and this title, published from 1812-1852 respectively. Much of above extracted from L. Brown, see citation in bibliography. * Per Hillier: The most eminent among the teachers [of Chinese -style painting] of the time was Nakabayashi Chikutoh. His principal master was Kamiya Tenyu, by whose notable collection of Chinese paintings Chikutoh was no doubt led in the direction of Nanga [style], and an association with Baitsu early in his career may have helped to broaden his outlook. Ultimately, he became of the leading art theorists and wrote several books on painting, beginning with one, as early as 1801....gave some notion of his quiet, reticent kind of painting, often carried out in Sumi, of a warmth of tone and variety of brush-marks that are his hall-marks. [p.923-4]. * His works are clearly influenced by and reminiscent of the most celebrated of all Chinese illustrated books, THE TEN BAMBOO STUDIOI and the MUSTARD SEED GARDEN [please inquire as we have these titles in stock] from the 18th century in what has been called "boneless manner" that is printed without lines or commonly referred to as the 'Shikunshi" painting tradition or style. This technique was often utilized by Zen eccentrics who painted in the Chinese manner and what Hillier cites as "dream landscapes" on p.75, wherein he includes Chikutoh and later Nanga artists. * CONTENTS: Volume 1: Orchid and Bamboo: 15 double-folds, illustrating 4 orchids and 9 bamboos; volume 2: Plum and Chrysanthemum: 17 double-folds, illustrates 6 plums, 4 chrysanthemums and 6 copies of ancient works. All illustrations are of the line type with subtle Sumi ink wash. * This is truly a stunning and unique study by an even more obscure and unusual artist. This work was done in the Zen eccentric style is superbly charming, from its stylized title slip, written in Kanbun [Chinese style] introduction and Spartan drawing techniques is reminiscent of the Chinese Ch'an [Zen] monks technique. * Check with us to see if we have any others by this artist. * BIBLIOGRAPHY: L. Brown: BLOCK PRINTING AND BOOK ILLUSTRATION IN JAPAN: ~~ p.107 cites this book and biographical notes on Chikutoh ~~ under THE GANKU AND THE CHINESE SCHOOLS. * K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE ~~ ILLUSTRATED BOOKS: p.422, top of page cites this book. * C. Mitchell: THE ILLUSTRATED BOOKS OF THE NANGA, MARUYAMA, ~~ SHIJO & OTHER RELATED SCHOOLS OF JAPAN: A BIBLIOGRAPHY: ~~ p.238, * BM 1898, P.11, CITED AS Chikutoh Shikunshi Gafu BM 1904, p16116.d.13 listed as Yusai Gafu, 1854 * STOCKHOLM 517 listed as CHIUTO SHIKUNSHI. * J. Hillier: THE ART OF THE JAPANESE BOOK p.75, 923-4, ~~ plate 616 * NOT CITED IN: L. Roberts: DICTIONARY OF JAPANESE ARTISTS. This artist has clearly alluded the discriminating eye of this author. * NOT CITED IN: H. Kerlen: CATALOGUE OF PRE-MEIJ-JAPANESE BOOKS AND MAPS IN THE PUBLIC COLLECTIONS IN THE NETHERLANDS: Apparently this title has escaped the scrutiny of any Dutch collector or museum, but he cites another title by this artist, #125, p.52. * .