[TETSUKI WASHI NO TSURIKATA: A JAPANESE PAINTING SHOWING THEMETHOD OF MAKING HAN

[Tottori n.d.ca.1919-1925]. Kakejiku, hanging scroll, size: 66.4 x 1m. 36 cm., painting size: 54.5 x 41.7 cm., excellent example, no issues, artist brush signed + his red cinnabar Hanko [chop/seal], mounted on brocade silk, clean firm.RARE! . *** *** *** . . A JAPANESE POLYCHROME PAINTING . . . SHOWING THE PROCESS OF HAND-MADE PAPERMAKING IN JAPAN . . . A JAPANESE FOLK-ARTISAN CREATES LARGE SHEETS OF WASHI . . . A STUNNING SILK-MOUNTED KAKIJIKU HANGING SCROLL . . . AN ELEGANT & SUPERB JAPANESE FOLK-ART PAINTING . . *** This is a stunning and superb Japanese painting, elegantly mounted on an elaborate brocade-silk cloth, in the Kakejiku or hanging scroll [aka."Kakemono"] format. . *** THE ARTIST: NAKAJIMA Saito [1902-1955]: Saito was born in Tottori prefecture, and was a known painter of great skill. See color examples at Tottori Prefecture Museum below. Bamboo brush signed "Saito," and his red Hanko [seal/chop]. A lovely original polychrome painting. . *** THE SCENE: The scene shows the rear view of a woman hand-making Washi paper. . She stands before a large vat with the raw Kozo fibers floating in water. She utilizes a bamboo framework which supports the paper-making screed, a kind of screen in a frame which catches the fiber-rich mixture, holding the fibers above the screen until congealed. . Then this wet paper is removed for drying. Adjacent to the vat is a well head with fresh water running into a ceramic jar. Behind the papermaker is a large stack of created papers, in the first drying process. To the right of the paper stack is an "Oki" [wooden Japanese bucket] holding sprig of Cherry blossoms, indicating the month of April. . The use of cherry blossoms are indicative of the beginning of a new year, a new season, spring and the cherry blossoms, which only bloom in the remaining cold at the end of winter. It is also a good luck symbol, one of the main superstitious beliefs in Japan about spring and cherry blossoms, the most admired and respected of all Japanese flowers. . *** THE PAINTING: This superb work shows a Japanese woman wearing the traditional rural Kimono for active and creative folk-art efforts in Japanese Washi-making. She uses a framed screen to catch and hold the Kozo fiber mix to create a sheet of Washi paper. . She wears her hair in a bun, to keep it away from the splashing of the Kozo fiber-rich wet vat. She also wears a red strip of cloth, tied over her shoulders and under her arms to keep her Kimono sleeves away from and above the vat. . She utilizes a bamboo frame which gives lift and form to the framed screen while lifting up on the wet vat mixture to create a single sheet of Washi with each swish of the screen. The screen is then rested on the two brown bamboo poles while the excess water runs back into the vat, allowing the Kozo fibers to "fix" into a large sheet of Washi. . Once the major part of the water drains away, this leaves a damp sheet of Washi paper which is placed on the large stack of others behind her. These are later placed on large wooden boards rested on a wall or tree with the fresh damp sheets plastered there upon until dry. . *** THE STUNNING KAKEJIKU MOUNTING: This lovely Kakejiku scroll painting was professionally mounted with the utmost care and skill of the period, utilizing the best of materials. The verso is a laid Washi paper, clean and solid. . The Kakejiku is beautifully mounted using three kinds of silk brocade cloth: a. top and bottom is a stripped crepe-silk, with buff . background and ochre and pale green stripes. . b. below that is the large silk-brocade background, green . floral pattern against a background of gold and green, . with gold high-lights. . c. The two bands above and below the painting are gold- . brocade silk with floral pattern and pale gold . background, with gold pedals and leaf high-lights. . d. There are the two typical Futai [two embroidered-silk . strips] at the top, from the same cloth as item "c" . above. The Tsuyu ["dew drops"] tied ends made from white . silk thread into tassels. See Koyano below. . See Koyano p.14. . e. The Kakeo and Maikio or together "Takuboku," is the . ribbon cord placed horizontally and also the ribbon at . the top to hand the scroll, as well as tie it up when . rolled up and closed. This Takuboku silk ribbon is the . traditional woven black and white thread woven into a . pattern, as a flat ribbon, with tassel on the end. . See Koyano p.14. . f. The Jiku or scroll ends consist of wood with a dark . color lacquer coating. The style is similar to the . "Bachi" found on p.13 of Koyano. The difference being . these have a knurled center line. . Based on the use of fine, elegant hand-loomed silk and textiles to mount this scroll, these are far and above the average. Use of such materials are indicative of and show great respect for the work and the artist. Use of the most elaborate and expensive materials means the work is valuable and worthy of being mounted a master scroll-mounter, and the finest of precious materials. . *** CONDITION: The Kakejiku mounting is in excellent & original condition, the painting is likewise free from any issues. There are a couple small 'rubs' to the upper verso, which have no impact upon the painting or scroll. There are three tiny black "dots' at the very top of the scroll where the wooden bar begins the scroll mounting. They are very small and insignificant and do not detract from the overall visual perspective on the work. . The Uwamakiginu [back upper portion of the scroll when rolled up and tied] has served its purpose to protect the inside main body and painting from external exposure. It has small foxing dots on the verso, shich do not bleed into or affect the top portion of the mounting, or silk cloth whatsoever. . We believe it is our responsibility to meticulously point out and disclose the smallest of defects or irregularities in our listings, regardless of no impact on the image or over all condition. We prefer to over rather than under- describe our items. Saying that, per the above there is nothing major, but a few exceptionally minor and essentially insignificant comments on the condition. . All in all, this is a superb and fine example of a stunning Japanese Kakejiku folk-painting, in an excellent and original period mounting. . *** RARITY: The occurrence of a painting illustrating the process of hand-making Washi paper is seldom foud, and not a common subject painted by Japanese artists. Such painted examples are infrequent. . This highly RARE and unusual work signifies substantial merit and importance of the process. Its creation assertains the value in the eyes of the artist. The work also shows a great respect for the folk-art of hand making paper. This painting is unusual, and in this example expresses the admiration of the woman and the process. . *** BIBLIOGRAPHY: . Tottori Museum: This shows nine color examples of Saito's paintings, held by the museum, in the city of his birth: digital-museum.pref.tottori.jp/contents/art302_data.as p?acd=03320&anm=%92%86%93%87%81%40%8D%D8%93%81/ . An example of his 1919 painting " GATHERING MUSHROOMS: https://www.google.com/search?q=NAKAJIMA+Saito&tbm=isch&tbo= u&source=univ&sa=X&ved=0ahUKEwjumpjk16HOAhVN0GMKHZAmD_IQsAQI Ig&biw=1920&bih=984#imgrc=vyuePJBUJPaUtM%3A * TINDALE, Thomas K. et al.: THE HANDMADE PAPERS OF JAPAN. * BERGER, Sidney E.: THE HANDMADE PAPERS OF JAPAN: A Biographical Sketch of its Author and an Account of the Genesis & Production of the Book. With a Reprint of the Original Text by Thomas Keith Tindale & Harriett Ramsey Tindale. * MORRIS, Henry.: JAPONICA: The Study and Appreciation of the Art of Japanese Paper. * KOYANO, Masako.: JAPANESE SCROLL PAINTINGS:A Handbook of Mounting Techniques, pp.10,11,12,14 et al. . HUNTER, Dard.: A PAPERMAKING PILGRIMAGE TO JAPAN, KOREA AND CHINA. * HUNTER, Dard.: OLD PAPERMAKING IN CHINA JAPAN. . * .