Kano Tanshin (Morimichi) (1785-1836),Shou-lao-ren, Bamboo, Plum, Sun, and Moon, Japanese hanging scroll

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Shou-lao-ren, Bamboo, Plum, Sun, and Moon

This is a celebratory motif. Originally, it is a set of "Pine, Bamboo, and Plum" (Sho-Chiku-Bai), but it is interesting that instead of the pine, which symbolizes "longevity," the design features Shou-lao-ren, who holds the same meaning.

The combination of "Shou-lao-ren, Bamboo, and Plum" represents three auspicious plants (and a deity) in traditional Japanese and Chinese culture.

・Shou-lao-ren (Pine): A legendary figure in Chinese mythology, said to have lived during the Yuan You era (1086–1093) of the Song dynasty. He is depicted with a long head, white hair, a fan, and a staff with a scroll, often accompanied by a deer or a crane. In Japan, he is one of the Seven Lucky Gods (Shichifukujin) and is believed to bestow longevity. Also known as the Old Man of the South Pole.

・Bamboo: Symbolizes flexibility and integrity.

・Plum: Because it blooms in the harsh winter, it represents perseverance and hope.

These three motifs are often used in celebratory settings and auspicious patterns.

Additionally, the sun and moon—rising and setting eternally in turn—symbolize the "unchanging nature" and "universal principles" of the natural world.

It is fortunate that this hanging scroll has preserved its original mounting and storage box (formerly owned by the Igarashi family). Apart from some minor insect damage, there are no significant stains or blemishes. Although the scroll ends have been replaced with modern wood, the piece still retains enough of its original character to be appreciated.

The peony, embroidered in gold thread on a navy background, is an auspicious motif and harmonizes well with the central painting. The high-quality fabric used for this scroll offers a refined and serene elegance that has deepened with the passage of time.
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Setting weight
This piece weighs 2.0 kg and will be shipped in 100 size.

Material
Ink, Pale Japanese pigments on silk

Size ＊The size of each piece.
Overall: vertical 191cm（75.20 in）× width 48.5cm（19.09 in）＊width does not include roller ends.
(the work: vertical 104.5cm（41.14 in）× width 36cm（14.17 in）)

Condition
・There are burns, stains, wrinkles, rubbing on the Japanese paper on the back of the cover.
・There are some burns, stains on the image.
・There are some burns, stains, wrinkles, holes in the mounting.

Remarks
・Roller ends is Wooden.
・Box inscription by the original owner of the work.

Materials for mounting
All of them are made of silk.

Other
There is a note about shipping restrictions and VAT. Please check before purchase.
There may be a slight difference in color between the photo and the actual product.

Notes on shipping
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Biography
Kano Tanshin (Morimichi) (1785-1836)

Painter of the Kano school active in the late Edo period.
He was the seventh generation of the Kajibashi Kano family of painters for the Edo shogunate.
His younger brother is Yusei Kuninobu, and his son is Tan-en.
His pseudonym was Seifu,Kosai.His name is Morimichi.
In 1796, he succeeded to the family name when his father retired.
At this time, the Kajibashi Kano family was clearly inferior to the Kobiki-cho and Nakabashi Kano families, who were also oku-e artists.
However, in 1825, he was ordained as a Hogen, and in 1834, the year before his death, he became a Goishinami (a position that allows him to directly receive the shogun in a formal ceremony).
He died in 1836 at the age of 51, and his disciples included Oki Ichiga.
In order to revive his family, Morimichi Tannin admired the painting style of his ancestor, Kano Tanyu, and tried to revive his Mokkotsu coloring method (a technique in which an object is painted using ink and shades of color without using an outline (koppou)).
On the other hand, he also actively engaged in genre painting, which the Kano school of the Edo period avoided, and left behind works in the style of ukiyoe.