Tanomura Chokunyu (1814-1907),"fukutoku shusonja 福徳首尊者" Appraised by Tanomura Chokugai (1904-1997),Japanese hanging scroll, kakejiku

Art work details

Shipping table

Setting weight
This piece weighs 0.9 kg and will be shipped in 80 size.

Meaning of Words

Original text
三百六十日　畢竟唯一日　能甘萬苦辛　須嘗波羅蜜

Romanized version of the original text

sanbyaku rokujuu nichi, hiki kyo tada ichinichi, kanman-shinku wo yokusu, subekaraku haramitsu o kokoromiru beshi

Yaku: Translation

360 days, in essence, are but a single day;
One must endure many hardships and trials
To attempt the attainment of enlightenment.

Fukutoku Shusonja
One of the 500 Arhats in Buddhist teachings. His name signifies, "Happiness belongs to those who are content."


Material
Ink, Pale Japanese pigments on paper

Size
Overall: vertical 197.5 cm × width 42.8 cm (77.76 in × 16.85 in)＊width does not include roller ends.
(the work: vertical 107.5 cm × width 29.5 cm (42.32 in × 11.61 in))

Condition
・There are burns, stains, wrinkles, peeling off on the Japanese paper on the back of the cover.
・There are burns, stains, wrinkles on the image.
・There are burns, stains, wrinkles, warp in the mounting.

Remarks
・Roller ends is Bone.
・Tomo-Bako.(Box inscription by the artist.)
*Accompanied by an appraisal document from the period, issued by Tanomura Chokugai 田能村直外(1904-1997), the great-grandson of Tanomura Chokunyū.

Materials for mounting
All of them are made of silk.

Other
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There may be a slight difference in color between the photo and the actual product.

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Biography
Tanomura Chokunyu (1814-1907)

Born in Bungo Province (present-day Oita Prefecture).
His first name was chi (癡).His family name was Kozetsu.
He was also called Chokunyu, Shoko, Shoko-sanjin, Ryuou-koji, Gasendo, Bosai, Yukokusai, Sansho, Seiwan-gyorou, Yamucha(an)-shuin, Seiwan, Seinyusansho, etc.
He studied painting under Tanomura Chikuden and Confucianism under Shinozaki Shochiku.
Later, he was adopted by Tanomura Chikuden.
He participated in the establishment of the Kyoto Prefectural School of Painting (opened in 1878).
He became the principal of the school and devoted himself to the training of younger artists.
In 1896, together with Tessai and others, he founded the Japan Nanga Association.
He made significant contributions to the world of modern Japanese painting and nanga.
He died in 1907 at the age of 93.

Tanomura Chokugai (1904-1997)

Japanese painter born in Kyoto, great-grandson of Tanomura Chokunyu. Studied under Tanaka Hakuin and was a member of the Kyoto Nihonga Association. He served as the chairman of the Kyoto Calligraphy and Painting Institute. He also worked as an appraiser of Tanomura Chokunyu’s works. Passed away in 1997 at the age of 93.

*From the store

The Five Hundred Arhats refer to the 500 disciples who accompanied Buddha (Shakyamuni).

Through rigorous training, these disciples eradicated worldly desires and attained true wisdom, earning the title of Arhat (阿羅漢, Arahant), a term of great reverence.

This particular painting depicts one of them: Fukutokushu-sonja (福徳首尊者). The name of this Arhat carries the meaning, “Happiness belongs to those who are content.” The inscription further conveys the idea that enlightenment is attained through hardship and adversity, reminding us that happiness is not solely measured by a favorable environment, status, or honor. Rather, true fulfillment and satisfaction are often found amidst difficult conditions and struggles.

The artwork is mounted on brown pure silk, a material frequently used in haiga-style paintings by Chokunyu. This fabric, though visually understated, is actually of high quality—being the second-best material used in hanging scrolls (掛軸), where the finest fabrics are placed closest to the artwork.

The paper used for the painting itself, despite showing some wrinkles, creases, and discoloration over time, remains in relatively good condition.

Additionally, in 1858, when Chokunyu was around 45 years old, he personally signed the Tomo-bako (storage box) for this piece. The painting bears a signature indicating it as the 233rd Arhat, suggesting that around this period, Chokunyu was working on depicting each of the Five Hundred Arhats individually. This piece is presumably one of those works.

In later years, Tanomura Chokugai, the great-grandson of Tanomura Chokunyu, issued an authentication certificate for this artwork. During the Showa era, Chokugai was the officially recognized appraiser of Chokunyu’s works. I recall the previous shop owner mentioning how, despite any amount of money offered, Chokugai would never issue a certificate for a forgery—a testament to his integrity.