Mochizuki Gyokukei (1874–1938) ,Fierce Tiger – One of a Set of Twelve Scrolls, Japanese hanging scroll, kakejiku

Art work details

Shipping table

*From the store

Among Gyokkei's works, this particular piece can be summed up in one phrase: "technical mastery and rarity."

In other words, Gyokkei, who was originally known for his finely detailed paintings, demonstrates his high level of skill in the tiger's fur texture, the sharpness of its gaze, and the overall expression of its face. Furthermore, by outlining the tiger’s raised fur along its back and right shoulder with ink from the background rather than using white paint, he achieves a natural tone. This technique makes use of the original silk ground color.

Also, this is the first time I have seen a tiger as a subject in Gyokkei’s works. Most of his paintings, even in his art collections, consist mainly of birds-and-flowers or landscapes. This is what makes the piece rare.

Two additional notes:
At first glance, the tiger's face appears somewhat cat-like. This is a characteristic seen in tiger paintings of the Edo period from schools like the Maruyama and Kishi schools. Since people at the time had never seen real tigers, they used domestic cats—also members of the feline family—as models. The tiger in this piece is also depicted in that traditional manner.

The inscription on the box reads "one of twelve scrolls," indicating that this was originally part of a set of twelve hanging scrolls. These likely depicted the twelve animals of the zodiac, one for each month of the year. Judging from the use of ink to represent rain falling over bamboo in the upper portion, this scroll was probably intended for early summer (May or June).

Traditionally, tiger paintings were believed to ward off evil spirits and keep misfortune at bay. This work once again affirms that Gyokkei was a painter capable of capturing the true essence of any subject he took on. It is unfortunate that the true colors and impact of the work cannot be fully conveyed through photographs. I sincerely hope you will have the opportunity to experience it in person.

Note: The scroll ends have been replaced with high-grade resin.

Setting weight
This piece weighs 1.75 kg and will be shipped in 100 size.

Material
Japanese pigments on silk

Size
Overall: vertical 210㎝ × width 49.3㎝（82.68 in × 19.41 in）＊width does not include roller ends.
(the work: vertical 124㎝ × width 36.2㎝（48.82 in × 14.25 in）)

Condition
・There are some burns, stains, wrinkles on the Japanese paper on the back of the cover.
・There are some burns, stains on the image.
・There are some wrinkles, warp in the mounting.
・With a double box.

Remarks
・Roller ends is Resin.
・Tomo-Bako.(Box inscription by the artist.)

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

Generally, we will ship by EMS.
Recently, there have been an increasing number of cases in which packages destined for the Netherlands, Italy, and Belgium are having difficulty reaching customers.
Therefore, we apologize for the inconvenience, but could you please enter the tracking number (and postal code) into your home country's postal service from time to time to monitor the status of your package (and make inquiries in some cases)?
Also, if you are a new customer in Italy, please let us know your codice fiscale via chat after bidding.
We appreciate your cooperation.

Biography

Mochizuki Gyokukei (1874–1938)

Born in 1874 in Kyoto. His real name was Shigenobu (also known as Juuzou). Also went by the pseudonym Gyokusen. Studied painting under his father, Mochizuki Gyokusen. He was a member of the Japan Art Association and the Nihon Gakai. He became a lifetime member of the Kyoto Art Association. He died in 1938 at the age of 64.