Kano Seisen’in Osanobu (1796‑1846) , Pine, Bamboo, Plum, Crane, Turtle, and Fukurokuju (God of Happiness, Wealth, and Longevity), Japanese hanging scroll, Edo Period, kakejiku

Art work details

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Pine, Bamboo, Plum, Crane, Tortoise, and Fukurokuju

Each of these motifs carries auspicious symbolism:
Pine represents "longevity and immortality";
Bamboo stands for "flexibility and integrity";
Plum signifies "perseverance and hope";
The Crane embodies "longevity and nobility";
The Tortoise symbolizes "longevity and stability";
And Fukurokuju, one of the Seven Lucky Gods, is said to be the deity who grants all three wishes—happiness, wealth, and long life.

While the washi paper on the back of the mounting may have been replaced once in the past, the rest uses original, old fabric, which is now extremely difficult to obtain—especially in the quantity needed for a set of three scrolls.

As indicated by the seal reading "Seisen’in Hōin" (晴川院法印), Seisen’in was elevated to the rank of Hōin (a high-ranking Buddhist title) in Tenpō 4 (1833). This work was created later, around the closing years of the Edo period.

Although the details of the original owner, Minamoto no Suketomi (源祐臣), are unknown, an inscription on the box indicates that he acquired this painting in Edo in Tenpō 13 (1842). The marks of erasure on the box may suggest that a personal name was removed by someone at a later date, possibly to conceal it.

Though the content depicts auspicious motifs, the overall tone is subdued and composed. The relatively short height of the artwork reflects the style of the Edo period, when alcoves (tokonoma) had low ceilings—though exceptionally large formats did exist.

This is a recommended piece for collectors of the Kanō school or for those who appreciate traditional Japanese paintings.

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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 178.5cm（70.28 in）× width 46.5cm（18.31 in）＊width does not include roller ends.
(the work: vertical 98.2cm（38.66 in）× width 35.2cm（13.86 in）)

Condition
・There are burns, stains, wrinkles, floats 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.
・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 Seisen’in Osanobu (1796‑1846)

Born into the prestigious Kano school’s Kobikicho branch as its ninth head, he bore various art names including Gyokusen and Kaishinsai, later known as Seisen’in. Son of Ikawain Eishin, he entered Edo Castle service in 1810, received the rank of Hōgen in 1819 and advanced to Hōin by 1833. Inherited leadership of the Kano school in Edo in 1828 and guided its artistic direction.
From roughly 1838 to 1845, he supervised monumental screen and panel paintings in the Nishi-no-maru and Honmaru of Edo Castle. He, together with his father, conducted large‑scale copying of Chinese paintings and classical picture scrolls, thus bridging traditional classical art with modern Japanese painting. Many works are held in institutions such as the Tokyo National Museum, the British Museum, and the Museum of Fine Arts, Boston. He also left a detailed diary of official duties, Kōyō Nikki, providing valuable insight into his public role.