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Many masterpieces of Japanese fine-arts are exhibited in museums throughout Japan, such as the Tokyo National Museum. People are completely fascinated by them. The goods introduced here are precise reproductions of the whole or part of those masterpieces. Although these items are replicas, they are manufactured by the staff with sophisticated photographic and printing technology here in Japan. They have succeeded in re-creating the texture of the canvas sheet of the original paintings, even reproducing the slightest stains or imperfections of the originals. Their realism makes them very popular with devotees of fine art who visit Japanese museums. The Zen-shop has recently been given special permission to deal in these unique items. They are now available on our website. Even in Japan, these items are only available to personal shoppers who visit the museum shops.

Click on a picture to enlarge!

-Folding screen-

MC-101 Perhaps few other works of Japanese art are more appealing and inspiring than those of Sotatsu, the artistic giant active early in the 17the century. Unfortunately little known about the life and career of Sotatsu who has left considerable numbers of glorious masterpieces. Paintings attributed to him either authentically or by mere tradition, are quite numerous. Among them the Wind God and Thunder God discussed here is widely known as a peak of his artistry. Notable in this pair of folding screens is its fresh, generous effect. The Wind God in the upper right hastening leftward carrying his "wind bag" on back, the Thunder God in the upper left standing steadfast opposite him with the "thunder drums" encircling his body, and the ample blank space of gold between them, make a charming well-calculated composition and good spacing. These gods of celestial paintings, in which, however, they had played minor parts in certain stories or backgrounds. In this painting the artist picked them up as an independent subject, and portrayed them in a humorous treatment despite their terrifying characters. In this respect and in the unconventional composition, the painting demonstrates his unique plastic sense. National Treasure WIND GOD AND THUNDER GOD by Tawaraya Sotatsu -Pair of two-panel screens- 14,700 Yen 440450mm / each (17.3"17.7" / each)

MC-102 The kara-shishi has been represented in Buddhist art since quite early times on pedestals of Buddha images and as the animal on which the Bodhisattva Monju (Manjusri) rides. An early example in secular art can be seen in the famous Scroll of Animal Caricatures (late 12th-early 13th century) preserved at the Kozan-ji Temple in Kyoto. In the Early Modern Age it was introduced into decorative paintings and was frequently shown in shoheki-ga (paintings on partition panels such as walls, sliding doors and folding screens) at feudal lords' palaces and large temples. It was favored particularly by the ruling warrior class as an emblem of power and dignity. There are many screen paintings of kara-shishi, among which this is unsurpassed. It has an inscription by the painter Kano Tan'yu (1602-1674) attributing it to Kano Eitoku (1543-1590). It is an oversized work measuring over two meters in height, portraying a couple of male and female mystic lions in a balanced composition. Their dignified faces and impressive poses, executed in forceful outlines and bold color design, are indeed rich in power and magnitude which characterize Eitoku's art. KARA-SHISHI (MYSTIC LIONS) -Eight-panel screen- 4,520 Yen 260492mm (10.2"19.4")

MC-103 Among the consecutive battles between the Genji and Heike clans during the Jisho and Juei eras, the battle at Ichinotani valley is well known. Many warriors were actively involved in this battle. The painting on these screens represents the scene in which Kumagai Jiro Naozane of the Genji clan called back Tairano Atsumori of the Heike clan and challenged a duel. Naozane is by the shore on the right screen, calling Atsumori, and Atsumori on the horse-back is turning back on the left screen. This scene, which is followed by a tragic result, has often been referred to in poems, dramas, and paintings, as one of the high-light scenes of the battle at Ichinotani valey. The costumes of the two warriors are depcted according to the description in The Historic Romances of the Heike Clan (Heike Monogatari). Painted in gorgeous colors, they form a beautiful contrast. These scenes were painted by Kaiho Yusetsu (1598-1677) who was a son of Kaiho Yusho, a founder of the Kaiho school of painting. This screen painting with his seal is a stylish art work, which is totally different from his father, Yusho's works. THE BATTLE AT ICHINOTANI VALLEY by Kaiho Yusetsu -Pair of six-panel screens- [Saitama Prefectural Museum] 7,670 Yen 220485mm / each (8.7"19.1" / each)

MC-104 The consecutive battles between the Genji and Heike clans during the Jisho and Juei ears involved many well-known warriors from the east part of Japan such as Minamoto Noriyori and Minamoto Yoshitsune. Those warriors formed a driving force to establish the new government by warriors in Kamakura. On the right screen, the battle at Ichinotami valley near today's Kobe is depicted. The downhill rush by Yoshitsune at Hiyodorigoe, a warrior Kumagai Naozane, calling Tairano Atsumori to challenge a duel, and a warrior of the Heike clan, Tairano Tomomori on the horse-back in teh sea are described vividly. The motif of the left screen is the final battle between the Genji and Heike clans at Yashima, and the confrontation between the Genji troops on the land and the Heike troops on the boats is dramatically represented. The artist is not known, but the Chinese style painting manner can be observed. Judging from the depiction of the oars of the boats in the scene, this screen painting was made no later than early 17th century. THE BATTLE BETWEEN THE GENJI AND HEIKE CLANS -Pair of six-panel screens- [Saitama Prefectural Museum] 7,670 Yen 220485mm / each (8.7"19.1" / each)

-Shikishi art board-
MC-201 "Autumn grass" by Tomioka Tessai (1836-1924) 1,890 Yen 272242mm (10.7"9.5")			MC-202 "Bamboo and sparrows" by Sakai Houichi (1761-1828) 2,100 Yen 242272mm (9.5"10.7")	MC-203 "Quails" by Sakai Houichi (1761-1828) 2,100 Yen 242272mm (9.5"10.7")	MC-204 "Eight cranes" by Sakai Houichi (1761-1828) 2,100 Yen 242272mm (9.5"10.7")
MC-205 National Treasure "Choju-giga" -Animal caricature- by Toba Sojo (1053-1140) [Kozanji-temple] 1,890 Yen 242272mm (9.5"10.7")			MC-206 National Treasure "Choju-giga" -Animal caricature- by Toba Sojo (1053-1140) [Kozanji-temple] 1,890 Yen 272242mm (10.7"9.5")	MC-207 "A crane at a pond" by Hayami Gyoshu (1891-1935) 1,890 Yen 242272mm (9.5"10.7")	MC-208 "Wild camellia" by Hayami Gyoshu (1891-1935) 1,890 Yen 242272mm (9.5"10.7")
MC-209 Tale of Genji "Hanano-en" by Tosa Mitsuyoshi (1539-1613) [Kyoto national museum] 1,890 Yen 242272mm (9.5"10.7")			MC-210 Tale of Genji "Nowake" by Tosa Mitsuyoshi (1539-1613) [Kyoto national museum] 1,890 Yen 242272mm (9.5"10.7")	MC-211 Tale of Genji "Suetumu-hana" by Tosa Ittoku (17th century) [Tokyo national museum] 1,890 Yen 242272mm (9.5"10.7")	Shikishi looks more tasteful in a special frame or a framed screen. Please view SHIKISHI page of the site.

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