Mochizuki Gyokkei 望月玉渓 (1874-1938)
Pair of Painted Screens with a Flock of Cranes
| Inv. Nr. | #16.001 |
| Date | Meiji period, dated 1906 |
| Material | Ink, colors, gofun and gold on paper |
| Dimensions | each 366 x 173,5 cm |
Price on request
This magnificent pair of six-panel folding screens, created during the Meiji period by Mochizuki Gyokkei (1874-1938), showcases the artist's exceptional ability to depict cranes in a stunning, seven-meter-wide composition of interacting individuals. Painted in ink, shell powder (gofun) and mineral colors on a radiant gold ground, these screens embody the grandeur and sophistication of Japanese screen painting.
A rare, large-scale example of Gyokkei’s crane motifs, these screens may have served as a model for another significant work commissioned by the Imperial Household. In 1912, the Shōbi-kan 尚美館 pavilion was moved from the Imperial Palace to the famous garden of Kyōto’s Heian Shrine as a gift, in commemoration of the 1100th anniversary of the foundation of Heian-kyō (Kyōto). Gyokkei was instructed to create a new interior design for the pavilion that would reflect this historic event. He chose cranes as the central motif, a symbol of immortality and prosperity in East Asia, as they are believed to live for 1000 years (see the last three images).
Interestingly, the signature on the left screen reveals that this piece was completed six years earlier, during the winter of Meiji 39 (1906), making it a significant precursor to his later commission. The composition of these screens influenced Gyokkei’s work at the Heian Shrine, where some cranes were directly modeled from this pair. For example, the running crane with spread wings on the right screen appears almost identical to one of the mural’s central figures.
In these screens, the cranes are paired with young bamboo on the left screen and young pines on the right, further enhancing the auspicious meaning of the work. Both plants, like the cranes, symbolize resilience, vitality, and long life, reinforcing the positive connotations of immortality and prosperity. While Gyokkei’s murals at the Heian Shrine are only occasionally accessible to the public, these screens offer a rare opportunity to appreciate his skill and vision firsthand.
In addition to his crane depictions, another notable public work by Gyokkei, featuring peacocks, can be admired at the Metropolitan Museum of Art. These works further solidify his reputation as one of the foremost painters of his era.
Gyokkei inherited his precise brushwork from his father, Mochizuki Gyokusen (1834-1913), an official painter of the imperial palace. This artistic legacy, passed down through five generations, originated with his great-grandfather Mochizuki Gyokusen (1692–1755), who founded the family studio. Their distinctive style combines the Chinese Kishi school with influences from Shen Nanping, the Japanese Maruyama-Shijō school, and even elements of Western painting techniques.
This exceptional pair of folding screens represents a unique opportunity to acquire a masterpiece by Mochizuki Gyokkei, offering both aesthetic grandeur and historical importance that collectors and connoisseurs of Japanese art will truly appreciate.
See other works by Gyokkei here.