Lot 149: Maruyama Okyo (1733-1795) Maruyama School, dated Tenmei 5 (1785)

Maruyama School, dated Tenmei 5 (1785)
Kakejiku, in sumi on silk, depicting a carp (koi) ascending a waterfall, signed Tenmei kinoto-mi shoto sha Okyo (painted by Okyo in early Winter in the year of the Snake [1785]) with two seals Okyo no in and Chusen; with double wood storage boxes, the inside of the inner box inscribed Maruyama Okyo o shinseki, Maruyama nanasei, Osho sen (authenticated by Maruyama Osho, seventh generation of the Maruyama school, as being by Okyo), with seal Osho. 104cm x 40cm (41in x 15¾in). (3).

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Okyo painted several images of carp, the best known perhaps being a pair of hanging scrolls in the Daijoji Temple, Hyogo, painted in 1789, showing a carp ascending a waterfall and one swimming in calmer waters, see the Exhibition Catalogue of the Osaka Municipal Museum of Art, Tokubetsuten Maruyama Okyo: shaseiga sozo eno chosen, p.59, pl.27.

Several of Okyo's drawings of carp remained for his students to use when composing their own paintings and like his other illustrations of fish, the artist no doubt based these paintings on studies from life.

The carp in East Asian folklore is associated with valour and perseverance and is a theme frequently depicted in Edo period art. Koi no takinobori (ie. the image of a carp climbing a waterfall) recalls the Chinese legend of a carp leaping up the rapids of Lung Men (Dragon Gate) and turning into a Dragon. This became in time a symbol for perseverance and success. Even today this auspicious motif is linked to the Boys' Day Festival (5th day of the fifth month) when carp streamers are ubiquitously displayed.

Born to a poor farming family in Tanba province, Kyoto prefecture, Okyo brought about a revolution in Japanese painting. During his formative years he studied the Kano and Tosa inspired techniques under Ishida Yutei (1772-1786). Okyo was also influenced by Western realism. He ultimately combined all three styles and established his own style, previously unseen in the country.

Founder of the Maruyama school, Okyo can effectively be called the father of the shasei. This technique was based on the direct observation of life, became the basic element in conceiving compositions, and for the first time was used to compose large-scale works such as hanging scrolls, screens and sliding doors. Though not by any means the first to draw actual nature, Maruyama Okyo was a pioneer who used his knowledge of Western perspective and visual realism to construct his paintings. That said, other painters were critical of Okyo's style. They found it to be overly concerned with physical appearances, alleging that he was too beholden to the real world and produced undignified works. Nevertheless, his style proved popular with the public, and commissions came in particularly from the newly rich merchants to do Western-style landscapes, decorative screens, and even nudes.

Maruyama Oshin (1904-1981), real name Kunii Kentaro, 7th generation of the Maruyama school, was the son of the 6th generation of Maruyama shool, Maruyama Oyo (1868-1923). He studied under Yamamoto Shunkyo,(1871-1933). He excelled at Sansui, and kacho-ga but was also also highly regarded as an expert and appraiser of Maruyama school paintings.

Another painting by the artist depicting puppies was sold in these rooms, 5th November 2009, lot 28.