By Tosa Mitsuoki (1617-1691), signed Tosa sakon no shogen Mitsuoki hitsu
Japan, Kyoto, 17^th century, Edo period (1615-1868)

Ink, watercolors, gold, and gold leaf on paper. Each mounted with silk brocade on six panels within a black-lacquered frame with chased metal fittings. Finely painted with fierce battle scenes involving two rival clans, the Minamoto (Genji) and Taira (Heike), engaging one another on land and sea, stretching across both screens, separated by thick swirling gold clouds outlined in gold takamaki-e and the rich scenery with craggy, mossy rocks and leafy trees including pine and willow. Each screen signed and inscribed TOSA Sakon no Shogen MITSUOKI hitsu [Painted by Tosa Mitsuoki, Sakon no Shogen] with a seal reading Gain taisho no in [Seal of the Painting Academy granted by the Emperor].

SIZE 173.5 x 369 cm (each)

Condition: Expected wear, little soiling (particularly to the back), minor tears, some of which have been stabilized, small losses, few minor touchups. Overall presenting well.

This pair of screens is depicting the final two battles of the Genpei Wars, fought between the Minamoto (Genji) and Taira (Heike) clans in the 1180s. The struggle between the Taira clan and Minamoto clan for control of Japan at the end of the 12th century in the Genpei War (1180-1185) was immortalized in the 13^th-century historical novel, Tale of the Heike. The tale held special relevance in the 17^th century when the concept of bushido, the way of the samurai, developed. Men recalled with romantic nostalgia the glory of past fighting days and self-consciously articulated an ideal code of conduct.

Tosa Mitsuoki (1617-1691) was a Japanese court painter who succeeded his father Tosa Mtisunori (1583-1638) as head of the Tosa school and brought the Tosa school to Kyoto after around 50 years in Saikai. Around the time of 1654 he gained a position as court painter (edokoro azukari) that had for many years traditionally been held by the Tosa family, but was in possession of the Kano school since the late Muromachi period. In that year, he succeeded his father and was elevated to the title of the edokoro azukari (‘head of the Imperial court painting bureau’). The title used in the artist’s signature, Sakon no Shogen, was one which proceeded directly from the Court of the Mikado, and was of the highest honor, being reserved for men distinguished in the arts of war and peace. It was of a purely honorary character, being that of the chief inspector of the palace, a nominal office of the court.

Museum comparison:
Compare a closely related unsigned Tosa school six-panel screen depicting the Battle of Yashima from the Tale of the Heike, dated to the 17^th century, one of a pair, 149.9 x 338.5 cm, in the Metropolitan Museum of Art, accession number 60.40.

Auction comparison:
Compare a related unsigned six-panel screen depicting the Battles of Yashima and Ichinotani from the Tale of the Heike, dated to the 17^th century, 67 x 258.1 cm, at Christie’s, Japanese and Korean Art, 18 April 2018, lot 112 (sold for USD 68,750).