This artwork is a Chinese bird-and-flower painting (known as huaniao-hua) featuring a white cockatoo perched among autumn-colored leaves. The central figure is a white cockatoo, often referred to in Chinese art as an “auspicious bird” and sometimes specifically as omu in Japanese contexts. It is depicted with a prominent crest and orange-tinted facial features, perching on a branch amidst vibrant orange and yellow maple-like leaves. This piece is a modern example of Gongbi painting (fine-line technique), characterized by highly detailed brushwork and precise colors. Similar compositions of cockatoos on branches are a popular theme among modern Chinese artists like Wang Tiansheng (王天胜), who is known for his detailed wildlife paintings in this style. The theme of a white parrot or cockatoo against colorful foliage is a classic motif in both Chinese and Japanese art (specifically the kachō-ga or “flower and bird” genre). While the style of this specific painting is Chinese, the subject became very popular in Japanese woodblock prints by masters like Ohara Koson and Nishimura Hodo, who frequently depicted cockatoos with similar striking white plumage. Framed by a grey-toned matte fabric. Similar in format to the Japanese tsuitate, size: 53 x 38,5 cm
Our Japanese Paintings
The japanese painting for sale in our collection are carefully selected to bring you one of the quintessential forms of Japanese art. Masters such as Hokusai and Hiroshige have portraid the people and beauty of Japan. Both Kakejiku and Ukiyo-e represent the most traditional form of painting.
- The Kakejiku appear in their mature form around the Heian period (9th–12th c.), heavily influenced by Chinese hanging scrolls brought by monks and diplomats. At first they’re mostly religious: Buddhist images and calligraphy used in temples. By the Muromachi period (14th–16th c.) they move into elite secular spaces, especially the tokonoma, the elevated alcove of the traditional Japanese room.
During the Momoyama and Edo periods, kakejiku explode in variety and social reach. Tea ceremony culture is crucial here: the scroll sets the tone of the room and is changed according to season, occasion, or guest.
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The Ukiyo-e takes shape in Edo in the 17th century, tied to the rise of the merchant class. Samurai culture is still officially on top, but money has shifted downward, and ukiyo-e is what a cash-rich, status-poor class buys.
Ukiyo-e is a collaborative product: designer (artist), block carver, printer, and publisher. The publisher calls the shots. If something sells, it gets reprinted until the blocks wear out.
Subjects are immediate and worldly. Courtesans, kabuki actors, famous restaurants, seasonal festivals, erotica (shunga), travel views. This is mass media before photography, with idealized faces and codified poses.




