Picture "Kameido Tenjin Shrine" (1856-1858), framed

Giclée = derived from the French verb gicler "to squirt, to spray".

The Giclée method is a digital printing process. It is a high-resolution, large-format print produced with an inkjet printer using special different-coloured dye- or pigment-based inks (usually six to twelve). The inks are lightfast, meaning they are resistant to harmful UV light. They provide a high level of nuance, contrast, and saturation.

The Giclée process is suitable for art canvases, handmade paper and watercolour paper as well as silk.

Japanese art received its significant impulses from China through the acquisition of Chinese culture and writing, the introduction of Buddhism, and also from Korea. The initial imitation was followed by the development of specifically Japanese forms and techniques in all areas of artistic creation. Different styles emerged as a result of conjunction with the religions of Buddhism, Zen, and Shinto.

Japanese early history begins in the 7th millennium B.C. Pottery finds from this period contain cord-patterned decorations on the surfaces. Besides, stylised clay figures and masks have been also discovered from this period.

The Yayoi period lasted from the 3rd century B.C. until the 3rd century A.C. and took its name from the site of the discovery of bronze mirrors, bronze weapons and bronze bells with geometric and figural ornamentation.

Kofun (3rd - 6th century)

Rediscovered grave goods, bronze objects, ceramics, and jewellery made of jasper, gold, and silver demonstrate the artistic creations of that time.

Asuka and Hukaho Period (552 – 710)

With the official acceptance of Buddhism, Chinese and Korean influence on Japanese art increased. However, the Shinto architecture preserved the prehistoric building styles in the shrines and wooden pile dwellings. The Buddhist sculptures of that time were strongly influenced by Korea and China.

Nara Period (710 – 794)

The art of this period was achieved with a great deal of effort, and continued to follow Chinese models. The only remains of the imperial palace are its layout and about 200 sculptures. A highlight is the 16-meter-high bronze casting of the "Great Buddha" of Todaiji. New materials, dry lacquer and clay made it possible to depict both monumental and dramatically moving figures. Later, the Chinese influence waned; the sculptures became blocky, and the garments had wave-like folds.

Heian Period (794 – 1185)

Named after the newly built capital of Heian-Kyo, today Kyoto. The sculptors mainly depicted new manifestations of the "historic" Buddha with wooden sculptures of massive weight. The second half of the epoch continued the Japanisation of art. Sculptural works gained more graceful elegance and movement. Painting of this period was preserved almost exclusively through the famous Phoenix Hall of Byodo-in. The paintings illustrate delicate colours and a tendency towards soft beauty and roundness of lines. Calligraphy, which was valued more highly than painting in East Asia, became very important.

Kamakura Period (1185 – 1336)

With the founding of the shogunate in Kamakura, a new cultural centre was built. Toughness and warlike spirit determined this golden age of Japanese chivalry. The sculptor Kokai and his descendants created sculptures with deep carvings, strong body modelling, and naturalistically crystal-inlaid eyes. The introduction of Zen Buddhism had an impact initially only on architecture but later on painting as well. The handicrafts created paint equipment, writing implements, toilet boxes, glazed earthenware, and ceramic. The art of weapons and the manufacturing of armour and blades for swords experienced their high bloom.

Muromachi Period (1336 – 1573)

It is named after the district of Kyoto, where the Ashikaga shogunate had its residence. The profane architecture took over the Shoin style of Zen temples, which resulted in the basic style of Japanese houses today. Teahouses and refined garden art were also developed under the Zen influence. Zen priests cultivated the Japanese ink painting. The magnificent landscape paintings by Sesshu are artistic highlights of that time.

Momoyama Period (1573 – 1603)

It is named after the palace of the commander Toyotomi Hideyoshi on Momoyama Hill near Kyoto. This period marked by luxury and pomposity is characterised by art that was freed from religious ties and served purely representational purposes. Except for a few, most of the pompous castles were destroyed. The luxury is reflected in rich wood carvings and metal fittings. The castles were decorated with magnificent paintings in vivid colours on a golden background, and the metal art was highly developed.

Edo Period (1603 – 1848)

The Edo period is a 250-year period of peace in which bourgeois art and culture developed. Mansions and teahouses were built with sophisticated and simple taste. Decorative painting experienced a new upswing. The initial technique of hand-coloured plates was further developed by the addition of two-colour plates into four-colour printing. Ceramics detached from the Chinese-Korean influence and developed a characteristic Japanese style. The porcelain art was enriched by graceful enamel colour painting. The finest and best quality porcelain, which in contrast to the Imari porcelain was not intended for export, was supplied by the Okochi kilns. The new art of netsuke carving emerged, which was worn as a counterweight to Inro (medicine tin) or tobacco pouches on a belt. The era ended with the forced opening of the country by the Americans and the transfer of governmental power to the emperor.

Meiji Period (1868 – 1912)

This was the era of Westernisation in all areas of life. Painting developed using European models but returned to old traditions over time. In 1888, the Tokyo School of Fine Arts took over the promotion of Japanese painting. Sculpture art, however, continued to follow the European models except for one school that continued with the traditional art of woodcarving.