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The Cracked Ice screen is a late 18th-century low two-fold Japanese screen intended for use at the Japanese tea ceremony. It was created in the Edo period and is signed and sealed by the artist, Maruyama Ōkyo (1733–1795), founder of the Maruyama school of realist painting.
The work was painted with ink and colour on paper, with squares of gold leaf applied around the painted areas to create a shimmering reflective background reminiscent of water. The deep blue was made from powdered azurite (群青, gunjō). Each six-panel screen measures 150.9 by 338.8 centimetres (59.4 in × 133.4 in).
A six-panel byōbu from the 17th century Pair of screens with a leopard, tiger and dragon by Kanō Sanraku, 17th century, each 1.78 m × 3.56 m (5.8 ft × 11.7 ft), displayed flat Left panel of Irises (燕子花図, kakitsubata-zu) by Ogata Kōrin, 1702 Left panel of the Shōrin-zu byōbu (松林図 屏風, Pine Trees screen) by Hasegawa Tōhaku, c. 1595 Byōbu depicting Osaka from the early ...
By the mid-Heian period, Chinese style kara-e painting was replaced with the classical Japanese yamato-e style, in which the images were painted primarily on sliding screens and byōbu folding screens. [8] At the close of the Heian period around 1185, the practice of adorning emakimono hand scrolls with
Ogata Kōrin (Japanese: 尾形光琳; 1658 – June 2, 1716) was a Japanese landscape illustrator, lacquerer, painter, and textile designer of the Rinpa School. [ 1 ] [ 2 ] Kōrin is best known for his byōbu folding screens, such as Irises [ 3 ] and Red and White Plum Blossoms [ 4 ] (both registered National Treasures ), and his paintings on ...
The two six-panel screens show tree bark and pine needles separated by differing brush strokes, and the white snow seems to weigh down the branches. [16] The bark is painted in the tsuketate technique, which uses no outlines, just dark and light shades to create the illusion of volume. [6] Hozu Rapids, painted in 1795, is one of Ōkyo's later ...
Japanese artists painted on screens using paint components of different layers. Silk was the usual surface; with its open weave, an artist could paint on both sides of the screen (which made the screen more durable). This durability is what made tarashikomi possible, gives screens (and other artwork) a detailed look.
One of his most celebrated works, [2] Flowering Plants of Summer and Autumn consists of a pair of two-folded byōbu folding screens painted with ink and color on silver and gold-foiled paper, measuring 416.6 by 461.8 centimetres (164.0 in × 181.8 in) each. They are designated an Important Cultural Property of Japan. [3]
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