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Yamato-e very often depict narrative stories, with or without accompanying text, but also show the beauty of nature, with famous places meisho-e (名所絵) or the four seasons shiki-e (四季絵). The pictures are often on scrolls that can be hung on a wall ( kakemono ), handscrolls ( emakimono ) that are read from right to left, or on a ...
Fukinuki yatai (吹抜屋台) describes a feature of Japanese art particularly associated with e-maki (絵巻) painted scrolls, famously for example, yamato-e. Scene depicting the death of Lady Murasame on the Genji monogatari emaki. Scene from The Tale of Genji by Tosa Mitsuoki, from the 17th century Tosa school revival of the yamato-e.
The Kokawa-dera Engi Emaki (粉河寺縁起絵巻, "Illustrated handscroll of Legends of Kokawa-dera Temple"), is an emakimono or emaki (painted narrative handscroll) from the 12th century, in either the Heian or Kamakura periods of Japanese history.
More precisely, the style is part of a sub-genre of Yamato-e called otoko-e (lit. "painting of a man"). [41] The otoko-e style is characterised by the depiction of the life of the people outside the palace and the staging of historical and epic events, as opposed to the intimate and romanticised emakimono about life in the palace.
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...
Scene from a long narrative scroll retelling the history of a Buddhist monastery, by Tosa Mitsunobu (1434–1535). The Tosa school (土佐派, Tosa-ha) of Japanese painting was founded in the early Muromachi period (14th–15th centuries), [1] and was devoted to yamato-e, paintings specializing in subject matter and techniques derived from ancient Japanese art, as opposed to schools influenced ...
His most famous yamato-e work is a narrative handscroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shōgun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yū.
Hikime kagibana (引目鉤鼻) describes a feature of illustration continuing in the repertoire of Japanese Art from the Heian period through the Kamakura period, most notably in yamato-e e-maki. Its influence can be traced right up the Edo-period ukiyo-e or later.