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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 ...
The Hikone screen (彦根屏風, Hikone byōbu) is a Japanese painted byōbu folding screen of unknown authorship made during the Kan'ei era (c. 1624–44). The 94-×-274.8-centimetre (37.0 × 108.2 in) screen folds in six parts and is painted on gold-leaf paper.
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
The work is a development of suibokuga (水墨画, ink-wash paintings) made with Chinese ink (墨, sumi), using dark and light shades on a silk or paper medium.It combines naturalistic Chinese ideas of ink painting by Muqi Fachang (Chinese: 牧溪法常; pinyin: Mu-ch'i Fa-ch'ang) with themes from the Japanese yamato-e (大和絵) landscape tradition, influenced by the "splashed ink" (溌墨 ...
While Christian icons and other objects were produced, Nanban byōbu (南蛮屏風) or folding screens are particularly notable, with over 90 pairs surviving to this day. [1] These vibrant paintings depicted foreigners of all colors arriving in Japanese ports and walking in the streets of Japanese inland towns [ 5 ] (see figure 1).
The second pair of iris screens, circa 1710–1716, was also painted with ink and color on gold-foiled paper, and measure 163.7 by 352.4 centimetres (64.4 in × 138.7 in) each. [ 11 ] Unlike the earlier pair of iris screens, this later pair includes a depiction of an angular bridge, a more explicit reference to the literary work that inspired ...
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