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The term yamato-e is found in Heian texts, although the precise range of works it covered then, and also in subsequent periods, is a much debated topic. There are also references showing a distinction within yamato-e between "women's painting" and "men's painting".
The currents and techniques of emakimono art are intimately linked and most often part of the yamato-e movement, readily opposed at the beginning to Chinese-style paintings, known as kara-e. Yamato-e, a colorful and decorative everyday art, strongly typifies the output of the time. [76] Initially, yamato-e mainly designated works with Japanese ...
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
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 ...
The pictorial style of the Shigisan Engi Emaki falls within the Yamato-e movement, which predominated in Japanese painting in the Heian and Kamakura periods (1185–1333). More precisely, the style is part of a sub-genre of Yamato-e called otoko-e (lit. "painting of a man"). [41]
The work belongs mainly to the otoko-e ("painting of men") genre of Yamato-e, typical of epic tales or religious legends, by emphasising the freedom of ink lines and the use of light colours leaving portions of paper bare. [32] The dynamism of the lines is particularly evident in the crowds of people and soldiers.
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Yamato-e, sometimes referred to as wa-e or kazu-e (和絵) had become synonymous with the Tosa-ha by the Muromachi period as a way for Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e (唐絵). [8] Yamato-e incorporated various visual and literary techniques for establishing narrative.