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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".
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 ...
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 name of Shikishima (i.e. Shiki District) came to be used in Japanese poetry as an epithet for the province of Yamato (i.e. the ancient predecessor of Nara Prefecture), and was metonymically extended to refer to the entire island of Yamato (i.e. Honshū) and, eventually, to the entire
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.
Indigenous art also flourished under the Fujiwara after centuries of imitating Chinese forms. Vividly colored yamato-e, Japanese style paintings of court life and stories about temples and shrines became common in the mid-to-late Heian period, setting patterns for Japanese art to this day. As culture flourished, so did decentralization.
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.
Yamato Man, a robot master in Mega Man 6 and Mega Man Battle Network 3; Yamato, the signature sword wielded by Vergil in the Devil May Cry franchise; The Ark of Yamato, an area in the video game Ōkami; The Yamato Perpetual Reactor, a particle accelerator from Shin Megami Tensei IV; Yamato, a battlecruiser cannon from the StarCraft franchise