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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).
The low screen has a frame of unvarnished cedar wood measuring 63.3 cm × 185 cm (24.9 in × 72.8 in) which holds two paper panels, mostly white with a few bold markings of black ink and flecks of glittering mica, indicating an expanse of ice on a lake which is cracking, receding into the distance. It is signed and sealed "應擧" (Ōkyo).
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 ...
Red and White Plum Blossoms (紙本金地著色紅白梅図) is a pair of two-panel byōbu folding screens painted by Kōrin using ink and color on gold-foiled paper. [13] A late masterpiece, completed probably circa 1712–1716 in his atelier in Kyoto, [ 17 ] it is considered his crowning achievement. [ 27 ]
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 ...
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.
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
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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