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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 The Tale of Genji by Tosa Mitsuoki, from the 17th century Tosa school revival of the yamato-e. Literally meaning "blown off roof", fukinuki yatai relates to the depiction of both interior and exterior environments - including rooms, screens, and architecture where the roof and walls are removed and the beams are preserved. The basic ...
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.
Originally Yamato-damashii did not bear the bellicose weight or ideological timbre that it later assumed in pre-war modern Japan. It first occurs in the Otome (乙女) section of The Tale of Genji (Chapter 21), as a native virtue that flourishes best, not as a contrast to foreign civilization but, rather precisely, when it is grounded on a solid basis in Chinese learning.
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.
Sōmon (相聞, "mutual exchanges of love poetry"), or sōmon-ka (相聞歌), [1] is, along with zōka (miscellaneous poems) and banka (elegies), one of the three main categories (三大部立 sandai butate) of poems included in the Man'yōshū, an eighth-century Japanese waka anthology. [2]
Awataguchi Takamitsu was a court painter during the Ashikaga period. This period produced Yamato-e and many artists painted Yamato-e on scrolls, sliding doors and screens. Some extant paintings of Awataguchi Takamitsu were found on scrolls. These scrolls keep on the traditional Japanese style, have weak lines and coloring.
Onna-e paintings are generally very stylized, elegant and refined, with rich, opaque colour used to represent the peaceful, romantic and often nostalgic atmosphere of the lives of the ladies at the Imperial Court. [9] The pictorial style is close to that of the Genji Monogatari Emaki (c. 1120-1140), the most famous work of the onna-e genre. [10]