Screens
Transmitters of Japanese Culture
Bamboo and Plum Tree Ink on Paper
During the Momoyama and Edo periods in japan, painting gained particular importance. The "Genre Painting" or the depicting of cultural ideas, philosophies, and activities was revived from the Heian period and experienced a reirth among the population during the 17th and 18th centuries.
The Momoyaman period was a time of demigraphic change in Japan when Shoguns held power and for the first time a wealthy middle class began to dominate, which some of the richest families in Japan. Inrest in Surrounding oneself with the aestetic became popular. Ariel city-scapes, nature, daily activities, literature, and countless other subjects all made there way into paintings. Freestanding screens, or Byobu also became popular at this time as the perfect medium to depict and display artwork in a functional fashion. Japanese rooms were constructed as open rooms with little or no furniture. Screens gave the owners some control over the size of the room by moving screens, accent a particular part of the home, or help soften sharp angular corners.
The Byobu often included large amounts of gold leaf. This style may have been to shed light into dark homes with its reflective quality, but more likely it probably had to do with the obvious conspicuous consumption of the time. Since the majority of those commisioning screens were Shoguns, wealthy townspeople, temples, or other privilaged classes, it became a statues symbol; most byobu were meant to be shown off in homes or during parties, and were could be backdrops for important people. Ultimatly they would attest to the owners good taste.
Byobu provide a way to view Japanese culture from the peoples own perspective or the artists who created them. What mattered culturally to the Japanese people is reflected in the arts of the time, esspecially with the revival of genre painting. Historical events, philosophies, famous literature and fables, nature, and foreign visitors are only a few of the subjects. Because screens were displayed so often it became important for the Japanese people who, as mentioned before, decorated their homes with little furniture, to be able to create spaces and atmoshphere with these functional works of art.
Funaki Right Screen 1614-15 Color and Ink on Paper
Rekihaku 1520's Color and Ink on Paper
The two byobu titled Rekihaku and Funaki demonstrate the reconstruction of the city south of Kyoto. Each artist rendered it in different ways, depending on the political and social conditions of the time.
In the Rekihako screens, which were painted during the time of the Samurai attack on Osaka Castle south of Kyoto, activity, buildings, even people are scarce, being shown mostly within their homes. Misty clouds cover what is assumed to be wastland desroyed by the fighting.
The Funaki screen of the same area, is a remarkable contrast. Here is shown the recovery of the city nearly 90 years later. Bustling activity is everywhere, and though the clouds still exist, they do not cover nearly as much as the Rekihaku screens. Rebuilt buildings stretch the entire length and width of the screen. One recieves a strong sense of renewel in this screen, and a much differing condition than the other.
Significant cultural literature was also a popular subject to illistrate in screens.The Tale of Ise is one such example. The scenery and figures remind of days past, perhaps the Heian period. The screen depicts the Emporer being hauled away, ousted from power, and forced to make a long journey alone. While resting at a stop, he pauses to write a poem about a patch of Irises he sees. The particular scene was clearly a memorable and meaningful time in the story for the Japanese. Evidence of this is present in, surprisingly, a seperate byobu.
Ogata Korin's Irises emphesize this particular event in the novel. One, upon viewing the Iris patches, is expected to think of the scene in the story and to reflect upon what it means. The Irises act much as a cue, and were meant to remind people suttely of The Tale of Ise. Literature was an important aspect for Japanese high society; some tales one was simply expected to know.
Tales of Ise byobu Color and Ink on Paper
Irises by Ogata Korin 1701 Color and gold leaf on Paper
Namban byobu 17th Century Color and Ink on Paper
The Momoyama and Edo periods in Japan were not only a time of high art, but of growing foreign influence. Even visitors and traders from far off lands became subjects to paint, and clearly show the attitude the Japanese held towards these invaders.
The so called Namban or "Southern Barbarian" byobu depict the arrival of , in this case, the Portuguese. They differ quite a bit from other screens. The foreigners are easily picked out and their enormous, strange ships look odd in the small harbor. It is possible to get some idea of what the Japanese thought of these people, and perhaps, how they treated them in return. The name Namban (southern barbarian) speaks clearly for itself.
Some of the most important developments in cultural ideas and philosophies was thanks to Zen Buddhism, which was gaining particular popularity during the Momoyama period. Zen stressed in part the simplistic life. reflection, and tranquillity. The tea ceremony for example, formerly a lavish affair, began to lean more towards simplicity and understated elegance, thanks to Zen influence.
This influence likewise, made its way into some of the byobu of the time. Disgarding the garish colors , gold leaf, and overworked designs, artists found inspiration in simple ink and paper. Tohaku's Pine Trees are a beautiful example of Zen expression. Using only the sparist materials Tohaku was able to create a piece that perfectly captured the Zen principles which were so important to the Japanese. Not meant to be displayed at festival times, the screen illicites deep reflection instead, and stays true to the ideas of Wabi.
Pine Forest by Hasegawa Tohaku Late 16th Century Ink on Paper
