The Muromachi period, during which artists chose the monochrome painting, gave place to the Momoyama period (1573-1615). This era characterizes the true Golden Age of screen painting. Spirit, a beauty and a richness of colors are now glorifying landscapes, genre scenes. Themes and decorative trends emerge and last throughout the Edo period (1615-1868), especially through “images of the floating world” or “ukiyo-e”. Landscapes and genre scenes are here glorified in beauty and in richness of colors.

To better decorate the tremendous palaces built by the new up and coming class of warlords and to throw light upon their greatness, artists chose to cover partly or entirely the screen’s surface with gold or silver squared leaves. These metallic leaves, known as “kirikane”, would reflect the sunlight during the day and the sparkling of candles at night, therefore sumptuously throwing light on the vast dim rooms.

Animal paintings favor dynamic shapes that call forth the militaries’ fierceness and bravery. Samurais appreciated birds of prey in particular, as falconry was one of their favorite sports. Their audacity, their courage and their strength echoed, withal the morals honored by the code of the Samurai.

This six fold screen with a golden squared leaves background is distinguishably framed. Like a photograph, it captures an eagle perched on an oak branch. His spread-out wings evoke the lack of the body’s balance and the vitality emanating from it. Although wide at its root, the branch narrows down at its tip so as to create a shortcut effect and evoke depth. Finally, the bright and golden background, wonderfully, emphasize the brown and dark green tones.

The eagle, king of birds, symbolizes bravery. He is the main character in this bare creation - a kind of military allegory. Through his sharp-eye and majestic beauty, his recklessness and his courage seem to shine.

This is an unbelievable screen by its well-preserved state, its workmanship and its vivid colors. Painted as a true portrait, this eagle by its surprising presence witnesses the perfect control of the artist during the Momoyama period and furthermore, reveals its master’s strength.

This screen was awarded to Kano Eitoku (1543-1590), renowned for majestic and monumental creations.

Art of Japan
Momoyama period
End of the 16th century

Gold kiri-kane and pigments on silk paper
Length : 360 cm
Height : 165 cm

Artistic styles paintings bloomed during the Edo period (1615-1868).

The Kano school, whose founder was Kano Masanobu (1434-1530), shogunat’s certified painter, remained loyal to the northern Songs Chinese principles, but nevertheless bore out its more decorative character.

This screen perfectly testifies to the care yielded by this school towards delicate themes, in the past, minor like flowers or birds, which have now become the essence of large-sized makings.

By its framing, this Byobu made of six parts appears as a snapshot of the cranes’ life captured taking wing.

In the midst of vegetable abundance where each essence is splendidly rendered, one can see cranes bustling about. These birds, related to the knotty pine, symbolize long life and arouse old age’s unwavering spirit, but moreover an aura of calm and durability. While their whiteness implies pureness, their head’s vermilion-red illustrates long-lasting vital energy, symbol of regeneration.

The pine, of which its perpetual foliage evokes immortality, courage and eternal strength as it withstands seasonal disruptions and bad weather. The plum tree forewarns spring, renewal, hope and immortality. Growing upright, the bamboo bends but never breaks itself. At last, by their quality and their red color, peonies symbolize richness, honors and wedded bliss.

This screen is exceptional by its making’s vigor and richness, by life and motion emanating from it and by its sublime workmanship testifying to the statecraft of the Kano school’s members.

Art of Japan
Edo period
End of the 18^th century
Kano school

Length : 352 cm
Height : 165 cm

The Kano school, whose founder was Kano Masanobu (1434-1530), certified painter of the shogunat, remained loyal to the northern Songs Chinese principles, but nevertheless bore out its more decorative character.

Designed by two sheets, this screen presents a gilded background. Artists of the end of the Muromachi period and especially of Momoyama (end of the 15th century until early 17th century) exploited the use of ‘kirikane’ (sheared squares) to cover the screens’ surface, and thus illuminate magnificently the dark rooms of warlords’ castles.

Plums of clouds border the top and the bottom of the screen, and thus creating depth. Consecutive layouts guide the spectator’s gaze alluding to a route to meditation.

Only Chinese illustrations retained Japanese artists’ interest, and often only wise ones, hermits and gods are depicted.

Most likely at the peak of a mountain or of a hill, an old Chinese master, maybe a Confucian monk, escorted by two pupils, points his gaze towards a flying crane in the sky. A railing evokes architecture, while a blossoming plum tree and bamboos take up the screen’s top half.

Cranes symbolize longevity, while their whiteness implies pureness. Their head’s vermilion-red illustrates long-lasting vital energy, symbol of regeneration.

This screen is a parable of life in continuous evolution and of virtues of meditation generating these changes.

It is outstanding by its stylishness, its colors’ refinement emphasized by its gilded sheets’ flamboyant glow.

Art of Japan
Edo period
Early 18^{th century
Kano school}

Pigments and gold kirikane
Length : 174 cm
Height : 171 cm

A boom of painting, artistic, and literary alike, styles schools and the birth of a wealthy middle-class spawned by an extraordinary economic growth characterize the Edo period (1615-1868). Throughout more than two centuries, traditions’ conservatism and change towards a new style will clash in order to nurture this Japanese art’s richness and renown.

Designed by two sheets, this folding screen of disturbing issue presents a background splattered of gilded powder. Light colors and the fine gesture of the artist, Kanzan Maysumoto, are like an invitation to plunge into this scrutinized writing of refined sensitivity.

The vase of flowers, the penmanship’s table and the hill which could be a ‘dream stone’, source of the Well-read or the artist’s inspiration, are displayed at different distances, thus suggesting perspective.

This very intimate work, of meditative virtues, is outstanding by its plainness.

Kanzan Maysumoto, sensitive to Confucian philosophy, reveals his inner feelings under a poetic manner, and marvelously illustrates the following Chinese statement : ‘Painting is unspoken poetry’.

Art of Japan
Edo period
End of the 18^th century
Kanzan Maysumoto

Length : 182 cm
Height : 170 cm