ANONYMOUS
Chrysanthemums Beside a Brushwood Fence, River, and Pine Tree, Edo Period (1615-1868), circa 1700A six-panel folding screen painted in ink, mineral pigments, gofun (calcified crushed shell) and gold on paper applied with gold leaf, depicting chrysanthemums rendered in the moriage relief technique growing behind a brushwood fence beside a flowing river and pine tree partially hidden in gold clouds; unsigned. 380cm (149 1/2in) long x 168cm (66 1/8in) high.
注脚
日本江戶時代,約1700年 河畔東籬菊 紙本設色 金箔地六折屏風Provenance: Liza Hyde, New YorkAn important European private collection來源:紐約Liza Hyde舊藏歐洲重要私人收藏This bold composition was created for the interior of a castle or perhaps a daimyo mansion in the new samurai city of Edo, in a tradition stretching back to the sixteenth century when screen pairs or screens like this were first ordered by leading warlords. It was painted using luxurious materials, with rich applications of crushed mineral pigments such as gunjo (blue) and rokusho (green) and extravagant passages of gofun (calcified and crushed clam shell powder) on a support of gold leaf on paper. Unfolded at night in a large formal space, a screen like this would have reflected the light of many candles or lanterns, casting a golden glow over the room and its occupants. In keeping with the Confucian ethos of the ruling military elite, the composition—almost certainly the work of the official Kano painting academy— combines the rugged majesty of a mature pine (a Kano staple) with a Chinese poetic theme: the 'Chrysanthemums by the East Fence' beloved of the poet Tao Qian (Tao Yuanming, 365-427), who retired mid-career to the classic Chinese scholar-hermit's life of obscurity, drinking, and versification. The chrysanthemum patch that he nurtured by the eastern fence of his estate was depicted in Chinese painting as early as the thirteenth century and the theme probably reached Japan around that time, a peak period for cultural exchange with the Asian mainland.
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