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The pastime of viewing plants and appreciating flowers throughout the four seasons was established in Japan early on from the aristocracy. Waka poetry anthologies such as the Man'yōshū and Kokin Wakashū from the Heian period (794–1185) included many poems on the topic of flowers. [4]
Yamato-e very often depict narrative stories, with or without accompanying text, but also show the beauty of nature, with famous places meisho-e (名所絵) or the four seasons shiki-e (四季絵). The pictures are often on scrolls that can be hung on a wall ( kakemono ), handscrolls ( emakimono ) that are read from right to left, or on a ...
Bamboo in the Four Seasons is seen as an early-stage work by the Tosa School. [2] Japanese influences on Bamboo in the Four Seasons, depicts the transitory state of bamboo growth, from shoots to mature plant in the same space, from spring to winter, seen from right to left, the gold leaf backdrop conveying the concept of space.
The same museum houses a few other works attributed to Shūbun, among them a pair of folding screens (屏風, byōbu) titled Landscape of Four Seasons (四季山水図屏風, Shiki sansui zu byōbu). Two more pairs of folding screens depicting landscapes of the four seasons are held by the Seikadō Bunko Art Museum. As with many Japanese and ...
Painted at 67 years old, Sesshū Tōyō's Four Landscape Scrolls of the Seasons (c. 1420–1506) depicts the flow of the four seasons whilst reflecting on his experiences with Japanese and Chinese landscapes. [4] Each scroll is composed of two silk strips as the paintings were originally screen panels, but were later arranged on a single ...
By the mid-Nara period (ca. 750) Japanese paintings showed influences of the Chinese Tang dynasty (618–907) and in the 9th century early Heian period evolved into the Kara-e genre. Wall murals in the Takamatsuzuka Tomb, the Kitora Tomb and the Portrait of Kichijōten at Yakushi-ji exemplify the Kara-e style. Generally, Nara period paintings ...