- Museum number
Painting, six-panel screen. One of pair. Plants of autumn and winter with crescent moon above, and brushwood fence in foreground. Ink, colours, gold and silver on paper.
- Production date
- Mid 16thC
Height: 162.50 centimetres
Width: 55.50 centimetres (closed)
Width: 230 centimetres (open (approx))
Width: 324 centimetres (open (straight))
Depth: 11.30 centimetres (closed)
Depth: 1.80 centimetres (open)
- Curator's comments
Pair with 1965,1012,0.1 (Jap.Ptg.Add.381)
Reproduced in Tokyo National Museum (ed.), 'Muromachi jidai no byobu-e' (1989), no. 15.
Smith et al 1990
The subject of this pair of screens is the four seasons, beginning with spring on the right, represented by double cherry blossoms, and ending in winter, with snow-covered bamboos, on the left. Spring and summer are marked by the disk of the sun, the ancient symbol of the male yang (yo) principle, and autumn and winter by the young crescent moon, representing the female principle of yin (in). The sun is seen through the masculine pine and the moon through the feminine maple. The sun and moon were also representative of both Buddhist and Shinto deities. Partly symbolic, the screens are also decorative, the foreground filled with bamboo and brush fences covered in gold leaf over built-up gesso. The white pigments are also built up over gesso and originally would have shown up with greater brilliance. The painting style is a mixture of Tosa and Kano elements and is therefore probably the work of an independent town painter. The concept of the composition is late Muromachi period, but the lack of any sense of a background points to the succeeding Momoyama period.
Tokyo National Museum, 'Muromachi jidai no byobu-e', Tokyo, 1989
Narazaki Muneshige, "Nichigetsu shiki-zu", 'Kokka', 709 (April), 1951, pp. 154, 161.
Hizo Nihon bijutsu taikan Vol 1
This pair of screens depicts the mountains and water and various other scenic elements of the four seasons. The right-hand screen also shows the sun, and the left-hand screen a half-moon, which makes this work one of the so-called "sun-and-moon screens" that were common from the Muromachi period through the Edo period. Many examples of this type of work survive today.
In Japan the pairing of sun and moon has long been associated with the the 'Onmyodo', or Way of yin and yang, but art historians have interpreted the use of this combination as it appears in the visual arts from a variety of religious and aesthetic perspectives.
Another representative example of a sun-and-moon painting is the 'Sun and Moon, Mountains and Water' in the collection of the Kongo-ji Temple, which was very likely originally used in the Esoteric Buddhist purification ceremony at that sect's Mikkyoji-in Temple.
This work is striking in the simplicity with which it expresses the different seasons with only a cherry tree or a snowy mountain, adding to this the elemental motif of the sun and moon. Its liberal use of gold and silver foil makes this a decorative painting, while its atmosphere of restraint reveals something of its roots in the Esoteric tradition.
While these screens at the British Museum share a good deal with Kongo-ji work and others in the mainstream sun-and-moon tradition, they also introduce some completely new elements. For instance, objects are depicted from a much closer viewpoint than usual. The presence of a rough-woven fence drawn in the foreground introduces man-made objects into the "natural" landscape, thrusting a more modern viewpoint into the world of landscape painting.
The screens, which could also reasonably be categorized as a scenic view of a mountain village, are generally associated with the sun-and-moon paintings that emerged soon afterwards. These later works - for instance, one formerly held by the Maeda family and another in the collection of the Shoko-ji Temple - included elements such as wooden fences or walls in their depictions of flowering plants of the four seasons, while demonstrating a new interest in large-scale renderings of various types of flowers. The present work, rooted more firmly in the landscape tradition, can therefore be seen as transitional.
The application of gold in paintings of the sun and crescent moon is commonly accomplished by one of two techniques: direct application of gold leaf, and the scattering of small pieces of gold foil or gold dust over the surface. This pair of screens belongs to the latter group. The artist fills the top portion with light-brown cloud formations, then adorns the land, first applying small pieces of gold leaf over the surface in decorative patterns and then fixing rather large sheets of gold leaf over some areas. The fence is rendered with delicate lines produced by laying gold paint over liberal amounts of whitewash. Hence, a good deal of technical expertise and innovation is evident in these screens.
However, given the artist's hesitant use of ink brushwork and halfhearted impulse toward stylization, it is difficult to place these screens directly within the tradition of painters strictly working in the Chinese style. The unknown artist freely incorporated elements of the Japanese and Chinese styles of painting popular in the Muromachi period.
- Not on display
- Exhibition history
2015 – 2016 4 Dec – 29 May, National Museum of Singapore, ‘Treasures of the World’s Cultures’
2000 24 Mar-26 Jun, London, BM, Japanese Galleries, 'Japan Time'
- Acquisition date
- Registration number
- Additional IDs
Asia painting number: Jap.Ptg.Add.382 (Japanese Painting Additional Number)