Phoenixes und Paulownia, Ende 1500. Die immense heraldischen Vögel auf in das Display von ø Bu spiegeln den Geist der Momoyama Ära der neu gewonnenen Selbstvertrauen und eine Affinität für Grand expressive Aussagen in der Malerei, Architektur, Textil und Keramik Kunst, sowie Gartengestaltung. Die Einstellung besteht aus stark stilisierten Lutschtabletten von mineralischen grüne Farbe, was auf die Erde, aus dem Büschel Gras, blühende Pflanzen, und hoch aufragenden Bambus und paulownia Bäume entstehen. Cluster von Klumpig, blau-grünen Felsen übersät mit Flechten bieten Stabilisierung dreidimensionale Folien für diese Inseln

• Bildanbieter: Heritage Image Partnership Ltd / Alamy Stock Foto
• Bild-ID: 2A530MT
• Dateigröße: 5,5 MB (499,3 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 2048 x 932 px | 34,7 x 15,8 cm | 13,7 x 6,2 inches | 150dpi
• Fotograf: Heritage Art/Heritage Images

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Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

Phoenixes and Paulownia, late 1500s. The immense heraldic birds on display in these byøbu reflect the Momoyama era's spirit of newly gained self-confidence and an affinity for grand expressive statements in painting, architecture, the textile and ceramic arts, as well as garden design. The setting is composed of highly stylized lozenges of mineral green paint, suggesting the earth from which clumps of grass, flowering plants, and towering bamboo and paulownia trees emerge. Clusters of lumpy, blue-green rocks dotted with lichen provide stabilizing three-dimensional foils for these islands of vegetation as well as the all-encompassing flat, golden surface. The glorious artificiality of the setting precisely serves the artist's effort to compose a credible yet other-worldly vista for depicting the legendary phoenix gazing across the landscape at the pair of peacocks. Rather than an emblem of immortality, as it is in Western lore, in Japan the phoenix evolved out of its origins in Chinese mythology to become, by the sixteenth century, an auspicious symbol of political authority. A characteristic infusion of temporality has been included also, through a seasonal flowering schema extending from spring to early summer (right) to fall and the advent of winter (left). Although traditionally attributed to the Tosa school master Tosa Mitsuyoshi (1539-1613), these byøbu possess neither seals nor signatures to confirm that authorship. Known for his jewel-like, modest-sized album paintings of courtly narratives such as The Tale of Genji, it is likely both studio training and contemporary fashions in patronage conspired to produce a good number of such byøbu. This example from the Momoyama era represents one such effort from a masterful Tosa painter, too little seen in Western collections.

Stockbilder mithilfe von Tags suchen

• 1539-1613
• bemalung
• cololour
• das cleveland museum der kunst
• einer von sechs bildschirmen
• erbe kunst
• gold auf vergoldetem papier
• impressionismus
• inken
• japan
• momoyama-periode 1573-1615
• tosa mitsuyoshi japanisch
• zugeschrieben