Japanese Landscapes and Chinese Vistas

Traditional Japanese-style painting, known as yamato-e, differs in appearance and materials from the monochromatic ink tones associated with Chinese-style painting (kara-e). The use of gold and silver, either as a metal foil or as pigments, in combination with brilliant green, blue, red, and orange mineral colors helps to distinguish this native painting style. Yamato-e originated during the Heian period (10th-12th centuries) in conjuction with court literature and religious art (primarily Buddhist). The seasons and festivals celebrating the close relationship between humans and the forces of nature account for much of the subject matter in traditional Japanese-style painting. Chinese paintings imported into Japan beginning in the 14th and 15th centuries provided inspiration for new styles and themes for Japanese painters and their patrons. Very few Japanese painters actually visited the continent to experience the Chinese landscape and culture directly. Consequently, the popularity of Chinese imagery in Japanese cultural history is largely based upon generations of Japanese interpretations of old, revered Chinese—and Japanese—paintings preserved in collections over the centuries.
	For more than a millenium the citizens of Kyoto have gathered each year on May 15 for a festival at the Kamo shrine in the city's center. The shrine's forested compound is carefully depicted in these byõbu, which show its proximity to the Kamo River and the main shrine buildings (in the left screen), which are approached by the devout through the tall red gate, or tori.
Anonymous Tosa School artist Horse Race at the Kamo Shrine, 1600-50 Edo period (1615-1868) Pair of six-fold screens; ink and color on gilded paper Purchase from the J. H. Wade Fund 1976.95.2	The principle attraction of this festival appears in the lower part of the byõbu where hundreds of spectators are shown enjoying the annual horse race held this day on the grounds of the Kamo shrine. Commoners and aristocrats are here, the elderly as well as children—a fascinating array of people, activities, and emotions are exquisitely portrayed across the entire breadth of these screens. Although the 17th-century artist's identity is unknown, his extraordinary skills at depicting landscape scenery, plant life, architectural details, animated crowd scenes, and distinctive clothing are clearly apparent.

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