학술논문
Japan: Painting from the 14th century to 1868
Document Type
Reference Entry
Author
Addiss, Stephen, author; Asano, Shugo, author; Brock, Karen L., author; Brown, Kendall, author; Guth, Christine M. E., author; Kono, Motoaki, author; Morland, Carol, author; Ohki, Sadako, author; O’Mara, Joan H., author; Sakamoto, Mitsuro, author; Stanley-Baker, Richard P., author; Wheelwright, Carolyn, author; Wilson, Richard L., author
Source
Oxford Art Online, 2003, ill.
Subject
Language
English
Abstract
Painting in the Muromachi period was dominated by Chinese-derived suibokuga (‘monochrome ink painting’) styles. During this Sinophile period, Yamatoe (‘traditional’ Japanese painting; see also Japan: Painting before the 14th century and §2 below) was a conservative tradition, primarily the province of the Tosa school and associated with delicately detailed depictions of traditional Japanese themes favoured by the court aristocracy. Over the course of the 16th century, all the stylistic features of Yamatoe, except for the delicacy of detail of Tosa-school works, were appropriated by painters of the Kanō school. Already in the late Muromachi period, they and others had begun the process of Japanizing the Chinese monochrome styles by patternizing brushwork, flattening shapes and monumentalizing forms on large-scale Japanese formats such as byōbu (folding screens) and fusuma (sliding door panels). These formats were collectively known, along with other painted wall surfaces, as shōhekiga. The Chinese subjects and styles that were dominant in the temples and among the élite of the day gave way in the following Momoyama period (...