Yamato-e ( Jap. 大 和 絵 ) is a Japanese painting style common in the Heian (794-1185) and Kamakura periods (1185-1333) and contrasted with "Chinese painting", referred to as "Kara-e" or "Tan-e" ( Jap. 唐 絵 ) [1] . In the overwhelming majority of cases, images on the sliding doors of the fusuma and the beboo screen are presented, the subject of the paintings is the daily life of the Japanese and Japanese landscapes [1] [2] . Many works of masters of the Yamato-e style are not signed, therefore their exact attribution is difficult [1] . In addition, many works created before the middle of the XII century, lost and known only by descriptions [3] .
| Yamato-e | |
|---|---|
| Japanese painting | |
 Scroll, 13th Century | |
| Origin | Jap 大 和 絵 |
| Verbatim | "Yamato Painting" |
| Appeared | XI century |
History
The word "Yamato" ( Jap. 大 和 ) is the name of an ancient province where the capital and political center was located in the 3rd — VIII centuries; it later became “Japan” [4] . Yamato-e as “local painting” was born after the break of diplomatic relations with China in 894, its development reached its peak in the XI century [1] . Until the 8th century, screens and panels were painted exclusively with Chinese scenes and landscapes; The first plots of the Yamato-e combined classical views of distant China for the Japanese with landscapes they knew personally and from literary works [3] [5] . An example of such an early work is a screen in the imperial palace, painted at the beginning of the 9th century: on one side you can see the famous scene from Shan Hai Jing , and on the other, the well-known Japanese view of the Uji River [3] . In the palace of the emperor, external, ceremonial rooms were painted in the Chinese style, and the interior was decorated with local motifs [6] .
The rapidly developing Japanese literature in the Heian period left its mark on painting: many literary references appeared in painting, the landscapes of Yamato-e followed by poems instead of Chinese plums glorified Japanese cherries, and instead of Chinese aesthetic principles replaced the concept of but avare [7] . At this time, motifs appeared that later became rooted in Japanese art: rabbits in high autumn grass, deer, running water and waves, peaches, wild chrysanthemum [8] . As in the literary works of the Heian period, the landscape was used in Yamato-e paintings to express the emotional state of the characters [6] .
By the XI century, not only courtiers, but also wealthy Japanese families could afford the Yamato-e screens [1] . Some works of the heyday of the genre combine Kara-e and Yamato-e: an example is the national treasure , six-pane screen of the XI century "Senzui-bebu" ( jap. ) [1] . Over time, the Japanese society began a debate about which of the styles of painting is higher: "Japanese" or "Chinese"; Murasaki Shikibu in The Tale of Genji also speaks on this issue [3] :
But when it is necessary to portray ordinary mountain slopes with streams running along them, human dwellings accustomed to the eye against the background of simple but dear to the heart landscapes, so that it is impossible to doubt their authenticity when distant mountain peaks overgrown thick forest and not frightening its steepness, transfer to paper what is behind the nearby fence, and do it all in accordance with the canons - for a mediocre artist a lot is inaccessible, and a true hand masters will tell right away.
Original text (jap.)世 の ぜ に ぜ ぜ 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人 人く 世 離 れ て 畳 畳 み な し 、 、 け 近 き 籬 の 内 を ば 、 そ の 心 心 し ら ひ お き て な な ど を と 勢 、 上手 は いい- The Tale of Genji , the chapter "The Broom Tree"
Varieties and Influence
There are two main varieties of the Yamato-e: “famous species”, , and “seasonal pictures” of tsukin-e ( Jap. 月 次 絵 ) [3] . Other works in the Yamato-e genre - scrolls ( emakimono ), in particular, used for the coronation rite of dajзosai [1] and others; most of them are lost [9] . Another example of the scrolls in the Yamato-e genre are the illustrations of the XII century to the "Tale of Genji", there is clearly traced the nostalgic sadness of the past times characteristic of that time [10] . In an effort not to spoil the image of idealized heroes that have arisen among readers, the artists sought to schematize the image of individuals, so that the heroes could only be identified by their clothes and poses [11] . Yamato-e scrolls usually contained calligraphic inscriptions, often half-hidden, which increased the intimacy of the text [12] .
A significant number of Yamato-e paintings created by court artists from the Painting , in particular, the first image on the screen, whose style is defined as “Yamato-e”, was created by his employee in 999 [1 ] . In addition, non-professional artists and artists from aristocratic families often presented their sketches and paintings to Edokoro; in particular, in the 12th century, Tosa-no Tsubone ( Jap. 土 佐 局 ) , Edokoro, hired her for painting the panels of the temple [13] with her paintings of the Meisho-e genre on sliding panels.
Yamato-e influenced the further development of Japanese painting, the influence of this genre can be traced in screens up to the XVII century and Ukiyo-e engravings [3] [14] .
Fujiwara Takanobu . Portrait of Minamoto no Yoritomo
Six-panel silk screen Senzui-bebu
, illustration to Genji Monogatari
Notes
- ↑ 1 2 3 4 5 6 7 8 Edmonds .
- ↑ Kozhevnikov V.V. Essays on the history of Japan VII-XI centuries (Rus.) . - Publishing house of the Far Eastern University, 2001. - p. 132.
- ↑ 1 2 3 4 5 6 Murase, 1975 , p. eight.
- ↑ Murase, 1975 , p. 7
- ↑ Stanley-Baker, 1984 , p. 78
- ↑ 1 2 Stanley-Baker, 1984 , p. 80
- ↑ Stanley-Baker, 1984 , p. 103, 78.
- ↑ Stanley-Baker, 1984 , p. 103
- ↑ Murase, 1975 , p. 9.
- ↑ Stanley-Baker, 1984 , p. 81.
- ↑ Stanley-Baker, 1984 , p. 83
- ↑ Stanley-Baker, 1984 , p. 86
- Id Weidner MS Flowering - University of Hawaii Press, 1990. - p. 162. - (Harmonologia; 4). - ISBN 9780824811495 .
- ↑ Stanley-Baker, 1984 , p. 143.
Literature
- Richard Louis Edmonds, et al. Japan, §VI, 3: Early painting . - Oxford University Press . - (Grove Art Online). (subscription required)
- Miyeko Murase. Japanese art. - Metropolitan Museum of Art, 1975. - ISBN 0-87099-138-8 .
- Joan Stanley-Baker. Japanese Art. - Thames and Hudson, 1984. - ISBN 0-500-20192-7 .
Links
- Wikimedia Commons has media related to Yamato-e.