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拍品专文
In 2017, this screen was featured in an essay in Kokka by Sano Midori, professor of art history at Gakushuin University, Tokyo. At the time, it was in a private collection. Sano cites the opinion of the eminent art historian Yamane Yuzo that the screen should be attributed to Togaku, a follower of Hasegawa Tohaku (1539–1610), or someone very close to him. The basis for the attribution is the close stylistic similarity to the paintings of chrysanthemums, pines and cryptomeria on sliding doors in Myoren-ji Temple, Kyoto, which are thought to be by Togaku,. Sano also draws our attention to the similarity of the sinuous, thin branches of willow in the screen offered here to the willow tree in a pair of Hasegawa-school screens of willow and bridge with water wheels sold at Christie’s, New York in 2015. Further, this screen is close in style to other Hasegawa-school screens in various museum collections such as the Tokyo National Museum.
This is one of a pair of screens that presumably showed the four seasons. The righthand screen would have pictured spring and summer. It is unusual to find winter on the far right of the left screen, as here: Japanese screens are normally “read” from right to left, with winter almost always on the far left. Here, winter is signaled by a snow-covered, barren willow and a camellia bush, anchoring the right corner. Autumn is highlighted on the left by a pine and a red maple tree protruding from an opening in the gold leaf ground that represents clouds, mist bands and ground all at once and that helps create a source of light in the darkened interior of a daimyo castle. In the lower left corner, around a complex rock formation, autumn flowers include white chrysanthemums and white hibiscus.
The pair of birds in the second panel from the right, miyama haojiro, and those perched on rocks in the far left of the sixth panel appear often in Chinese-style bird and flower painting in the late Muromachi period. An example would be the screens of birds and flowers of the four seasons signed by Kano Motonobu in the Hakutsuru Fine Arts Museum, Kobe, and another with the seal of Kano Motonobu in the Okada Museum, Hakone. The birds are a species that is not native to Japan.
The Hasegawa school was founded in the sixteenth century by the formidable Hasegawa Tohaku and these screens are precious evidence of the evolution of the school, which flourished in the seventeenth century and early eighteenth centuries, centered in Kyoto. Tohaku worked in a subdued, monochromatic ink style (famously the Pine Trees in the Tokyo National Museum) and but also in a gorgeous color and gold style, as here.
This is one of a pair of screens that presumably showed the four seasons. The righthand screen would have pictured spring and summer. It is unusual to find winter on the far right of the left screen, as here: Japanese screens are normally “read” from right to left, with winter almost always on the far left. Here, winter is signaled by a snow-covered, barren willow and a camellia bush, anchoring the right corner. Autumn is highlighted on the left by a pine and a red maple tree protruding from an opening in the gold leaf ground that represents clouds, mist bands and ground all at once and that helps create a source of light in the darkened interior of a daimyo castle. In the lower left corner, around a complex rock formation, autumn flowers include white chrysanthemums and white hibiscus.
The pair of birds in the second panel from the right, miyama haojiro, and those perched on rocks in the far left of the sixth panel appear often in Chinese-style bird and flower painting in the late Muromachi period. An example would be the screens of birds and flowers of the four seasons signed by Kano Motonobu in the Hakutsuru Fine Arts Museum, Kobe, and another with the seal of Kano Motonobu in the Okada Museum, Hakone. The birds are a species that is not native to Japan.
The Hasegawa school was founded in the sixteenth century by the formidable Hasegawa Tohaku and these screens are precious evidence of the evolution of the school, which flourished in the seventeenth century and early eighteenth centuries, centered in Kyoto. Tohaku worked in a subdued, monochromatic ink style (famously the Pine Trees in the Tokyo National Museum) and but also in a gorgeous color and gold style, as here.