Folding Screens (Byobu)
The Tale of Genji

Japanese paintings have passed through many different stages and developments. Starting from Ancient Japan and Asuka period which was until 710, developing into many forms and styles to reach the present Postwar period. (http://en.wikipedia.org/wiki/Japanese_painting) One of the most known forms of painting in Japan was the mural painting, which goes back to the earliest cave drawings. In the eight-century mural paintings started reaching its present form. (http://library.thinkquest.org/27458/nf/paintings/murals.html) Japanese paintings included painted hand scrolls, fans, albums, folding screens and movable panels. The most popular form among these paintings also being introduced by muralists, was the folding screen paintings.

Folding screens in Japan were called Byobu, which means “to block or stop the wind”. That was in fact one of its uses in the Japanese homes, to block wind that usually came through the narrow openings of sometimes the sliding doors. (Katz, 2009, p.14) Byobu was introduced to Japan during the eighth century by China. It was influenced by the Chinese folding screens’ patterns. (http://en.wikipedia.org/wiki/Byōbu) It was just an influence and Japanese artists did not copy the Chinese style. We can notice the Japanese unique taste and style on each of their folding screens. Byobu can be classified according to its panels’ number. A single-panel screen was called Tsuitate, Two-panel screen was called Nikyoku byobu which was first introduced in the Muromachi Period (1333-1573). Four-panel screen, Yonkyoku byobu and the most common was the six-panel screen, Rokkyoku byobu. Ten-panel screen is slightly recent which is called Jūkyoku byobu. (http://www.finance.reachinformation.com/Byōbu.aspx) Some screens had each panel designed individually and some had a continuous story throughout the divisions of the screen. Its standard height was the height of an average person. Its weight is light compared to its size, which makes it easy to move inside or outside the house and can be folded to the width of one panel. It can serve as a partition or as a background outside the house at a gathering. (Katz, 2009, p.13) It can be considered as a wall, but instead of restricting people, screens are movable and free to control.(Gill, 2004, p.539)

Byobu included many themes and were used in many different occasions. Screens were placed in front of the brazier in a Japanese tea ceremony. Some included waka poetry written on them to celebrate longevity. Screens were also used in Edo Period in wedding ceremonies and newborn babies’ rooms, being painted by ink on white silk surfaces. High screens were also used in bedrooms to preserve privacy. (http://www.finance.reachinformation.com/Byōbu.aspx)

Byobu passed through different Japanese eras; each had its own characteristics and developments. In the Nara Period (646-794) originally it was a single standing panel, then the six-panel byobu became the most common. They were covered with silk and connected with silk cords. Each panel was bound with a wood frame. Next was the Heian Period (794-1185) where panels by then were not connected by silk cords but by coin-shaped metal hinges. Folding screens became more popular in the Muromachi Period (1333-1573), and they were found in many residences and shops. Techniques were used to make depictions in the panels continuous throughout the screen with no vertical borders interruptions. This allowed artists to paint natural scenes and large-format landscapes throughout the panels based on Yamato-e painting. (Stanley-Baker, 1984, p.146)

Fig. 1 The Four Accomplishments, Muromachi period, Kano Motonobu (Japanese, 1476–1559) Pair of six-panel screens; ink and color on paper (170.2 x 381 cm) (http://www.metmuseum.org/toah/works-of-art/1991.480.1,.2)

In the Azuchi-Momovama Period (1573-1600) and early Edo Period (1600-1868) byobu’s popularity was growing more and highly colorful daily life natural scenes were depicted. (http://www.finance.reachinformation.com/Byōbu.aspx) Byobu’s subjects in general mostly included landscapes, birds, flowers, trees, calligraphy and tale’s scenes.

One of the most famous folding screen’s subjects was depicting scenes from a tale’s chapters. An example is The Tale of Genji, where many artists depicted its chapters in folding screens through different eras.

The Tale of Genji was written by Murasaki Shikibu (c. 973-1014) beginning in 1002 or 1003. As she was an attendant at the imperial court of Japan, Murasaki’s story is based on her personal experiences observing her fellow courtiers, their behaviors and maybe ceremonies. (Katz, 2009, p.169) It was a story filled with morals, written by a woman to women. (Katz, 2009, p.171)

Fig.2 Kano Chikayasu, Scenes from the Tale of Genji, each 169.5 x 375 cm (Katz, 2009, p.168,169)

A pair of screens painted by the talented artist Kano Chikayasu depicts scenes from the famous Tale of Genji in the mid nineteenth century producing a pair of six-panel screens. He used ink, color, gold, silver and mica on silk. Roofs are absent in these scenes to unfold indoors for the viewer. We can see no expressions on the faces of the figures despite the paradise-like surroundings. Clouds are slightly raised in relief and are distributed throughout the screen.

In the upper screen, at the top left scene, Genji and Murasaki are selecting ladies’ fabrics for the new year robes. The painter concentrated on the golden patterns in the fabrics, which makes the viewer attracted with the outstanding selection. (Katz, 2009, p.168) A folding screen also appears behind Genji that depicts a scene of a Chinese landscape with pavilions.

Fig. 3 Detail (Katz, 2009, p.170)

In both the screens, seasons are depicted in a nice way. In the lower screen all the scenes take place in spring, while in the upper screen there is a combination of summer, autumn and winter features. (Katz, 2009, p.169)

There is a celebratory mood that fills the lower screen, where a celebration is depicted at the top left scene, with children dancing with musicians, all performing in front of an audience. This festive tone in the colorful screens and celebrating scene lead to making this work of art a part of special events and ceremonies. (Katz, 2009, p.171)

Each scene in the screen represents moments from a specific chapter. For example the scene with the celebration is from chapter 24 “Butterflies (Kocho)”. All of the scenes are separated from one another by clouds, trees or hills, making the scenes look as if they took place in one continuous landscape throughout the screen. (Katz, 2009, p.169)

Anothe example was a pair of six-panel screens painted in the seventeenth century but by an unknown artist. He used ink, colors and gold on paper. Again here golden clouds fill out the entire screen and separate to reveal scenes of figures from the story. At the far right of the screen, tall, slender, green pine extend to reach nearly the entire height of the screen. In the first three panels at the right of the screen, a newborn Genji is cradled by the nurse with the green robe, and is presented to his father, the Emperor. The Emperor sits on a higher mat with decorative border reserved for royalty. (Katz, 2009, p.100)

Fig. 4 The Tale of Genji, unknown artist, each 166 x 371 cm (book 101)

Although the artist is unknown, but his figural representations with long noses, long faces, horizontally elongated eyes and the lips being slightly parted to reveal a glimpse of teeth, relate to the work style of Kano Eitoku (1543-1590) in his figure painting work based on The Tale of Genji. (Katz, 2009, p.103)

Fig. 5 Scenes from Tale of Genji. Attributed to Kano Eitoku. Pair of six-panel screens, color and gold on paper, each (167.5 x 361.7cm) Momoyama period 16 to 17th century. (http://www.kunaicho.go.jp/e-culture/sannomaru/syuzou-09.html)

The folding screens are very famous and were used a lot at that time and even now, the only difference is in their themes and the reasons behind its uses. For that we can say that it had more importance at that time and was given more significance than it has nowadays. And by the below example you can compare the difference.

Fig. 5 Murakami Takashi (Japanese; born 1962), Cascading, 2003. Six-panel screen; 150 x 273 cm. (Katz, 2009, p.85)

Bibliography

Gill, D. R. (2004). Topsy-turvy 1585. Florida: Paraverse Press.

Katz, J. (2009). Beyond Golden Clouds : Japanese Screens from the Art Institute of Chicago and the Saint Louis Art Museum. Chicago: The Art Institute of Chicago.

Stanley-Baker, J. (1984). Japanese Art. London: Thames & Hudson.

Byobu. (2010). Retrieved December 13, 2010, from http://en.wikipedia.org/wiki/Byōbu

Byobu : Synonyms, Definition & Meaning about Byobu from Reach Information. (2008). Retrieved December 13, 2010, from http://www.finance.reachinformation.com/Byōbu.aspx

Heilbrunn Timeline of Art History / The Metropolitan Museum of Art. (2010). Retrieved December 16, 2010, from http://www.metmuseum.org/toah/works-of-art/1991.480.1,.2

Japanese painting. (2010). Retrieved December 14, 2010, from http://en.wikipedia.org/wiki/Japanese_painting

Major Collections / Scenes from Tale of Genji. (n.d.). Retrieved December 16, 2010, from http://www.kunaicho.go.jp/e-culture/sannomaru/syuzou-09.html

The art of japan: paintings: murals. (n.d.). Retrieved December 14, 2010, from http://library.thinkquest.org/27458/nf/paintings/murals.html