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Edo period (1615-1868), late 17th/early 18th century
Edo period (1615-1868), late 17th/early 18th century
Rice harvest; the left-hand half of a pair of six-panel folding screens depicting rice farming in the four seasons; ink on gold leaf over paper, with gold kirikane flakes, in silk mounts, depicting from right to left two herdboys on oxen; peasants under an awning working a foot-operated irrigation device; ripening rice; a group of travellers crossing a stone bridge; peasants harvesting rice; others threshing rice; a group indoors stripping the husks from the kernels using a mortar; at far right women pouring the processed rice into wide baskets to dry, with two unidentified seals at left; unsigned. Overall: 167.5cm x 379cm (66in x 149 3/16in); image: 149cm x 358cm (58 5/8in x 140 7/8in)
For another example of this well-loved composition whose origins can be traced to a lost work by the thirteenth-century Chinese court painter Liang Kai, compare a pair of screens attributed to Kano Motonobu in the collection of John C. Weber; see Melanie Trede ed., Arts of Japan: The John C. Weber Collection (exhibition catalogue, 14 October 2006–7 January 2007, Berlin, Museum für Ostasiatische Kunst, 2006, cat.no.16.
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Edo period (1615-1868), late 17th/early 18th century
Edo period (1615-1868), late 17th/early 18th century
Rice harvest; the left-hand half of a pair of six-panel folding screens depicting rice farming in the four seasons; ink on gold leaf over paper, with gold kirikane flakes, in silk mounts, depicting from right to left two herdboys on oxen; peasants under an awning working a foot-operated irrigation device; ripening rice; a group of travellers crossing a stone bridge; peasants harvesting rice; others threshing rice; a group indoors stripping the husks from the kernels using a mortar; at far right women pouring the processed rice into wide baskets to dry, with two unidentified seals at left; unsigned. Overall: 167.5cm x 379cm (66in x 149 3/16in); image: 149cm x 358cm (58 5/8in x 140 7/8in)
For another example of this well-loved composition whose origins can be traced to a lost work by the thirteenth-century Chinese court painter Liang Kai, compare a pair of screens attributed to Kano Motonobu in the collection of John C. Weber; see Melanie Trede ed., Arts of Japan: The John C. Weber Collection (exhibition catalogue, 14 October 2006–7 January 2007, Berlin, Museum für Ostasiatische Kunst, 2006, cat.no.16.
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