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Peacocks and Bamboo, late 1500s. Creator: Tosa Mitsuyoshi (Japanese, 1539-1613), attributed to
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Peacocks and Bamboo, late 1500s. Creator: Tosa Mitsuyoshi (Japanese, 1539-1613), attributed to
Peacocks and Bamboo, late 1500s. The immense heraldic birds on display in these byobu reflect the Momoyama eras spirit of newly gained self-confidence and an affinity for grand expressive statements in painting, architecture, the textile and ceramic arts, as well as garden design. The setting is composed of highly stylized lozenges of mineral green paint, suggesting the earth from which clumps of grass, flowering plants, and towering bamboo and paulownia trees emerge. Clusters of lumpy, blue-green rocks dotted with lichen provide stabilizing three-dimensional foils for these islands of vegetation as well as the all-encompassing flat, golden surface. The glorious artificiality of the setting precisely serves the artists effort to compose a credible yet other-worldly vista for depicting the legendary phoenix gazing across the landscape at the pair of peacocks. Rather than an emblem of immortality, as it is in Western lore, in Japan the phoenix evolved out of its origins in Chinese mythology to become, by the sixteenth century, an auspicious symbol of political authority. Together with clusters of the distinctively shaped paulownia leaves, this long-tailed, mythical bird graced lacquerware as well as mural paintings, proclaiming an air of graceful com-mand. A characteristic infusion of temporality has been included also, through a seasonal flowering schema extending from spring to early summer (right) to fall and the advent of winter (left). Although traditionally attributed to the Tosa school master Tosa Mitsuyoshi (1539-1613), these byobu possess neither seals nor signatures to confirm that authorship. Known for his jewel-like, modest-sized album paintings of courtly narratives such as The Tale of Genji, it is likely both studio training and contemporary fashions in patronage conspired to produce a good number of such byobu. This example from the Momoyama era represents one such effort from a masterful Tosa painter, too little seen in Western collections
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Peacocks and Bamboo, late 1500s
EDITORS COMMENTS
is a captivating print that showcases the artistic brilliance of Tosa Mitsuyoshi during Japan's Momoyama era. The byobu, or folding screen, features majestic peacocks set against a backdrop of towering bamboo and paulownia trees. This composition reflects the era's newfound self-confidence and love for grand expressive statements in various art forms. The setting itself is a masterpiece with stylized lozenges of mineral green paint representing the earth from which lush vegetation emerges. Clusters of lumpy rocks add three-dimensional depth to this otherworldly vista while providing stability to the vibrant landscape. A flat golden surface envelops everything, enhancing the artificiality that serves as an ideal backdrop for depicting legendary creatures like phoenixes. In Japanese mythology, phoenixes symbolize political authority rather than immortality as in Western lore. The presence of these mythical birds alongside distinctively shaped paulownia leaves signifies graceful command and auspiciousness. Additionally, seasonal flowering patterns further infuse temporality into this artwork. Although traditionally attributed to Tosa Mitsuyoshi, these byobu lack seals or signatures confirming his authorship. However, their exquisite craftsmanship suggests they were likely produced under his studio training and influenced by contemporary patronage trends. This particular example from the Momoyama era represents an exceptional effort by a masterful Tosa painter whose works are unfortunately not widely seen in Western collections today. It stands as a testament to Mitsuyoshi's talent and contributes to our understanding of Japanese art history during this period.
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