Japanese six-panel Byōbu Matsu-ni-Kinji screen with pines on a gold ground

NAME Byōbu (屏風) six-panel screen — Matsu-ni-kinji screen with pines on a gold leaf background DATE 18th century, Edo Period (1603–1868) Probably circa 1700–1780 DIMENSIONS Width: 371 cm · Height: 170 cm Single panel: approximately 61.8 × 170 cm ESTIMATED WEIGHT 8 – 14 kg (wooden structure, layered washi paper, fabric) Varies depending on frame density and edge finish SUPPORT Layered washi paper on a wooden frame (hinoki or sugi), mounted on interwoven silk hinges PAINTING TECHNIQUE Mineral pigments (malachite for greens, ochre for browns), sumi ink for outlines; gold leaf (kinji) in large areas on the background MOUNTING / EDGES Silk brocade with a geometric wave pattern (seigaiha) on a blue-black background; dark lacquered wooden frames SIGNATURE AND SEALS Absent — workshop production; Kano tradition or Rinpa circle CONSERVATION STATUS To be verified — inspection of gold leaf, pigments, frame flatness, and hinges PROVENANCE Undocumented WORK DESCRIPTION The screen features an imposing pine tree (matsu) extending across all six panels: the gnarled trunk emerges from a rocky outcrop on the left and the branches spread to the right, occupying the entire upper surface. The composition is asymmetrical according to the Japanese aesthetic principle of ma (significant void), which leaves ample space for the golden background in the upper right register. At the base grow nandina domestica (nanten) bushes and aucuba japonica with red fruits. The layered rocks create a three-dimensional backdrop despite the absence of linear perspective. The gold leaf background, with variations in texture evoking golden clouds (kindai), generates a warm luminosity that visually transformed the interior spaces where the screen was displayed. Byōbu Matsu-ni-Kinji · Edo period, 18th century Work Details · Page 1 of 2 ByōbuMatsu-ni-Kinji—HistoricalandEvaluativeAnalysis Page 2 / 2 HISTORICAL-ARTISTIC CONTEXT Large golden byōbu reached their peak in the 17th–18th century during the Edo period. The Kano school, official painters of the Tokugawa shogunate, developed a monumental style combining Chinese influences with Japanese graphic refinement. The Rinpa school, founded by Hon'ami Kōetsu and Tawaraya Sōtatsu, developed a more decorative approach with simplified forms on gold grounds. SYMBOLISM AND ICONOGRAPHY The absence of a signature is not unusual: many high-quality byōbu were produced by anonymous workshops for noble and samurai residences. The dimensions 371 × 170 cm fall within the canonical format of roku-mai-byōbu, intended for reception rooms or ceremonial spaces. Similar unsigned examples can be found in museums and international collections. Matsu 松 The pine is the primary symbol of longevity, resilience, and good fortune. Evergreen, it withstands the cold: ideal for weddings, New Year, and official ceremonies. Kinji 金地 Iwa 岩 sale The gold leaf background evokes the light of the Buddhist pure world (Jōdo). In secular use, it reflected the flame of candelabra, creating warm light in windowless rooms. Layered rocks represent the primordial earth and the immutable element of the universe, balancing the organic vibrancy of the pine with solemnity and stability. Nanten 南天 Nandina with red fruits is a wish for "transforming evil into good" (nan wo ten-zuru, 難を転ずる). A recurring motif in New Year compositions. Document for private use · All data are indicative and subject to professional verification Work Details ·