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

NAME Six-panel Byōbu (屏風) — Matsu-ni-kinji Screen with pines on a gold leaf ground DATE 18th century, Edo Period (1603–1868) Probably 1700–1780 ca. 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 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 geometric wave pattern (seigaiha) on a blue-black ground; dark lacquered wooden frames SIGNATURE AND SEALS Absent — workshop production; Kano circle or Rinpa circle CONSERVATION STATUS To be verified — check on 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 expand to the right, occupying the entire upper surface. The composition is asymmetrical, following the Japanese aesthetic principle of ma (meaningful void), which leaves ample space for the gilded background in the upper right register. At the base, nandina domestica (nanten) and Aucuba japonica bushes with red berries grow. 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 indoor environments where the screen was displayed. Byōbu Matsu-ni-Kinji · Edo Period, 18th century Artwork Details · Page 1 of 2 ByōbuMatsu-ni-Kinji—HistoricalandEvaluativeAnalysis Page 2 / 2 HISTORICAL-ARTISTIC CONTEXT Large gilded byōbu reached their peak in the 17th–18th century during the Edo period. The Kano school, official painters of the Tokugawa shōgunate, 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 resists 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 land (Jōdo). In secular use, it reflected the candlelight, creating warm luminosity in windowless rooms. The layered rocks represent primordial earth and the immutable element of the universe, balancing the organic vitality of the pine with solemnity and stability. Nanten 南天 Nandina with red berries 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 drafted for private use · All data are indicative and subject to professional verification Artwork Details ·