At least eight varieties of trees have been identified in the screens F1962.30-31, reflecting a growing interest at that time among educated Japanese in natural history classification. Yet even with careful attention to botanical accuracy, the painter offers no suggestion of spatial relationship between the trees. Indeed, the real subject of the painting is jarring contrast: realism in form but not space, dramatic asymmetry, and bold color contrast.
The circular vermilion seals, reading "I'nen" and seen on the extreme left and right panels of this screen set, were used by the Kyoto painter Tawaraya Sotatsu (active circa 1600-1640) and by several generations of his followers. Sotatsu's follower, Sosetsu (active 1630-50) is a strong candidate as the user of these "I'nen" seals. He migrated from Kyoto to serve Lord Maeda, head of the family who ruled Kaga Province, north of Kyoto; these screens were likely commissioned for the Maeda family.
Collection:
Freer Gallery of Art Collection
Exhibition History:
Japanese Art from the Collection (October 26, 2024 - ongoing)
Sotatsu: Making Waves (Saturday, October 24, 2015 to Sunday, January 31, 2016)
Japanese Screens (March 2007 to January 3, 2016)
Japanese Art in the Age of Koetsu (June 6, 1998 to February 15, 1999)
Japanese Screens (August 13, 1997 to May 4, 1998)
Japanese Screens (May 9, 1993 to November 13, 1995)
Japanese Screens (February 11, 1983 to July 19, 1988)
Rimpa Screens (October 9, 1980 to December 21, 1981)
Japanese Art (July 1, 1974 to April 10, 1978)
Japanese Art—Painted Screens (August 18, 1967 to May 2, 1973)
Japanese Art, Galleries 3, 4, and 5 (January 1, 1963 to September 16, 1970)
