Drying Fishnets in the Four Seasons
Ink, color and gold on paper
Overall: 66 1/6 x 148 1/2 in. (168.1 x 377.2 cm);
Image: 59 3/16 x 141 3/4 in. (150.3 x 360.0 cm)
This item is not on view
Carll H. de Silver Fund
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Yusho Kaiho (Japanese, 1533-1615). Drying Fishnets in the Four Seasons, ca. 1610. Ink, color and gold on paper, Overall: 66 1/6 x 148 1/2 in. (168.1 x 377.2 cm);. Brooklyn Museum, Carll H. de Silver Fund, 59.7.2. Creative Commons-BY (Photo: Brooklyn Museum, 59.7.2_SL3.jpg)
overall, 59.7.2_SL3.jpg. Brooklyn Museum photograph
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
Traditionally attributed to Kaihō Yūshō
Drying Fishnets in the Four Seasons, circa 1610
Pair of six-fold screens: ink, color, and gold on paper
Carll H. de Silver Fund and Ella C. Woodward Memorial Fund, 59.7.1, .2
Because they were freestanding and easily moved and stored, folding screens were used as flexible decorations in Japanese palaces and temples. They served as temporary room dividers and, through their style and subject matter, set the tone for special occasions. The pair of screens shown here likely dates to the Momoyama period (1573–1615), when many military leaders commissioned screens with an abundance of gold to brighten the dark interiors of their castles.
The subject of fishnets hanging on beachside posts was popular in part because it referred to a Chinese theme, “Fishing Village in Evening Glow,” that had been treated by East Asian artists and poets for centuries as part of the larger suite of subjects called “Eight Views of the Xiao and Xiang Rivers.” Here the fishnets frame a subtle story of seasonal change: moving from right to left, we see the new beach grasses of spring, which grow tall in the summer, go to seed and start to yellow in the fall, and then completely desiccate in the winter. These screens, and a very similar pair in the Imperial Household Collection in Tokyo, have long been attributed to the Momoyama-period artist Kaihō Yūshō, but they bear neither a signature nor seals to confirm this attribution.
(Label by Joan Cummins, October 2019, for Arts of Japan gallery)
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