Kagayama Hakuhō aka Kagayama Rinjirō aka Hakugai (Japanese, b. 1880, Okayama Prefecture, Japan) - Cat in Summer Garden (detail, Left), Late Taisho-Early Showa Era, c. 1920-1930 Paintings: Sumi Ink, Gofun or Clam Shell Gesso and Mineral Pigments on Silk,
Left Side of Folding Screen (Byobu)
In celebration of Hispanic Heritage Month (Sep 15—Oct 15), the Brooklyn Museum is pleased to feature a work each week that honors the heritage and cultures of Hispanic and Latin Americans living in the United States. These works, which are on display in various galleries of the museum, relate to ancient cultures from which many Hispanic Americans trace their ancestry or to artisans of the Spanish Colonial era whose creativity reflects an intermingling of indigenous and European traditions. The works presented pay homage to three of the Latin American countries that celebrate the anniversary of their independence this month: Costa Rica, Guatemala and Mexico.
This biombo enconchado is the only known work to combine the two elite Mexican genres of biombos (folding screens) and tableros de concha nácar y pintura (shell-inlay paintings later known as enconchados). Commissioned in Mexico City by the viceroy of New Spain, it was most likely displayed in Mexico’s viceregal palace, where it would have divided a ceremonial state room from a more intimate sitting room. The work originally included six additional panels, which are now in Mexico.
Its principal side depicts scenes from the epic Hapsburg-Ottoman conflicts known as the Great Turkish War (1683-99); in stark contrast, an elegant deer, boar, and chamois hunt appear on the reverse. These paintings were based on imported European prints after drawings and tapestries produced in Antwerp, Versailles, and Florence in the sixteenth and seventeenth centuries. As an elite object painted in Mexico City by local artists after European prints in a Japanese-inspired format (the byōbu or folding screen), this biombo enconchado reflects New Spain’s prime geographic position at the center of the Pacific and Atlantic trade routes and the viceroyalty’s great wealth at the dawn of the eighteenth century.
Art Deco Folding Screen 1927 Wooden frame, glass panels painted with oil paints. This screen was painted by the stage-designer, artist, caricaturist and potter Adrian Paul Allison. He designed it and made the screen especially for himself, and it stayed in his London studio until his death in 1959.
Chinese knotting (TC:中國結; SC:中国结;pinyin: Zhōngguó jié) is a decorative handicraft art that began in the Tang and Song Dynasty (960-1279 AD) in China. It is used as a decoration for rooms, fans, folding screens, musical instruments etc. and an accessory for clothing (mostly go with jewelries like jades).
Chinese knots are usually lanyard type arrangements where two cords enter from the top of the knot and two cords leave from the bottom. The knots are usually double-layered and symmetrical.
Some of the earliest evidence of knotting have been preserved on bronze vessels of the Warring States period (481–221 BCE), Buddhist carvings of the Northern Dynasties period (317–581) and on silk paintings during the Western Han period. Further references to knotting have also been found in literature, poetry and the private letters. In the 18th century, one novel that talked extensively about the art was “Dream of the Red Chamber”. It is mentioned that the knots were used as gifts for relatives and friends, also as a token of love depending on different types of knots.