Most date from the 16th and 17th centuries
Most date from the 16th and 17th centuries. McKelway outlines the characteristics of the genre before moving on to examine particular pairs of screens, specifically their history and content.
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June 2007 · Monumenta Nipponica. Saracens Abroad: Imagining Medieval Muslim Warriors on the Silver Screen. Medieval Saints and Modern Screens: Divine Visions as Cinematic Experience.
Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge.
by Matthew Philip McKelway. Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge.
Amherst College 220 South Pleasant Street Amherst, MA 01002.
Traditions Unbound: Groundbreaking Painters from Eighteenth-Century Kyoto (San Francisco Asian Art Museum, 2005).
Might resist the modern (or even have been part of a kind of modernity) is therefore never clear. What remains is a set of subtle readings of Zenchiku's no plays.
McKelway states, "These Kyoto screens are astonishing for the grandeur of their vistas and complex detail and . Citation: Alisa Freedman.
Citation: Alisa Freedman.
Matthew Philip McKelway. Download PDF book format
Matthew Philip McKelway. Download PDF book format. Choose file format of this book to download: pdf chm txt rtf doc. Download this format book. A most marvelous thing A formal and conceptual guide to Rakuchu? rakugai zu The Sanjo? screens The Uesugi screens Populating the screens The Azuchi screens and images of castles Return to Kyoto: Rakuchu? rakugai zu after the Tokugawa unification.
Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge. These enormous and intricately detailed depictions of the ancient imperial capital were unprecedented in the history of Japanese painting and remain unmatched as representations of urban life in any artistic tradition. Capitalscapes, the first book-length study of the Kyoto screens, examines their inception in the sixteenth to early seventeenth centuries, focusing on the political motivations that sparked their creation.
Close readings of the Kyoto screens reveal that they were initially commissioned by or for members of the Ashikaga shogunate and that urban panoramas reflecting the interests of both prevailing and moribund political elites were created to underscore the legitimacy of the newly ascendant Tokugawa regime. Matthew McKelway’s analysis of the screens exposes their creators’ masterful exploitation of ostensibly accurate depictions to convey politically biased images of Japan’s capital. His overarching methodology combines a historical approach, which considers the paintings in light of contemporary reports (diaries, chronicles, ritual accounts), with a thematic one, isolating individual motifs, deciphering their visual language, and comparing them with depictions in other works.
McKelway’s combined approach allows him to argue that the Kyoto screens were conceived and perpetuated as a painting genre that conveyed specific political meanings to viewers even as it provided textured details of city life. Students and scholars of Japanese art will find this lavishly illustrated work especially valuable for its insights into the cityscape painting genre, while those interested in urban and political history will appreciate its bold exploration of Kyoto’s past and the city’s late-medieval martial elite.