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Gnarled Plum and Bamboo

	Object Type	17th Century Japanese Screen Eight Panel
	Artist	Unknown
	Period	Early Edo
	Materials	Gold Leaf and Color on Paper Screen
	Creation Date	ca. 1630
	Dimensions	167.7 cm. x 704 cm. (66 in. x 277 1/8 in.)

Commentary

One can perceive the motif of this work by focusing on the right portion of the screens, where the trunk of a magnificent plum tree stands amidst three mosochiku bamboo; all of which are rooted upon a blue-green embankment. Moreover, the compositional layout of the plum tree branches and pheasants dwelling below enhance this luxuriant image. Otherwise, the addition of images such as the bamboo leaves lend only a subtle variation to the overall conciseness of this composition. Another example of this is where the apex of the plum tree exits the screen and emerges again with the tips of the branches. The fact that the background is completely gilded with gold and that the general quality of the composition is superior are clear indications that this is the finest in quality of works of this kind. The portrayal of the grand plum tree is consistent with the overall enlargement of this eight screen composition, a style inherited from the large screen style of the Momoyama period. There is a formal and conscious effort to preserve this theme which is evident upon viewing the size of the bamboo, plum branches, and even in the branch "movements". It is because of the adherence to these particular conventions that there are reasons to believe that this work is from the beginning of the Edo period. Though this work is characteristic of the Hodobe style, it does not necessarily feature characteristics of the Karino school. Of particular interest is the unique white green color treatment of the tree trunk and branches. This style was prevalent during the beginning of the Edo period in which schools like the Unkoku and the Soga - followers of the Chinese style - were also exploring at that time. Another remarkable feature is the use of a sizeable brush to create this smooth texture, to bring about dimension to the trunk, and to achieve a strikingly twisted effect of the branches. It is highly probable, inferring from the bamboo and plum tree motif, that these screens were originally paired in junction with another pair of screens with a pine tree motif to produce a kinpeki sho-chiku-bai (gold, blue green; pine-bamboo-plum) portrait by Kissho. There is also a strong possibility that based upon the selection of the motif material that these were used to furnish and decorate ceremonial sites of former daimyo quarters. The sheer size of this painting is both a puzzlement and a viewing pleasure. There are eight large, continuous, fusuma-sized panels without any sign of the door pulls that would exist if the work had ever been fusuma. It must have come from a very large daimyo's home. One supposition is that it was intended to be used as a backdrop when giving audience to visitors, and because it was continuous it could be a shield for the daimyo's bodyguard. Bolstering this idea is the fact that anyone sitting underneath the bough of the gnarled plum is framed by the tree which gives him an impressive appearance. This composition flows over into the next image. The work is a combination of the two images. A giant plum tree on a green slope at the right hand side from the viewer and three Moso bamboo trees arranged around the plum tree are the focal points of this painting. Branches of the plum tree and pheasants on the ground enhance the grandiose quality of the painting. In addition, clusters of bamboo leaves effectively arranged accentuate the composition. The overall composition is simple. Branches of the plum tree expand out to the boundary of the picture frame once and reappear at the left top. The entire background is covered with gold foil, which indicates the final stage of the "gold background techniques." Compositionally, spreading the giant plum tree throughout the eight panels is a characteristic of the Momoyama period. However, the treatments of bamboo and branches of plum tree are rather constricted in shapes, which is one of the reasons that the date of this painting is around the early Edo period. The technique applied to the details is not necessarily the Kano style, especially to the plum tree. A part of the trunk and branches of the plum tree are painted in light green, touched up with ink. This technique of mixing color pigments with ink was attempted, for example, by Unkoku and Soga schools at the early part of the Edo period. Characteristics of the artist are his use of smooth yet bold brush strokes for plum branches, creating the three-dimensionality effectively, and the use of excessively twisted branches. It is rather difficult to determine the name of the artist at this time. Because the screen has the motifs of a plum tree and bamboo on the gold background, it is assumable that the missing side of the screen has a motif of a pine tree, making them as a pair, having auspicious motif, which is the combination of pine, bamboo and plum trees. In view of the motif, this screen was probably commissioned by daimyo for their ceremonial use. (Takeda)