402:, including a famous episode of the "flying storehouse" (illustrated). The story takes place mostly among ordinary country people, and is shown as one continuous picture about 30 feet long, with the same characters recurring in different scenes which are connected by a continuous background (something also found in medieval Western art). The images are done in a very different technique, with ink drawing lightly coloured by washes. Most figures are men, and when women are shown, as in
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The range of works discussed below, all usually considered to be embraced by the term yamato-e, is considerable, but most are narrative handscrolls with many small figures. There were also many screens and works in other formats in the various styles, of which few traces remain. The yamato-e style
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The paintings show an already mature tradition that has developed a considerable way from its
Chinese origins. Conventions include the angled view from above into roofless rooms, and very simplified facial details, allowing minimal expressiveness. The colours are fresh and bright, built up in a
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The term yamato-e is found in Heian texts, although the precise range of works it covered then, and also in subsequent periods, is a much debated topic. There are also references showing a distinction within yamato-e between "women's painting" and "men's painting". This distinction is also much
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Characteristic features of yamato-e include many small figures and careful depictions of details of buildings and other objects, the selection of only some elements of a scene to be fully depicted, the rest either being ignored or covered by a "floating cloud", an oblique view from above showing
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screens shown at the rear in the interior scene illustrated. As female figures, mostly shown in a state of elegant lassitude, far outnumber the men, this is taken as an exemplar of "women's painting".
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included some elements of the yamato-e style. In the 17th century, the simplified and stylised depiction of landscape backgrounds in yamato-e was revived as a style for large landscape works by the
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debated but the typical assumptions as to its meaning can be illustrated by works from each group discussed in the next two sections; both are famous masterpieces and
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Paine, Robert Treat, in: Paine, R. T. & Soper A, "The Art and
Architecture of Japan", Pelican History of Art, 3rd ed 1981, Penguin (now Yale History of Art),
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485:(Illustrated Account of the Mongol Invasion) are a pair of illustrated handscrolls from between 1275 and 1293. They were commissioned by the samurai
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grew out of the alternative tradition of
Chinese-style works, the style it developed from the late 16th century for large paintings decorating
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Willmann, Anna. "Yamato-e
Painting". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, last revised April 2012
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represents a very different style within yamato-e, with very lively pen drawings of men and anthropomorphic animals in a number of scenes.
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Yamato-e very often depict narrative stories, with or without accompanying text, but also show the beauty of nature, with famous places
479:(1185–1333), including many showing scenes of life among the ordinary people, and also stories of wars from Japanese history. The
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is apparent in the landscape background of some of the
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is a handscroll nearly 3 metres long, with a single wide battle scene after a text section, illustrating the suicide of
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A History of Japan, R. H. P. Mason, J. G. Caiger, Tuttle
Publishing; Revised edition (November 1, 1997),
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interiors of buildings as though through a cutaway roof, and very stylised depiction of landscape.
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Uji Bridge Screen, an example of later yamato-e from the 17th century
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in order to record his battlefield valour and deeds during the
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version of yamato-e landscape style on a pair of screens by
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134:四季絵
119:名所絵
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