Goose and Reeds; Willows in the Moonlight right screen: 1774; left screen: 1793 Maruyama ?kyo A goose, wings half spread, swoops toward the surface of the water in the right-hand screen. The only indications of a shore are tops of spindly reeds bending beneath the wind in the lower right corner and waves cresting close by. On the left screen, willow trees by a river and the moon’s reflection on the surface of the water offer a more quietly lyrical view. In both, the viewpoint is low and pictorial elements are close to the viewer, giving the background space a feeling of great depth. Although t
Goose and Reeds; Willows in the Moonlight right screen: 1774; left screen: 1793 Maruyama ?kyo A goose, wings half spread, swoops toward the surface of the water in the right-hand screen. The only indications of a shore are tops of spindly reeds bending beneath the wind in the lower right corner and waves cresting close by. On the left screen, willow trees by a river and the moon’s reflection on the surface of the water offer a more quietly lyrical view. In both, the viewpoint is low and pictorial elements are close to the viewer, giving the background space a feeling of great depth. Although they have been handed down as a pair, dates inscribed by Maruyama ?kyo on each screen are some two decades apart. ?kyo, founder of the Maruyama-Shij? school, blended Western-style realism with elements from Japanese and Chinese traditions of painting in a manner that made him one of the most popular artists of his Goose and Reeds; Willows in the Moonlight. Maruyama ?kyo (Japanese, 1733–1795). Japan. right screen: 1774; left screen: 1793. Pair of six-panel folding screens; ink, color and gold on paper. Edo period (1615–1868). Screens
Size: 4000px × 1897px
Photo credit: © MET/BOT / Alamy / Afripics
License: Licensed
Model Released: No
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