Paravent compos\u00e9 de six panneaux illustrant la sortie hors de la ville d\u2019un empereur chinois \u00e0 cheval et de sa concubine dans un fastueux palanquin.\u00a0<\/p>\n
Il pourrait s\u2019agir d\u2019une sc\u00e8ne illustrant le po\u00e8me Le chant des regrets \u00e9ternels (Chang hen ge, \u9577\u6068\u6b4c) de Bai Juyi (772-846) qui relate l\u2019histoire d\u2019amour tragique entre l\u2019empereur Ming Huang (aussi appel\u00e9 Tang Xuanzong, 685-762) et sa concubine favorite, la magnifique Yang Guifei (719-756). Son amour excessif entraina des intrigues \u00e0 la cour et des troubles dans l\u2019empire. Une r\u00e9bellion en 755 obligea l\u2019empereur \u00e0 fuir la capitale. Le soul\u00e8vement avec \u00e0 sa t\u00eate le g\u00e9n\u00e9ral An Lushan (705-757) accusa Yang Guifei des n\u00e9gligences de l\u2019empereur et fut mis \u00e0 mort l\u2019ann\u00e9e suivante. L\u2019empereur abdiqua peu de temps apr\u00e8s, d\u00e9clenchant le d\u00e9clin de la dynastie Tang.\u00a0\u00a0<\/p>\n
Ce r\u00e9cit devint un sujet populaire aupr\u00e8s des peintres de l\u2019\u00e9cole Kan\u00f4 de la p\u00e9riode Momoyama (1573-1615) au d\u00e9but de la p\u00e9riode Edo (1615-1868). Cet attrait durable dans les arts visuels et litt\u00e9raires japonais refl\u00e8te \u00e0 la fois une forte identification \u00e9motionnelle aux th\u00e8mes de l\u2019amour, de la mort et de la nostalgie, et l\u2019id\u00e9e persistante de la Chine de la dynastie Tang comme un \u00e2ge d\u2019or culturel. De plus, le po\u00e8me fut \u00e9galement une des sources d\u2019inspirations pour le c\u00e9l\u00e8bre roman du Dit du Genji (vers 1010) de Murasaki Shikibu (v. 973 \u2013 1014\/1025).\u00a0<\/p>\n
Sign\u00e9 Kan\u00f4 D\u00f4gen (\u72e9\u91ce\u6d1e\u5143, 1643-1703). Il est le deuxi\u00e8me fils de Kan\u00f4 S\u00f4sen (\u72e9\u91ce\u7d20\u5ddd). Il a fond\u00e9 un atelier ind\u00e9pendant en tant que omote eshi (peintre externe) officiel du shogunat \u00e0 Asakusa Saryumachi, un quartier de l\u2019actuel Tokyo. Il se fait \u00e9galement appeler Ikinobu, Kuninobu ou Kumenosuke.\u00a0\u00a0
Il fait partie de l\u2019\u00e9cole Kan\u00f4, l\u2019une des \u00e9coles de peinture japonaise les plus c\u00e9l\u00e8bres. Celle-ci a \u00e9t\u00e9 cr\u00e9\u00e9e \u00e0 la fin de l\u2019\u00e9poque Muromachi, c\u2019est-\u00e0-dire vers le milieu du XVe si\u00e8cle par Kan\u00f4 Masanobu (\u72e9\u91ce\u6b63\u4fe1, 1434\u202f? \u2013 1530\u202f?). Les artistes de cet atelier familial combinent les techniques de peinture \u00e0 l\u2019encre d\u2019\u00e9poque Muromachi et d\u2019origine chinoise avec des \u00e9l\u00e9ments d\u00e9coratifs et traditionnels du Japon. A l\u2019\u00e9poque Edo (1603-1868), ils sont les peintres officiels du shogunat Tokugawa. Les sujets de la litt\u00e9rature et plus largement la culture chinoise sont tr\u00e8s appr\u00e9ci\u00e9s de l\u2019\u00e9cole Kan\u00f4.\u00a0\u00a0<\/p>\n
Le British Museum conserve un rouleau suspendu de l\u2019artiste\u202f: Kan\u00f4 D\u00f4gen, Hanging scroll. Bird and plum blossom., fin XVIIe si\u00e8cle, 38.5 x 12.4 in., inv. 1881,1210,0.768.<\/p>\n
Japon \u2013 \u00e9poque Edo (1603 \u2013 1868) \u2013 deuxi\u00e8me moiti\u00e9 du XVIIe si\u00e8cle\u00a0\u00a0
Hauteur 186 cm \u2013 6 feuilles, soit 480 cm\u00a0\u00a0<\/p>\n
Six-panels screen depicting the exit from the city of a Chinese emperor on horseback and his concubine in a luxurious palanquin.\u00a0<\/p>\n
It may be a scene illustrating the poem The Song of Everlasting Sorrow (Chang hen ge, \u9577\u6068\u6b4c) written by Bai Juyi (772-846), which recounts the tragic love story between the emperor Ming Huang (also known as Tang Xuanzong, 685-762) and his favorite concubine, the beautiful Yang Guifei (719-756). His excessive love led to intrigues at court and unrest in the empire. A rebellion in 755 forced the emperor to flee the capital. The uprising led by the general An Lushan (705-757) accused Yang Guifei of the emperor\u2019s negligence and was executed the following year. The emperor abdicated shortly afterwards, setting the decline of the Tang dynasty.\u00a0\u00a0<\/p>\n
This story became a popular theme for the Kan\u00f4 school painters from the Momoyama period (1573-1615) to the early Edo period (1615-1868). This long-lasting popularity in Japanese visual and literary arts reflects a strong emotional identification with the love, death and longing themes, and the persistent idea of Tang Dynasty China as a cultural golden age. Moreover, the poem served as source of inspiration for the famous novel The Tale of Genji (c. 1010) written by Murasaki Shikibu (c. 973 \u2013 1014\/1025).\u00a0<\/p>\n
Signed Kan\u00f4 D\u00f4gen (\u72e9\u91ce\u6d1e\u5143, 1643-1703). He was the second son of Kan\u00f4 S\u00f4sen (\u72e9\u91ce\u7d20\u5ddd). He founded an independent studio as an official omote eshi (external painter) of the shgunate in Asakusa Saryumachi, a district in current Tokyo. He also known as Ikinobu, Kuninobu or Kumenosuke.\u00a0
He belonged to the Kan\u00f4 school, one of the most famous Japanese schools of painting. This was stablished in the late Muromachi period, which means around the middle of the 15th century by Kan\u00f4 Masanobu (\u72e9\u91ce\u6b63\u4fe1, 1434? – 1530?). This family artists workshop combined Muromachi period and Chinese-derived ink painting techniques with decorative and traditional Japanese elements. During the Edo period (1603-1868), they were the official painters of the Tokugawa shogunate. The subjects of literature and more broadly Chinese culture are very popular with the Kan\u00f4 school.\u00a0<\/p>\n
The British Museum holds a hanging scroll by the artist: Kan\u00f4 D\u00f4gen, Hanging scroll. Bird and plum blossom, late 17th century, 38.5 x 12.4 in., inv. 1881,1210,0.768.\u00a0<\/p>\n
Japan – Edo period (1603 – 1868) – second half of the 17th century\u00a0\u00a0
Height: 186 cm \u2013 six-panels \u2013 width 480 cm (total)\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"
Paravent en papier \u00e0 six feuilles – Japon
Six-panel folding paper screen – Japan<\/span><\/span><\/span>
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