Folding screen

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I've loved Chinese screens since I was eighteen years old. I nearly fainted with joy when, entering a Chinese shop, I saw a Coromandel for the first time. Screens were the first thing I bought. [19]


Although folding screens originated in China, they can now be found in many interior designs throughout the world. [9] Some of the first uses of folding screens were rather practical. They were used to prevent draft in homes, [9] as indicated by the two characters in their Chinese name: ping ( "screen; blocking") and feng ( "breeze, wind"). They were also used to bestow a sense of privacy; in classical times, folding screens were often placed in rooms to be used as dressing screens for ladies. [9] Folding screens can be set up to partition a large room and change the interior features of the space. [9] Screens may be used as a false wall near the entrance from one room to another to create a desirable atmosphere by hiding certain features like doors to a kitchen. [9] [20] As many folding screens have fine artistic designs and art on them, they can fit well as decorative items in the interior design of a home. [9] [20]

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<i>Shōrin-zu byōbu</i> Pair of six-panel folding screens by Hasegawa Tōhaku

The Pine Trees screen is a pair of six-panel folding screens by the Japanese artist Hasegawa Tōhaku, founder of the Hasegawa school of Japanese art. The precise date for the screens is not known, but they were clearly made in the late 16th century, in the Momoyama period, around 1595. The screens are held by the Tokyo National Museum, and were designated as a National Treasure of Japan in 1952.

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<i>Flowering Plants of Summer and Autumn</i>

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<i>Wind God and Thunder God</i> (Kōrin)

Wind God and Thunder God is a painting on a pair of two-folded byōbu by Rinpa artist Ogata Kōrin, a replica of a similar work by Tawaraya Sōtatsu, depicting Raijin, the god of lightning, thunder and storms in the Shinto religion and in Japanese mythology, and Fūjin, the god of wind.

<i>Rough Waves</i>

Rough Waves is a painting by the Japanese artist Ogata Kōrin, on a two-panel byōbu. The work was created c. 1704 – c. 1709, and depicts a swirl of stormy sea waves. It has been in the collection of the Metropolitan Museum of Art, New York, since 1926, when it was acquired with financial support from the Fletcher Fund.

<i>Cracked Ice</i> screen Late 18th-century Japanese screen

The Cracked Ice screen is a late 18th-century low two-fold Japanese screen (byōbu) intended for use at the Japanese tea ceremony. It was created in the Edo period and is signed and sealed by the artist, Maruyama Ōkyo (1733–1795), founder of the Maruyama school of realist painting. It would be used as a furosaki byōbu placed near the hearth of a room used for the Japanese tea ceremony, shielding the fire from draughts and also forming a decorative backdrop behind the tea utensils. It may have been intended to be used in the summer, to evoke the cool of the winter.

The Azuchi Screens are a set of six-folding screens depicting Azuchi Castle and its nearby town. Oda Nobunaga gifted them to Pope Gregory XIII, who displayed them in the Vatican collections, where they were admired by visitors. However, they disappeared from historical record. Their fate is unknown and they are considered to be lost. The screens must have been pivotal works in the development of Japanese folding screens.


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    Folding screen
    Hofmobiliendepot - Chinesischer Paravent.jpg
    Chinese folding screen used at the Austrian imperial court, ca. 18th century, the Imperial Furniture Collection