COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1976.95.2
amicoid
CMA_.1976.95.2
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1388 - 1462
cdt
1388 - 1462
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Tosa School
crt
Tosa School
Creator Name-CRT
false
Title:
Horse Race at the Kamo Shrine
otn
Horse Race at the Kamo Shrine
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
17th Century
oct
17th Century
Creation Date
false
Creation Start Date:
1600
ocs
1600
Creation Start Date
false
Creation End Date:
1699
oce
1699
Creation End Date
false
Materials and Techniques:
pair of six-fold screens; ink, and color on gold ground paper
omd
pair of six-fold screens; ink, and color on gold ground paper
Materials and Techniques
false
Dimensions:
Image: 161cm x 362cm, Overall: 176.5cm x 377.3cm, Closed: 176.5cm x 64cm x 12.5cm
met
Image: 161cm x 362cm, Overall: 176.5cm x 377.3cm, Closed: 176.5cm x 64cm x 12.5cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1976.95.2
ooa
1976.95.2
ID Number
false
Credit Line:
Purchase from the J. H. Wade Fund
ooc
Purchase from the J. H. Wade Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Among the major Shinto shrines of ancient Kyoto few occupy a more prominent role in the life of the city's residents than the Kamo shrines. Dedicated by the seventh century to the worship of native kami (deities), both the upper and lower shrines have become impressive compounds with numerous outbuildings. Shown here is a panoramic view of the lower shrine, which sits on the promontory in central Kyoto formed by the joining of the two branches of the Kamo river. Set in deep woods, the shrine's principalbuildings are arranged along an axis that proceeds from the tall red tori (entrance gate) toward the walled compound in which the hidden deities reside (left screen). But, as these screens reveal, an assortment of activities associated with daily life aswell as special holiday events occur within shrine grounds. Taking up nearly the entire right screen is a depiction of the annual 15 May horse race held in conjunction with the Hollyhock Festival. This event, which dates to the Heian period, enjoyed the participation of the court and drew many thousands of spectators. Each wears a distinctively patterned garment and assumes a particular gesture or pose that sets him or her apart from those nearby. Children also appear in the crowds; the special viewing building, set back slightly, is for privileged court members. The animation and density of the figural groupings is extraordinary, even for genre paintings of the Edo period. These lively compositions draw upon the venerated Heian period illustrated handscroll tradition of scenes from daily life or religious narrative for inspiration. The tradition of depicting ordinary people in scenes of everyday life occurs in Japanese art earlier and more continuously than in the artistic traditions of either of its EastAsian neighbors. The unknown painter of these screens was equally adept at rendering the landscape scenery, plant life, and architectural features of the various shrine buildings. These screens are in fact an abbreviated version of a much larger "mural" painting: originally the Kamo festival scenery filled several fusuma (sliding door panels) of an entire room based on the Kamo horse race subject. Two other fragments of the original painting panels are known, in Japan and Germany, providing a larger glimpse of the work's breadth of vision. Regrettably the identity of the painter is unknown, but his training in the colorful and animated tradition of yamato-e is readily apparent. M.R.C.
cxd
Among the major Shinto shrines of ancient Kyoto few occupy a more prominent role in the life of the city's residents than the Kamo shrines. Dedicated by the seventh century to the worship of native kami (deities), both the upper and lower shrines have become impressive compounds with numerous outbuildings. Shown here is a panoramic view of the lower shrine, which sits on the promontory in central Kyoto formed by the joining of the two branches of the Kamo river. Set in deep woods, the shrine's principalbuildings are arranged along an axis that proceeds from the tall red tori (entrance gate) toward the walled compound in which the hidden deities reside (left screen). But, as these screens reveal, an assortment of activities associated with daily life aswell as special holiday events occur within shrine grounds. Taking up nearly the entire right screen is a depiction of the annual 15 May horse race held in conjunction with the Hollyhock Festival. This event, which dates to the Heian period, enjoyed the participation of the court and drew many thousands of spectators. Each wears a distinctively patterned garment and assumes a particular gesture or pose that sets him or her apart from those nearby. Children also appear in the crowds; the special viewing building, set back slightly, is for privileged court members. The animation and density of the figural groupings is extraordinary, even for genre paintings of the Edo period. These lively compositions draw upon the venerated Heian period illustrated handscroll tradition of scenes from daily life or religious narrative for inspiration. The tradition of depicting ordinary people in scenes of everyday life occurs in Japanese art earlier and more continuously than in the artistic traditions of either of its EastAsian neighbors. The unknown painter of these screens was equally adept at rendering the landscape scenery, plant life, and architectural features of the various shrine buildings. These screens are in fact an abbreviated version of a much larger "mural" painting: originally the Kamo festival scenery filled several fusuma (sliding door panels) of an entire room based on the Kamo horse race subject. Two other fragments of the original painting panels are known, in Japan and Germany, providing a larger glimpse of the work's breadth of vision. Regrettably the identity of the painter is unknown, but his training in the colorful and animated tradition of yamato-e is readily apparent. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1976.95.2.tif
ril
CMA_.1976.95.2.tif
Related Image Identifier Link
false