Who painted 花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing?

花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing was painted by Unknown in 1634.

Where can I see 花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing?

花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing is held by Metropolitan Museum of Art.

What movement is 花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing?

花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing is associated with Renaissance.

Artwork

花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing

Unknown , 1634

花見・紅葉狩図屏風|Cherry-Blossom and Maple-Leaf Viewing is an ink painting by the Renaissance artist Unknown. It dates from 1634 and is held in the collection of the Metropolitan Museum of Art. The work consists of two six‑panel folding screens depicting seasonal gatherings.

About this work

Overview

The work consists of two six‑panel folding screens depicting seasonal gatherings. The left screen presents a riverside scene under blooming cherry trees, while the right screen shows a group of figures beneath turning maple leaves. Both screens are rendered on gilded paper, creating a luminous backdrop that unifies the two complementary seasonal motifs.

Subject & Meaning

The panels illustrate traditional Japanese pastimes of hanami (cherry‑blossom viewing) and momijigari (maple‑leaf viewing). Figures are shown in relaxed poses—sitting, strolling, playing music—emphasizing communal appreciation of nature’s transient beauty and the cultural importance of seasonal change.

Technique & Style

Executed with ink, mineral pigments, and gold leaf on gilt paper, the screens combine vivid costume colors with subdued greens and gold tones. The artist employs delicate line work for the figures and a flat, decorative treatment of foliage, allowing the gilded background to convey a sense of richness without sacrificing the scene’s calm atmosphere.

Context

Folding screens of this type were popular in the Edo period for both decorative and functional purposes, often displayed in aristocratic or temple settings during seasonal festivals. The juxtaposition of cherry and maple motifs reflects the Japanese aesthetic principle of juxtaposing opposing yet complementary elements to evoke a harmonious seasonal narrative.