Emperor Yao Visiting Yu Chonghua

The Cleveland Museum of Art · John L. Severance Fund

Museum

Emperor Yao Visiting Yu Chonghua

mid- to late 1600s

ArtisteKusumi Morikage (Japanese, active c. 1620–1690)

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Technique: One of a pair of six-panel folding screens, ink, slight color, and gold on paper
Dimensions: Image: 131.9 x 348 cm (51 15/16 x 137 in.); Including mounting: 147.3 x 363.7 cm (58 x 143 3/16 in.)
Classification: Painting
Style: ASIAN - Folding screen
Origine: Japan, Edo period (1615–1868)
Institution: The Cleveland Museum of Art
Crédit: John L. Severance Fund

Analyse de marché

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Preuves publiques

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Provenance

Public

?-1968

(Harry C. Nail, Jr. [1909-1990] sold to the Cleveland Museum of Art)

1968

The Cleveland Museum of Art, Cleveland, OH

Texte de provenance source

(Harry C. Nail, Jr. [1909-1990] sold to the Cleveland Museum of Art) The Cleveland Museum of Art, Cleveland, OH

The Cleveland Museum of ArtFiabilité 100%

Expositions

Public

Year in Review for 1968

Byobu: The Art of the Japanese Screen

Japanese Screens from the Museum and Cleveland Collections

Japanese Gallery 235 Rotation

Texte d’exposition source

Year in Review for 1968. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 29-March 9, 1969). Japanese Screens from the Museum and Cleveland Collections. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-May 8, 1977). Byobu: The Art of the Japanese Screen. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1987-January 10, 1988). Japanese Gallery 235 Rotation. The Cleveland Museum of Art (organizer) (January 2-July 9, 2018).

The Cleveland Museum of ArtFiabilité 100%

Vue d’ensemble sourcée Éléments probants

One of a pair, this screen shows a section of the narrative of how the Chinese Emperor Yao (about 2356–2255 BC) selected his successor, Yu Chonghua (about 2294– 2184 BC), who would become Emperor Shun. The artist who painted this screen, Kusumi Morikage, trained with Kano Tan’yō (1602–1647), painter-in-residence to Japan’s shogun, the country’s ruler, and was one of his four top students. Despite the conservative subject matter, Morikage’s distinctive sensibility shines through in his playful treatment of the gray and white elephants in the far left panel of the composition. According to legend, Chonghua was so virtuous that in the spring, elephants bounded down from the mountains to help him till the soil with their tusks.

The Cleveland Museum of ArtFiabilité 100%

État des preuves

Ventes observées: 0 · Ventes comparables: 0 · Provenance: 2 · Expositions: 4.

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