Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 5 Kanō Naizen darbai mūsų kataloge
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Zheng Huangniu and Yushanzhu (601) yra Kanō Naizen paveikslas, kuriuo gausiausia žmonių žavisi. Po to akmuo patenka į Namban folding screens (1600) ir Arrival of the Southern Barbarians (Nanban-jin) Screen (1600). Iš 5 Kanō Naizen darbų mūsų kataloge šios 5 yra garsiausios – kiekvienas yra unikali originali dai̇lia, pateikta su jos metais, muziejumi ir priežastimi, kodėl ji išlieka per amžius.
Zheng Huangniu, at right, and Yushanzhu, at left, were two legendary Chinese Chan (Japanese: Zen) monks often paired in Japanese painting beginning in the early Muromachi period. Zheng Huangniu (Japanese: Seiōgyū), whose name means “Zheng of the Yellow Ox,” is known for riding a yellow ox to which he attached various objects, such as water jars and books. As is common in later Japanese examples, here Zheng rides his ox…
The Namban folding screens, executed by the artist Kanō Naizen, date to about 1600. These works document the arrival of Portuguese vessels in the port of Nagasaki, marking a significant moment of contact between Japan and the West. The imagery focuses on the arrival of the namban jin, or Southern Barbarians, as they appeared to the Japanese during this period.
In the grand tapestry of Japanese art history, few works capture the profound sense of cultural collision and curiosity as exquisitely as the Namban folding screens by the master Kanō Naizen. Created around 1600, this monumental masterpiece serves as a breathtaking visual chronicle of the "Nanban" period—a time when the arrival of Portuguese traders and missionaries brought a wave of unprecedented foreign influence to the shores of Japan. As one…
In the dawn of the seventeenth century, as Japan stood at a pivotal crossroads of isolation and global encounter, Kanō Naizen captured a fleeting moment of profound cultural collision. His Namban folding screens serve as more than mere decorative objects; they are vibrant, cinematic windows into an era defined by the arrival of the "Southern Barbarians." Through a masterful application of gold leaf and meticulous brushwork, Naizen invites the viewer…
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
2 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Kanō Naizen darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Liaudies senovės meno nacionalinis muziejus |
Lisbona | 3 | Namban folding screens, Namban folding screens, Namban folding screens |
 Kobe City Museum |
Kyoto | 1 | Arrival of the Southern Barbarians (Nanban-jin) Screen |
Visi čia pateikiami datuoti Kanō Naizen originalūs darbai priklauso vienoms metams – 1600: jie išvardyti pagal budulį.
Pasirinkite metus, kad pamatytumėte originalus darbus.
The Namban folding screens, executed by the artist Kanō Naizen, date to about 1600. These works document the arrival of Portuguese vessels in the port of Nagasaki, marking a significant moment of contact between Japan and the West. The imagery focuses on the arrival of the namban jin, or Southern Barbarians, as they appeared to the Japanese during this period.
Daugiau nuo 1600
Zheng Huangniu and Yushanzhu (601). Toliausiai eina Namban folding screens (1600) ir Arrival of the Southern Barbarians (Nanban-jin) Screen (1600).
Mūsų kataloge yra 5 darbų autoriaus Kanō Naizen.
Daugiausia – Liaudies senovės meno nacionalinis muziejus (Lisbona) ir Kobe City Museum (Kyoto). Viršuje esančiame muziejų sąraše yra visi jie.
1600 laikotarpiu: 4 iš 5 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Namban folding screens.
Gold Leaf, iš 5 šios puslapio darbų – 2.
Namban folding screens, Namban folding screens ir Namban folding screens: Liaudies senovės meno nacionalinis muziejus, Lisbona kolekcijoje yra 3 šioje pusėje esančių darbų.
