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Battle of the Carriages

Kano Sanraku

Battle of the Carriages exhibition

Battle of the Carriages

High-resolution facsimiles

Material
printed, gold paint on washi paper
Period of creation
The Joint-research Project with CPCP 2022
Collection
Tokyo National Museum

Original

Cultural property designation
Important Cultural Property
Artist
Kano Sanraku
Historical era
Edo (17th century)
Material
Color on washi paper
Medium
four-fold screen
Size
Each screen H155.6 × W361.0 cm
Collection
Tokyo National Museum

Description

This is a four-paneled folding screen. Though the right side depicts an orderly procession of people and horses, the left side shows a chaotic collection of people and ox carriages. This is a scene from The Tale of Genji, an ancient Japanese literary classic. Genji is the impressive man riding the fine black steed on the first panel on the right. The setting is Kamo Shrine in Kyoto. People have gathered here to catch a glimpse of the radiant Prince Genji as he heads to a ceremony at the shrine. On the second panel from the left, three ox carriages block the view of Genji's procession. This is the party of Genji's wife, Aoi-no-ue. The attendants of Aoi-no-ue are violently trying to push aside the other ox carriages already gathered there. One of these is actually the carriage of Genji's lover Lady Rokujo. This struggle for the best viewing spot is actually the struggle between two rivals for Genji's affections. Despite the antiquity of the tale, the painter, Kano Sanraku, has given the characters an appearance more befitting to his own time. Perhaps he was trying to paint a scene that would feel alive and realistic to contemporary viewers.

— Cited from Colbase

How the Works Are Created

How the Works Are Created

This section introduces the production process of high resolution facsimiles by combining Canon’s latest imaging technology and the authentic craftsmanship of Kyoto in the Tsuzuri Project.

About the Tsuzuri Project

About the Tsuzuri Project

This section shares the significance and passion behind the Tsuzuri Project and how we utilize the high resolution facsimiles of precious cultural assets, which are designated as national treasures and important cultural assets, and Japanese artworks that have left Japan.