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Folding screen
A folding screen, also known as pingfeng (Chinese: 屏風; pinyin: píngfēng), is a type of free-standing furniture consisting of several frames or panels, which are often connected by hinges or by other means. They have practical and decorative uses, and can be made in a variety of designs with different kinds of materials. Folding screens originated from ancient China, eventually spreading to the rest of East Asia, and were popular amongst Europeans.
Screens date back to China during the Eastern Zhou period (771–256 BCE). These were initially one-panel screens in contrast to folding screens. Folding screens were invented during the Han dynasty (206 BCE – 220 CE). Depictions of those folding screens have been found in Han-era tombs, such as one in Zhucheng, Shandong Province.
A folding screen was often decorated with beautiful art; major themes included mythology, scenes of palace life, and nature. It is often associated with intrigue and romance in Chinese literature, for example, a young lady in love could take a curious peek hidden from behind a folding screen. An example of such a thematic occurrence of the folding screen is in the classical novel Dream of the Red Chamber by Cao Xueqin. The folding screen was a recurring element in Tang literature. The Tang poet Li He (790–816) wrote the "Song of the Screen" (屛風曲), describing a folding screen of a newly-wed couple. The folding screen surrounded the bed of the young couple, its twelve panels were adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges resembling glass coins.
Folding screens were originally made from wooden panels and painted on lacquered surfaces, eventually folding screens made from paper or silk became popular too. Even though folding screens were known to have been used since antiquity, it became rapidly popular during the Tang dynasty (618–907). During the Tang dynasty, folding screens were considered ideal ornaments for many painters to display their paintings and calligraphy on. Many artists painted on paper or silk and applied it onto the folding screen. There were two distinct artistic folding screens mentioned in historical literature of the era. One of it was known as the huaping (Chinese: 畫屛; lit. 'painted folding screen') and the other was known as the shuping (Chinese: 書屛; lit. 'calligraphed folding screen'). It was not uncommon for people to commission folding screens from artists, such as from Tang-era painter Cao Ba or Song-era painter Guo Xi. The landscape paintings on folding screens reached its height during the Song dynasty (960–1279). The lacquer techniques for the Coromandel screens, which is known as kuancai (款彩 "incised colors"), emerged during the late Ming dynasty (1368-1644) and was applied to folding screens to create dark screens incised, painted, and inlaid with art of mother-of-pearl, ivory, or other materials.
The byeongpung (Korean: 병풍; "Folding screen") became significant during the period of Unified Silla (668–935). The most common uses for byeongpung were as decoration, as room dividers, or to block wind caused by draft from the Ondol heated floors which were common across Korea. Commonly depicted on Korean folding screens were paintings of landscapes as well as flowers and artistic renditions of calligraphy. Prominent byeongpung screens known as irworobongdo were important elements in the throne room of some Joseon kings, placed immediately behind the throne. Several examples of irworobongdo can be seen across palaces in Korea such as at Gyeongbok Palace, Changdeok Palace and Changgyeonggung.
Another type of screen is the chaekgeori, with scholarly motifs such as books in a shelf.
Common types of byeongpung produced during the Joseon dynasty included:
A Japanese folding screen (or byōbu) originated from the Han dynasty of China and is thought to have been imported to Japan in the 7th or 8th century. The oldest byōbu produced in Japan is Torige ritsujo no byōbu (鳥毛立女屏風) from the 8th century, and it is stored in Shōsōin Treasure Repository. from the Heian period in the 9th century, due to the development of Japan's distinctive Kokufū Bunka (国風文化), the designs became more indigenous and came to be used as furnishings in the architectural style of Shinden-zukuri.
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Folding screen
A folding screen, also known as pingfeng (Chinese: 屏風; pinyin: píngfēng), is a type of free-standing furniture consisting of several frames or panels, which are often connected by hinges or by other means. They have practical and decorative uses, and can be made in a variety of designs with different kinds of materials. Folding screens originated from ancient China, eventually spreading to the rest of East Asia, and were popular amongst Europeans.
Screens date back to China during the Eastern Zhou period (771–256 BCE). These were initially one-panel screens in contrast to folding screens. Folding screens were invented during the Han dynasty (206 BCE – 220 CE). Depictions of those folding screens have been found in Han-era tombs, such as one in Zhucheng, Shandong Province.
A folding screen was often decorated with beautiful art; major themes included mythology, scenes of palace life, and nature. It is often associated with intrigue and romance in Chinese literature, for example, a young lady in love could take a curious peek hidden from behind a folding screen. An example of such a thematic occurrence of the folding screen is in the classical novel Dream of the Red Chamber by Cao Xueqin. The folding screen was a recurring element in Tang literature. The Tang poet Li He (790–816) wrote the "Song of the Screen" (屛風曲), describing a folding screen of a newly-wed couple. The folding screen surrounded the bed of the young couple, its twelve panels were adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges resembling glass coins.
Folding screens were originally made from wooden panels and painted on lacquered surfaces, eventually folding screens made from paper or silk became popular too. Even though folding screens were known to have been used since antiquity, it became rapidly popular during the Tang dynasty (618–907). During the Tang dynasty, folding screens were considered ideal ornaments for many painters to display their paintings and calligraphy on. Many artists painted on paper or silk and applied it onto the folding screen. There were two distinct artistic folding screens mentioned in historical literature of the era. One of it was known as the huaping (Chinese: 畫屛; lit. 'painted folding screen') and the other was known as the shuping (Chinese: 書屛; lit. 'calligraphed folding screen'). It was not uncommon for people to commission folding screens from artists, such as from Tang-era painter Cao Ba or Song-era painter Guo Xi. The landscape paintings on folding screens reached its height during the Song dynasty (960–1279). The lacquer techniques for the Coromandel screens, which is known as kuancai (款彩 "incised colors"), emerged during the late Ming dynasty (1368-1644) and was applied to folding screens to create dark screens incised, painted, and inlaid with art of mother-of-pearl, ivory, or other materials.
The byeongpung (Korean: 병풍; "Folding screen") became significant during the period of Unified Silla (668–935). The most common uses for byeongpung were as decoration, as room dividers, or to block wind caused by draft from the Ondol heated floors which were common across Korea. Commonly depicted on Korean folding screens were paintings of landscapes as well as flowers and artistic renditions of calligraphy. Prominent byeongpung screens known as irworobongdo were important elements in the throne room of some Joseon kings, placed immediately behind the throne. Several examples of irworobongdo can be seen across palaces in Korea such as at Gyeongbok Palace, Changdeok Palace and Changgyeonggung.
Another type of screen is the chaekgeori, with scholarly motifs such as books in a shelf.
Common types of byeongpung produced during the Joseon dynasty included:
A Japanese folding screen (or byōbu) originated from the Han dynasty of China and is thought to have been imported to Japan in the 7th or 8th century. The oldest byōbu produced in Japan is Torige ritsujo no byōbu (鳥毛立女屏風) from the 8th century, and it is stored in Shōsōin Treasure Repository. from the Heian period in the 9th century, due to the development of Japan's distinctive Kokufū Bunka (国風文化), the designs became more indigenous and came to be used as furnishings in the architectural style of Shinden-zukuri.