ByÅbu

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For other uses, see Byobu (disambiguation).

A six-panel byÅbu from the 17th century

ByÅbu (å±é¢¨^?, wind wall) are Japanese folding screens made from several joined panels bearing decorative painting and calligraphy, used to separate interiors and enclose private spaces, among other uses.

[edit] History

Like many Japanese arts and crafts, folding screens originated in China; prototypes dating back to the Han dynasty have been found. The term "byÅbu" means figuratively "protection from wind", which suggests that the original purpose of byÅbu was blocking drafts. ByÅbu were introduced in Japan in the eighth century, when Japanese craftsmen started making their own byÅbu, highly influenced by Chinese patterns. Through different Japanese eras, byÅbu evolved in structure and design, along with the techniques and materials used:

Nara Period (646-794): The original form of byÅbu was a single standing, legged panel. In the 8th century, multi-paneled byÅbu made their appearance, and were used as furnishings in the imperial court, mainly in important ceremonies. The six-paneled byÅbu were the most common in the Nara period, and were covered in silk and connected with leather or silk cords. The painting on each panel was framed by a silk brocade, and the panel was bound with a wood frame. Heian Period (794-1185): By the 9th century, byÅbu were indispensable as furniture in daimyo residences, Buddhist temples, and shrines. Zenigata (éŠå½¢), coin-shaped metal hinges, were introduced and widely used to connect the panels instead of silk cords. Muromachi Period (1392-1568): Folding screens became more popular and were found in many residences, dojos, and shops. The two-panel byÅbu were common, and overlapped paper hinges substituted for Zenigata, which made them lighter to carry, easier to fold, and stronger at the joints. This technique allowed the depictions in the byÅbu to be uninterrupted by panel vertical borders, which prompted artists to paint sumptuous, often monochromatic, nature-themed scenes and landscapes of famous Japanese locales. The paper hinges, although quite strong, required that the panel infrastructure be as light as possible. Softwood lattices were constructed using special bamboo nails that allowed for the lattice to be planed along its edges to be straight, square, and the same size as the other panels of the byÅbu. The lattices were coated with one or more layers of paper stretched across the lattice surface like a drum head to provide a flat and strong backing for the paintings that would be later mounted on the byÅbu. The resulting structure was lightweight and durable, yet still quite vulnerable. If you poke your finger into the surface of a panel and you miss a lattice member, your finger will likely pass clear through to the other side. After the paintings and brocade were attached, a lacquered wood frame (typically black or dark red) was applied to protect the outer perimeter of the byÅbu, and intricately-decorated metal hardware (strips, right angles, and studs) were applied to the frame to protect the lacquer. Azuchi-Momoyama Period (1568-1600) and early Edo Period (1600-1868): ByÅbu popularity grew, as the people's interest in arts and crafts significantly developed during this period. ByÅbu adorned samurai residences, conveying high rank and demonstrating wealth and power. This led to radical changes in byÅbu crafting, such as backgrounds made from gold leaf (é‡‘ç®”, kinpaku^?) and highly colorful paintings depicting nature and scenes from daily life. Current day: ByÅbu are often machine-made, however hand-crafted byÅbu are still available, mainly produced by families that preserve the crafting traditions.

[edit] Types

ByÅbu may be classified by the number of panels:

Tsuitate (è¡ç«‹): One-panel screens, the only legged byÅbu, were the first available format. Currently found in shops, restaurants and other venues. Nikyoku byÅbu (äºŒæ›²å±é¢¨) or Nimaiori byÅbu (äºŒæžšæŠ˜å±é¢¨): Two-panel screens, made their first appearance in the mid-Muromachi period. They are a key feature in Japanese tea ceremony rooms, used at the edge of the host's mat to separate him from the guest's area, and are often about 60 centimetres (24 in) high and 85 centimetres (33 in) wide. Nikyoku byÅbu are also called furosaki byÅbu(é¢¨ç‚‰å…ˆå±é¢¨) in the context of tea ceremonies. Yonkyoku byÅbu (å››æ›²å±é¢¨): Four-panel screens, displayed in hallways during the Kamakura and Muromachi periods. They were later used in Seppuku ceremonies and tea house waiting rooms in the late Edo Period. Rokkyoku byÅbu (å…æ›²å±é¢¨) or rokumaiori byÅbu å…æžšæŠ˜å±é¢¨: Six-panel screens, the most popular format, measuring approximately 1.5 metres (4 ft 11 in) high and 3.7 metres (12 ft) wide. JÅ«kyoku byÅbu (åæ›²å±é¢¨): Ten-panel screens, a relatively recent format, used as backdrops in large settings such as hotel lobbies and convention halls.

ByÅbu may also be classified by their uses or themes:

Furosaki byÅbu (é¢¨ç‚‰å…ˆå±é¢¨, literally "screen for in front of the brazier"): screens placed behind the portable hearth in a Japanese tea ceremony. Ga no byÅbu (è³€ã®å±é¢¨; literally "longevity screens"): Purported to have been used since the Heian Period to celebrate longevity through waka poems written on them, embellished with paintings of birds and flowers in the four seasons. Shiro-e byÅbu (ç™½çµµå±é¢¨, also pronounced shirae byÅbu): Screens painted in ink or mica on white silk surfaces, widely used in the Edo period in wedding ceremonies and more specifically in rooms were babies were born, thus they were also called ubuya byÅbu (ç”£æ‰€å±é¢¨; literally "birthplace screen"). They depict cranes and tortoises with pine and bamboo, as well as the auspicious phoenix. Makura byÅbu (æž•å±é¢¨; literally "pillow screen"): 50-centimetre (20 in)-high screens, usually two or four panels, used in bedrooms as a rack for clothes and other accessories, and also to preserve privacy. Koshi byÅbu (è…°å±é¢¨): Slightly taller than makura byÅbu, used during the Sengoku period, placed behind the host to reassure guests that no one is hiding behind the screen.