There are hundreds of forms of these windows, or mado, as they are called. The few to which allusion has been made serve to give one some idea of the almost entirely ornamental character of these openings. It is worthy of note that each form has its appropriate name, and books are specially prepared, giving many designs of windows and their modes of construction.
In the chapter on Gardens a few descriptions and sketches are given of other forms of windows belonging to summer-houses.
The open character of the Japanese house has caused the development of a variety of forms of portable screens, bamboo shades, curtains, and the like, upon which much ingenuity of construction and an infinite amount of artistic talent have been expended. The biyō-bu, or folding screens, are too well known to require more than a passing allusion. These consist of a number of panels or folds covered on both sides with stout paper. A narrow border of wood forms an outer frame, and this may be plain or lacquered. The end folds have the corners as well as other portions of its frame decorated with wrought metal pieces. Just within the frame runs a border of brocade of varying width, and on its inner edge a narrow strip of brocade; within this comes the panel or portion to receive the artist's efforts. Each fold or panel may have a separate picture upon it; or, as is most usually the case, a continuous landscape or composition covers the entire side of the screen. Many of the great artists of Japan have embodied some of their best works on screens of this kind, and the prices at which some of these are held are fabulous.
The rich and heavily-gilded screens now so rare to obtain are marvels of decorative painting. While the front of the screen may have a broad landscape, the back may be simply a plain gold surface, or have some sketchy touches of bamboo, pine, etc., in black. I have been told that the gold-leaf was so thick on many of the old screens, that the sacrilege has often been committed of destroying them for the gold contained on their surfaces.
The six-panelled gold-screen is, beyond all question, the richest object of household use for decorative purposes ever devised. There certainly is no other device in which so many decorative arts are called into play. The rich lacquered frame, [pg 179] the wrought metallic mountings, the border of gold brocade, and the great expanse for the artist's brush (for when both sides of a six-fold screen is decorated, an area is obtained nearly five feet in height and twenty-four feet in length) give great variety for richness of adornment. The rich, dead gold-leaf with which it is gilded softens the reflections, and gives a warm, radiant tone to the light. Its adjustable nature permits it to display its painting in every light. We refer now, of course, to the genuine old gold-screens which came in sets of two. One possessing a set of these screens may consider himself particularly fortunate. The one figured ([fig. 155]) has depicted upon it a winter scene painted by Kano Tsunenobu, and is nearly one hundred and seventy years old; the companion of this has represented upon it a summer scene, by the same artist. On the reverse sides are painted with bright and vigorous touches the bamboo and pine. [Fig. 156] shows one corner of the screen-frame with its metal mounting. These screens may have two folds, or three, or even six, as in this case. A set of screens when not in use are enclosed in silk bags, and then placed in a long, narrow wooden box ([fig. 157]). This box, like other articles of household use, such as bureaus and chests of drawers, has long hanging iron handles, which when turned upwards project above the level of the top, forming convenient loops through which a stick may be passed,—and thus in case of fire may be easily transported upon the shoulders of men.
Fig. 155.—Biyō-bu, or folding screen.
