Fact-checked by Grok 2 weeks ago

Folding screen

A folding screen, also known as a byōbu in Japanese or pingfeng in Chinese, is a freestanding piece of furniture composed of multiple rigid panels connected by hinges, allowing it to fold and unfold for use as a room divider, windbreak, privacy barrier, or decorative backdrop.^[1] These screens typically range from two to twelve panels, with surfaces often adorned with intricate paintings, lacquerwork, embroidery, or inlays depicting landscapes, flora, fauna, or historical scenes.^[2] Originating in ancient China, they evolved from simple wooden or grass prototypes into sophisticated art forms that symbolized status, privacy, and cultural aesthetics across Asia and later Europe.^[1] The history of folding screens traces back to the Zhou Dynasty in China (1046–256 BCE), where early versions called dian—basic structures of wood and grass—were used in cave dwellings to shield against wind and cold, gradually incorporating symbolic elements tied to imperial authority, such as screens flanking thrones.^[1] By the Han Dynasty (206 BCE–220 CE), screens featured carved or painted panels for decorative purposes, and during the Tang Dynasty (618–907 CE), they served multifunctional roles, including as writing surfaces for imperial edicts.^[1] The Ming (1368–1644) and Qing (1644–1912) Dynasties marked peaks in artistry, with screens crafted from woods like rosewood or zitan, often gilded or embedded with pearls, jade, and ivory, reflecting prosperity and Confucian ideals of harmony.^[1] In Japan, screens arrived from China in the 8th century CE, transforming into byōbu ("protection from wind") by the Heian period (794–1185 CE), where they became essential in architecture for partitioning open spaces in palaces and temples, frequently backed with gold or silver leaf to create luminous effects under candlelight.^[2] Folding screens spread to Europe via maritime trade routes in the 16th and 17th centuries, initially as exotic imports from China and Japan that captivated courts and nobility for their novelty and opulence.^[3] By the late 17th century, they surged in popularity during the Baroque era and the 18th-century chinoiserie fad, inspiring European adaptations in materials like gilt leather, velvet, or painted canvas, used in grand interiors to denote wealth and exoticism.^[3] Notable examples include Portuguese biombos in colonial Mexico, blending Asian techniques with New World motifs, and French paravents featured in Versailles salons.^[4] Culturally, screens embodied impermanence and fluidity in East Asian philosophy, often illustrating themes of nature's cycles or courtly life, while in the West, they facilitated intimate social gatherings and architectural versatility in era-specific room layouts.^[2] Today, folding screens continue as versatile design elements in modern interiors, bridging historical craftsmanship with contemporary functionality, such as acoustic partitioning or space modulation in open-plan homes and offices.^[5] Their enduring appeal lies in the fusion of utility and artistry, with reproductions and antiques alike prized in museums worldwide, including the Metropolitan Museum of Art and the British Museum, for preserving cross-cultural exchanges.^[6]

Overview

Definition and Etymology

A folding screen is a freestanding piece of furniture or decorative art object composed of multiple hinged panels that can be folded or unfolded to divide interior spaces, provide privacy, or serve as an ornamental backdrop.^[7] These screens typically feature between two and twelve panels, with six being the most common configuration in traditional designs, allowing for versatile arrangement in rooms.^[8] Primarily utilized in domestic, ceremonial, or artistic contexts, folding screens originated in ancient China as practical room dividers.^[1] The core characteristics of a folding screen include its portability and hinged construction, which enable it to be easily moved and reconfigured without permanent installation. Each panel is generally supported by a lightweight frame, often covered with fabric, paper, or other surfaces suitable for painting or embellishment, setting it apart from fixed architectural partitions or non-folding screens.^[9] This modular design emphasizes functionality alongside aesthetic appeal, allowing the screen to block drafts, shield areas from view, or display intricate artwork when fully extended.^[7] The term "folding screen" derives from various linguistic roots reflecting its protective role against wind and elements across cultures. In Chinese, it is known as pingfeng (屏風), literally meaning "screen against the wind" or "windshield," highlighting its initial utilitarian purpose.^[1] The Japanese equivalent, byōbu (屏風), translates to "wind wall," emphasizing enclosure and draft protection in traditional architecture.^[9] Similarly, the Korean term byeongpung (병풍) signifies a "wind blocker," while in Vietnamese, bình phong (屏風) is a Sino-Vietnamese compound directly borrowed from the Chinese, denoting the same wind-deflecting function.^[10] In European contexts, adaptations include the Spanish and Portuguese biombo, a transliteration of the Japanese byōbu introduced via trade routes through the Philippines and Manila galleons during the colonial era.^[11] The French paravent, meaning "against wind," stems from Italian paravento (to shield + wind), underscoring a shared conceptual origin in wind protection despite independent development.^[12]

Basic Components

A folding screen is fundamentally composed of a supportive frame, decorative panels, and connecting hinges that enable its multifunctional design. The frame forms the structural backbone of each panel, typically constructed to provide rigidity while allowing the overall assembly to remain lightweight and portable. Panels serve as the primary surfaces for artistic expression or partitioning, attached to the frame to create a cohesive unit. Hinges link adjacent panels, facilitating smooth articulation, while optional bases or stands may be incorporated for enhanced stability during display.^[13]^[14] The configuration of panels, often referred to as leaves, varies to suit different spatial needs, ranging from 2 to 12 in total, with six being the most common arrangement for balanced coverage and ease of handling. Each panel typically measures between 1.5 and 2.5 meters in height, allowing the screen to divide rooms effectively without overwhelming the space. The folding mechanism operates on an accordion principle, where hinges permit panels to collapse inward or outward, folding compactly for storage or expanding to form a zigzag barrier that blocks sightlines or drafts.^[15]^[7]^[16] Structural variations further adapt the screen to specific uses, such as single-sided panels intended for one-directional viewing or decoration versus double-sided designs that offer visual interest from both angles. Frames can be engineered as rigid units for durability in fixed positions or with subtle flexibility to accommodate minor adjustments during folding. These elements collectively ensure the screen's versatility as both a practical divider and an artistic object.^[13]^[14]

Historical Development

Origins in Ancient China

The earliest precursors to folding screens in ancient China appeared during the Zhou dynasty (771–256 BCE), taking the form of single-panel wind screens primarily used by nobility to block drafts and provide basic partitioning in living spaces.^[17] These rudimentary structures, often made of wood or lacquer, served practical purposes while symbolizing status among the elite, as evidenced by textual references in classical records.^[1] The invention of the folding mechanism occurred in the Han dynasty (206 BCE–220 CE), transforming screens into multi-panel devices known as pingfeng, which were employed for imperial and elite use to enhance privacy, decoration, and ceremonial displays.^[17] Archaeological finds, such as a bronze mirror configured as a double-folded screen depicting Confucius and his disciples from the tomb of the Marquis of Haihun in Nanchang (dating to ca. 59 BCE), illustrate their role in funerary contexts and daily elite life, underscoring their status as luxury items.^[18] Additionally, lacquered wooden screens unearthed from the Mawangdui Tomb No. 1 (ca. 169 BCE) further confirm their early adoption among the aristocracy for both functional and symbolic purposes.^[19] By the Tang dynasty (618–907 CE), folding screens evolved into more artistic forms, including huaping (painted screens often featuring floral motifs and landscapes) and shuping (calligraphy screens displaying poems and inscriptions), which served as prestigious ornaments in elite residences and reception halls.^[19] These multi-panel designs, typically with six to twelve folds, allowed painters to showcase intricate landscapes and literary works, as noted in contemporary art historical texts like Zhang Yanyuan's Record of Famous Paintings of All Ages, emphasizing their function in promoting cultural refinement and social prestige among the upper classes.^[20] Evidence from Dunhuang Cave 103 murals depicts shuping in use, highlighting their integration into elite settings for privacy and aesthetic enhancement.^[19]

Spread and Evolution in East Asia

Folding screens, originating from ancient China as a foundational model, spread to neighboring East Asian countries where they underwent significant regional adaptations.^[21] In Korea, folding screens known as byeongpung were introduced during the Three Kingdoms period (57 BCE–668 CE), initially serving practical purposes such as room division and wind blocking in traditional homes heated by ondol systems.^[22] By the Joseon dynasty (1392–1910), they evolved into elaborate decorative items integral to royal and ceremonial settings, often accompanying life events from births to funerals.^[10] A notable example is the 18th-century irworobongdo, an eight-panel screen depicting Mount Paektu with symbolic motifs including the sun, moon, and five peaks, positioned behind the king's throne to evoke protective and cosmological significance.^[23] The screens reached Japan in the 7th–8th century via cultural exchanges with Korea, where they were adapted into byōbu during the Heian period (794–1185), featuring luxurious gold-leaf backgrounds that enhanced the opulence of aristocratic interiors.^[9] During the Muromachi period (1336–1573), byōbu proliferated in diverse settings like residences and dojos, with designs shifting toward paired screens and increased panel counts, often reaching up to 12 panels for broader visual narratives.^[15] In the Edo period (1603–1868), they further evolved to incorporate seasonal themes and intricate storytelling scenes, integrating seamlessly with Japanese architecture such as shoji panels to define flexible living spaces.^[9] In Vietnam, folding screens called bình phong were adopted from Chinese models, reflecting early influences in courtly and domestic use.^[24] By the Nguyễn dynasty (1802–1945), they became prominent features in architecture, aligned with feng shui principles to ward off negative energies and harmonize interior flows.^[24] Regional innovations included elaborate lacquer work, with panels coated in multiple layers of natural resin for durable, glossy finishes that showcased intricate motifs on wooden frames.^[25]

Introduction and Adaptation in Europe and the Americas

Folding screens reached Europe in the late 16th century through Portuguese traders who established maritime routes to East Asia, importing luxury goods including Japanese byōbu and Chinese examples as diplomatic and trade items.^[26] A pivotal moment occurred in 1585 when Japanese envoys from the Tenshō Embassy, under Jesuit guidance, presented a pair of painted folding screens depicting Azuchi Castle—commissioned by warlord Oda Nobunaga and executed by artist Kanō Eitoku—to Pope Gregory XIII in Rome, marking the first major cultural exchange of such objects between Japan and Europe.^[27] These screens, admired for their detailed bird's-eye views and gold-leaf techniques, symbolized Japan's diplomatic outreach and introduced European elites to the form's multifunctional appeal as room dividers and art pieces. By the 17th and 18th centuries, folding screens, known as paravents in French, surged in popularity across European courts and estates, valued for shielding against drafts while serving as status symbols in grand interiors. In France, their use proliferated after the 1686 visit of Siamese ambassadors to Versailles, where King Louis XIV incorporated imported Asian screens into royal apartments, inspiring local production in materials like Savonnerie tapestry and lacquer to match opulent salons and ballrooms.^[26] Similarly, in English Georgian estates, screens became fashionable accessories, often gilded leather or embroidered silk panels adapted for libraries and drawing rooms, reflecting the era's cosmopolitan tastes amid growing trade with Asia.^[28] In the colonial Americas, folding screens adapted as biombos in 17th-century Mexico, blending Asian imports with European and indigenous elements through the Manila Galleon trade, which connected Acapulco to Asia via Spanish Philippines routes. Produced locally by the 1600s for viceregal elites, these screens fused Japanese byōbu structures with Mexican shell inlay (enconchado) and oil paintings on wood, creating hybrid luxury items for palaces. A notable example is the Brooklyn Biombo (c. 1697–1701), attributed to the González family workshop, featuring the Siege of Belgrade on one side—depicting Habsburg imperial victory in Renaissance style—and a European hunting scene on the reverse, incorporating mother-of-pearl from indigenous crafts alongside Asian lacquer aesthetics to affirm colonial power and global connectivity.^[29] European adaptations expanded screen sizes for larger venues like ballrooms, with panels reaching up to eight leaves, while incorporating Baroque grandeur and Rococo ornamentation, such as floral motifs and allegorical figures by designers like François Boucher. Trade via the Dutch East India Company further facilitated imports from Japan after 1609, supplying lacquered screens that influenced hybrid European versions in gilt wood and fabric.^[26] By the 19th century, however, folding screens faded in favor as modern architecture emphasized open floor plans and wall coverings like imported wallpapers supplanted their decorative role. A brief revival occurred during the late 19th-century Aesthetic Movement, transitioning into Art Nouveau designs with organic curves and exotic woods, reimagining screens as sculptural art objects before their popularity waned again.^[3]

Types and Regional Variations

East Asian Types

In East Asian traditions, folding screens, known collectively as pingfeng in Chinese, evolved from Han dynasty prototypes into diverse structural forms emphasizing portability and aesthetic versatility. The standard Chinese pingfeng typically features 4 to 8 hinged panels of wood framed with silk or paper surfaces, designed as floor-standing dividers for interiors.^[30] A specialized variant, the coromandel screen, emerged during the Ming (1368–1644) and Qing (1644–1912) dynasties, characterized by thick layers of black lacquer incised and inlaid with colorful pigments in the kuancai technique, often reversible with distinct scenes on each side—such as auspicious motifs like prunus blossoms and mythical creatures on the front, and scholarly calligraphy or landscapes on the reverse.^[31] These coromandel examples commonly comprise 10 to 12 panels, allowing expansive narrative compositions that could span palace life or natural landscapes.^[32] Japanese adaptations, termed byōbu, refined the folding screen into elegant, lightweight structures usually consisting of 4 to 6 panels, intended for floor-standing use in homes or tea rooms to partition spaces while displaying art.^[33] Byōbu distinguish between gold-ground variants, where backgrounds of gold or silver leaf reflect light to enhance painted scenes of nature or courtly life dating back to the fifteenth century, and plain versions using unadorned paper or silk for subtler ink washes and minimalist designs.^[33] Complementing these are fusuma, traditionally sliding door panels painted with similar motifs, though foldable variants exist where fusuma-e are remounted on hinges for portability, blending the opacity of wooden frames with decorative flexibility. In Korea, byeongpung screens parallel these developments with multi-fold designs of 6 to 10 panels, often embroidered or painted with symbolic imagery like the ten signs of longevity—sun, mountain, pine tree, turtle, deer, crane, water, rock, fungus, and cloud—to evoke prosperity and harmony in domestic settings.^[34] Vietnamese bình phong similarly employ 6 to 10 panels, influenced by Chinese models during the Nguyễn dynasty (1802–1945), frequently incorporating hexagonal shapes or carved wooden bases for stability and ornamental appeal in tropical interiors. Across these traditions, variations include single-sided screens decorated on one face for directional viewing in formal spaces, versus multi-sided reversible types like coromandel for interactive display; portable models with lightweight hinges suit nomadic or ceremonial use, while semi-permanent installations with fixed pedestals provide enduring room divisions.^[30]

European and Colonial Types

Folding screens entered Europe in the late 16th century through Portuguese trade with Asia, where they were adapted for local interiors and functions.^[26] In France, the paravent emerged as a common type, typically consisting of 2 to 4 panels designed to shield against drafts in salons or dining rooms.^[35] These screens featured wooden frames often carved and gilded, with panels upholstered in silk or knotted wool mimicking carpet designs, such as neoclassical motifs of laurel leaves and guilloche patterns.^[36] By the 18th century, paravents became fashionable status symbols, integrated into room ensembles with matching furniture to enhance decorative cohesion.^[36] Fire screens represented a smaller, specialized European variant, primarily used from the Middle Ages onward to protect faces from fireplace heat and glare.^[37] These compact, often embroidered pieces, sometimes handheld or pole-mounted, were essential in 18th-century European homes, crafted from materials like silk or leather to combine utility with ornamentation. Unlike larger room dividers, fire screens prioritized personal comfort, frequently appearing in pairs for symmetrical placement near hearths. The biombo, derived from Portuguese and Spanish transliterations of the Japanese byōbu, adapted Asian imports into 8- to 12-panel formats for Iberian use starting in the 17th century.^[11] These Sino-Portuguese examples combined wood frames with canvas, paper, polychrome paints, and gilding, serving as portable room dividers in elite settings.^[38] In colonial contexts, Mexican biombos evolved from these imports, incorporating indigenous motifs alongside European historical scenes from the 17th century.^[39] Produced via the Manila Galleon trade, these 10-panel screens used oil paints, mother-of-pearl inlays, and wood to depict conquest narratives like the fall of Tenochtitlan on one side and bird's-eye views of Mexico City on the other, blending Asian portability with viceregal symbolism of order and hybrid identity.^[39] Anglo-Indian screens, influenced by Mughal carving traditions through British colonial trade in the 19th century, featured profusely ornamented hardwood panels with floral fretwork, reflecting East-West exchanges in furniture production.^[40] European and colonial screens often differed structurally from Asian originals through heavier wooden frames for enhanced stability in larger interiors, brass-tacked reinforcements, and occasional wheeled bases for easier mobility in grand homes.^[35] Designs frequently adopted asymmetrical arrangements to fit irregular spaces, prioritizing functional adaptation over symmetrical harmony.^[26]

Materials and Construction

Traditional Materials

Traditional folding screens were constructed using durable yet lightweight materials suited to their regional origins and functions, with frames typically made from hardwoods to provide structural support. In China, rosewood was a preferred hardwood for frames due to its density and resistance to warping, allowing for elaborate carvings and stability in multi-panel designs. Japanese screens, known as byōbu, often employed paulownia wood for their lightweight frames, valued for its fine grain and ability to resist insects without heavy treatment, enabling easy portability. Bamboo served as a lightweight alternative across East Asia, particularly in simpler or portable screens, offering flexibility and natural resilience to humidity. Panel surfaces varied by tradition to accommodate decoration and durability. In Japan, washi paper—made from mulberry fibers—was stretched over frames and layered multiple times for strength, providing a smooth base for ink paintings and gold leaf application. Silk panels were commonly used in Chinese and Japanese screens for their smooth texture ideal for detailed paintings, allowing artists to apply vibrant colors and fine lines without cracking. European adaptations favored leather panels for their toughness and weather resistance, often embossed or painted to mimic Asian lacquer effects while withstanding the damp climates of the continent. Decorative inlays enhanced the aesthetic and symbolic value of screens, incorporating materials that reflected cultural craftsmanship. Chinese screens frequently featured vermilion lacquer, a red pigment derived from cinnabar applied in multiple layers for a glossy, protective finish that highlighted carved motifs. Korean artisans specialized in mother-of-pearl inlays, thin shell slices meticulously cut and glued onto lacquered surfaces to create shimmering, iridescent designs symbolizing purity and longevity. Japanese kinpaku, or gold leaf, was hammered thin and applied to panels for a luminous background, evoking imperial luxury and harmony with nature. Ivory and tortoiseshell were used in both East Asian and European screens for intricate inlays, with tortoiseshell providing a translucent amber effect when heated and molded. Regional variations further diversified material choices. In Vietnam, traditional screens often featured mother-of-pearl inlays on lacquered surfaces, creating shimmering, iridescent designs valued for their durability in tropical environments.^[41] European screens often integrated velvet fabrics or needlework embroidery on panels, adding opulent textures and patterns inspired by Baroque and Rococo styles for interior decoration.

Hinges and Assembly Methods

Folding screens rely on specialized hinges to enable their accordion-like folding mechanism, with designs varying by region to balance flexibility, durability, and aesthetics. In ancient Chinese constructions, heavy wooden panels were typically joined using cloth or leather thongs threaded through holes drilled near the edges, allowing the screens to fold while supporting substantial weight from carved or painted surfaces.^[42] Japanese byōbu screens, by contrast, employed silk cords or leather thongs in early examples, often pulled through holes in the top and bottom edges of the panels to connect them securely, though later developments shifted to integrated paper hinges for greater subtlety and lightness.^[43] European adaptations favored metal pivots or hinges for enhanced durability, particularly in freestanding fire screens or decorative pieces made from denser woods, which required robust connections to withstand frequent repositioning.^[42] The assembly process begins with framing individual panels using lattice or solid wood structures, traditionally sourced from light, nonresinous woods like paulownia to minimize warping. Panels are constructed by layering up to ten sheets of paper over the lattice core using the karibari technique in Japanese screens, creating a stable yet flexible base before hinges are attached along the vertical edges. Hinges are affixed while the screen is in a partially folded state to ensure even tension distribution, preventing gaps or misalignment when fully extended or collapsed. This method allows for reversible assembly, particularly in double-sided screens where both faces can be accessed without permanent bonds, using adhesives like wheat starch paste that can be solubilized if needed.^[13]^[42] Additional techniques include mortised joints for Western wooden frames, which interlock panel edges for added stability before hinge installation, and the use of rice or wheat starch pastes to secure paper layers and hinges without compromising reversibility. In Japanese and Chinese traditions, these pastes, derived from natural starches, provide a flexible bond that accommodates the screen's movement, often applied in thin layers to avoid brittleness over time. For double-sided designs, assembly prioritizes non-invasive methods, such as lacing thongs or cords that can be untied, ensuring panels remain interchangeable.^[13]^[44] Maintenance challenges primarily stem from hinge wear, where repeated folding leads to fraying of thongs or cords, causing panels to sag or separate, exacerbated by humidity fluctuations that induce wood expansion and paper shrinkage. Historical repairs often involved fish glue for reattaching wooden elements or reinforcing frames, valued for its strong yet reversible properties in traditional East Asian conservation. Common failures include torque on paper hinges from uneven storage, resulting in tears or delamination, which conservators address using Japanese tissue infills and wheat starch paste to restore alignment without altering the original structure. To mitigate these issues, screens are stored upright in a slightly folded position with supportive linen tapes, maintaining 50-55% relative humidity to reduce strain on the assembly.^[42]^[13]

Artistic and Decorative Elements

Common Motifs and Symbolism

Folding screens in East Asian traditions frequently feature nature motifs that carry deep symbolic meanings, reflecting harmony with the natural world and aspirations for prosperity and longevity. In Chinese art, peonies are a prominent floral motif, symbolizing wealth, honor, and romantic love due to their lush blooms associated with abundance and the empress's grace.^[45] Birds such as cranes appear recurrently, representing longevity and good fortune, as their graceful flight evokes immortality and their red crowns suggest vitality.^[46] These elements often integrate into landscapes, emphasizing seasonal cycles to convey renewal and the passage of time in balance with human life. Japanese folding screens, or byōbu, extend this natural symbolism through depictions of the four seasons, known as shiki-e, where motifs evolve across panels to illustrate impermanence and beauty. Spring is evoked by cherry blossoms and wisteria, symbolizing fleeting joy; summer by irises and lotuses, denoting purity; autumn by chrysanthemums and maples, signifying maturity; and winter by pines, representing endurance.^[47] Birds like cranes reinforce themes of longevity, often paired with pines or turtles in compositions that promote auspicious longevity.^[48] Korean screens incorporate similar floral and avian elements but emphasize mountainous landscapes, where peaks symbolize stability and spiritual elevation, drawing from the nation's reverence for sacred terrain.^[49] Mythical and narrative motifs further enrich these artworks, drawing from folklore and literature to explore transcendence and moral tales. Chinese screens often portray immortals, such as the Eight Immortals, embodying eternal life and divine favor through attributes like peaches of immortality or flowing robes.^[46] In Japan, scenes from the Tale of Genji inspire elegant courtly narratives, using motifs of lovers, architecture, and gardens to symbolize refined emotions and the ephemerality of human connections.^[8] Korean examples feature mountain gods, or Sanshin, depicted as wise elders with tigers, signifying protection of nature and communal harmony. Broader symbolic frameworks underpin these motifs, aligning with philosophical and spiritual principles. Vietnamese screens incorporate feng shui alignments, positioning motifs like dragons or lotuses to direct positive energy (qi) and ward off misfortune, reflecting beliefs in cosmic balance for household protection.^[24] Japanese gold backgrounds, achieved through lavish leaf application, evoke boundless space and heavenly radiance, symbolizing infinity and imperial splendor.^[50] The yin-yang duality appears in paired elements like tigers (yin, receptive force) and dragons (yang, active force), promoting equilibrium between opposing energies in compositions.^[51] Color choices amplify these meanings, with red denoting protection and vitality—rooted in its association with warding off evil—while gold signifies wealth and divine light, often overlaying motifs to enhance auspiciousness.^[52] In Europe-Asian hybrid screens from colonial periods, artists adapted these palettes but observed taboos, such as avoiding clock motifs, which in Chinese-influenced designs symbolize the end of time and death, disrupting themes of prosperity.^[53]

Notable Historical Examples

One notable example of a Chinese folding screen from the Ming dynasty is a twelve-panel coromandel lacquer screen housed at the Victoria and Albert Museum in London, dating to the 17th century (circa 1625–1650).^[54] Crafted from lacquered teak wood with intricate carved designs filled with polychrome pigments, it features a continuous landscape scene viewed from both sides, depicting figures in garden settings amid pavilions, trees, and distant mountains, exemplifying the technical mastery of kuan cai (coromandel) lacquer techniques during the late Ming period.^[54] This screen highlights the evolution of folding screens as both functional dividers and panoramic art forms in imperial Chinese interiors.^[54] In Japan, the pair of six-panel byōbu screens titled Irises (Kakitsubata-zu Byōbu) by Ogata Kōrin represents a pinnacle of Edo-period artistry, created circa 1701–1705 during the Genroku era.^[55] Housed at the Nezu Museum in Tokyo, these screens employ ink, color, and gold leaf on gold-foiled paper to portray a serene iris pond inspired by a poem from the Tales of Ise, with flowing blue irises undulating across the gold ground to evoke natural movement and seasonal beauty.^[55] Kōrin's innovative use of asymmetrical composition and metallic foil underscores the Rinpa school's emphasis on decorative elegance and poetic allusion in screen painting.^[55] A prominent Korean example is the Irworobongdo screen from the Joseon dynasty, with a notable instance produced in 1728 during the reign of King Yeongjo, depicting the sun, moon, and five sacred peaks in a stylized landscape.^[56] Typically consisting of six panels painted in mineral colors on silk mounted on wood, such screens were placed behind the royal throne (eojwa) in palaces like Gyeongbokgung to symbolize the king's cosmic authority and harmony with nature, drawing from Daoist and Confucian cosmology.^[56] This motif of ethereal mountains rising from mist illustrates the Joseon court's use of screens for ceremonial projection of sovereignty.^[56] Among European and colonial adaptations, the Brooklyn Biombo, a six-panel folding screen created in Mexico around 1697–1701, exemplifies viceregal artistry in New Spain.^[57] Attributed to the circle of the González family and held at the Brooklyn Museum, it features oil on wood inlaid with mother-of-pearl (enconchado technique), with one side illustrating the 1688 Siege of Belgrade in detailed Baroque style and the reverse showing a lush hunting scene with exotic flora and fauna, blending European historical narrative with Asian-inspired opulence via Manila galleon trade.^[57] Preservation of these artifacts often occurs at institutions like the Tokyo National Museum, which maintains extensive collections of byōbu and employs specialized techniques such as remounting on new silk or paper supports, consolidating flaking pigments with traditional adhesives like nikawa (animal glue), and stabilizing hinges with silk tape to prevent further deterioration from humidity and handling.^[58] The Tokyo National Research Institute for Cultural Properties oversees restorations, using non-invasive methods like X-ray analysis and controlled drying to retain original materials while ensuring structural integrity for display.^[59] These efforts underscore the fragility of folding screens, which require climate-controlled storage and periodic conservation to preserve their multilayered construction.^[59]

Uses and Functions

Practical Applications

Folding screens have long served as versatile room dividers in open-plan architectural settings, particularly in East Asian imperial palaces and homes where fixed walls were minimal. In Japanese palaces and temples during the Heian period (794–1185) and later, screens known as byōbu functioned as temporary partitions to delineate spaces for ceremonies, receptions, or daily activities, allowing flexible reconfiguration of interiors without permanent alterations.^[60] Similarly, in Chinese imperial residences from the Ming dynasty (1368–1644) onward, painted folding screens acted as movable barriers to segment large halls into private or semi-private areas, enhancing spatial organization in expansive palace complexes. Beyond division, folding screens provided essential environmental control in traditional architecture across Asia and Europe by mitigating drafts, sunlight, and temperature fluctuations. Originating in ancient China during the Han dynasty (206 BCE–220 CE) and adopted in Japan during the Nara period (710–794), these screens were initially designed as windbreaks to shield against cold air in open dwellings with sliding doors or minimal enclosure, thereby maintaining comfortable indoor climates during harsh seasons. In European contexts from the 17th century, imported Asian screens and local adaptations similarly blocked drafts in drafty manor houses and castles, serving as practical insulators near fireplaces or windows.^[61] For privacy, folding screens offered utilitarian concealment in both Eastern and Western settings. In Europe, particularly during the 18th century in French and English households, they functioned as dressing screens to create temporary shielded areas for changing clothes, shielding users from view in shared bedrooms or salons while preserving the openness of domestic spaces.^[62] In Asia, Japanese byōbu partitioned sleeping quarters or concealed altars in homes and temples, providing discreet separation for personal or ritual activities without enclosing entire rooms.^[63] The inherent portability of folding screens made them ideal for travel and temporary installations. Their hinged design allowed easy folding and transport, enabling their use in travel and temporary installations, where they could quickly erect barriers in transient settings.^[64]

Decorative and Privacy Roles

Folding screens have long served as versatile decorative elements in interior spaces, allowing owners to display intricate artwork and change visual focal points without permanent alterations. In traditional East Asian homes, screens were positioned to showcase painted landscapes or calligraphy, enhancing the aesthetic harmony of rooms while providing a sense of depth and movement through their foldable design. The ability to rotate panels offered variety, enabling seasonal updates to motifs that reflected natural cycles or personal tastes, thus transforming living areas into dynamic galleries. A key privacy function of folding screens lies in their capacity to create subtle divisions that balance concealment with openness. Japanese shoji screens, made from translucent rice paper over wooden lattices, diffuse natural light softly while obscuring views, fostering an intimate yet airy atmosphere in traditional architecture. In contrast, European screens from the Victorian era often featured embroidered silk panels that provided modest screening in parlors, shielding private conversations or dressing areas from full exposure while adding ornate texture to the decor. These designs emphasized elegance over complete isolation, integrating privacy into the overall ornamental scheme. Socially, folding screens functioned as backdrops that elevated gatherings and rituals, underscoring their role as status symbols. In Japanese tea ceremonies, screens partitioned spaces to focus attention on the host's preparations, with their subtle presence enhancing the ritual's contemplative mood. During European salon gatherings in the 18th and 19th centuries, elaborately decorated screens served as conversation pieces, signaling wealth and refinement while discreetly managing guest interactions in open-plan rooms. Such uses highlighted screens' adaptability in social settings, where they contributed to both visual appeal and interpersonal dynamics. Many historical folding screens were crafted as double-sided pieces, allowing for multi-room viewing and maximizing their decorative impact across different spaces. This feature enabled panels to present complementary artworks on each side, such as pastoral scenes facing one area and abstract patterns the other, providing endless reconfiguration options for interiors. Brief references to artistic motifs, like floral or mythological themes, further enriched these screens' role in evoking cultural narratives without dominating the functional narrative.

Cultural Significance

Role in Eastern Societies

In East Asian societies, particularly in China and Korea, folding screens served as potent symbols of social status, reserved primarily for the nobility and elite classes. During the Zhou Dynasty (c. 1046–256 BCE), only emperors were permitted to position screens facing the front door of palaces, a privilege that underscored their supreme authority and wealth, as detailed in ancient texts like the Rites of the Zhou Dynasty. In Korea's Silla Kingdom (57 BCE–935 CE), embroidered folding screens, known as byeongpung, were restricted to the true-bone aristocracy and higher ranks under the bone-rank system, signifying prestige and exclusivity, according to historical records in the Samguk Sagi. Similarly, in the Goryeo Dynasty (918–1392), royal courts deployed lavish screens to impress foreign envoys, such as the Song diplomat Xu Jing, highlighting their role in diplomatic displays of power. Folding screens played integral roles in rituals and ceremonies across these cultures, enhancing ceremonial dignity and marking life transitions. In China, during the Eastern Han Dynasty (25–220 CE), screens provided seclusion for high-status women in wedding negotiations, as exemplified by Princess Huyang concealing herself behind one while her marriage was arranged, per the Book of Later Han. In Korea's Joseon Dynasty (1392–1897), byeongpung were essential in royal births, where large-scale screens celebrated the arrival of heirs alongside placenta jars, and in funerals, where they were placed before caskets to receive condolences and maintain decorum during mourning rites. Architecturally, folding screens complemented traditional East Asian interiors, fostering harmony and functionality in elite settings. In Japan, byōbu screens from the Nara period (710–794 CE) onward integrated seamlessly with tatami-matted rooms, configuring spaces in reception halls and private quarters to provide flexible divisions while displaying artistic motifs, a practice that evolved through imperial adoption in the Heian period (794–1185). In China's Forbidden City during the Qing Dynasty (1644–1912), imperial screens adorned the emperor's private Buddhist chapel under Qianlong (r. 1735–1796), serving as ornate backdrops that blended architectural grandeur with spiritual seclusion, as preserved in Palace Museum collections. Confucian principles amplified the screens' role in gender dynamics, particularly in enforcing spatial and social separation. In Joseon Korea, Neo-Confucian house rules mandated distinct men's (sarangch'ae) and women's (anch'ae) quarters from age seven, with byeongpung acting as movable barriers to ensure women's privacy and uphold moral propriety in yangban households, often featuring floral motifs in inner spaces to symbolize fertility and seclusion. In China, Confucian texts like the Book of Rites critiqued improper mixing of genders, and screens facilitated this by shielding women's areas, as in Han Dynasty examples where they enclosed private domains for dressing and repose, reinforcing hierarchical family structures.

Influence in Western Contexts

Folding screens, introduced to Europe in the late 16th century through Portuguese trade routes with Asia, profoundly influenced Western artistic movements by embodying exoticism and inspiring novel compositional techniques. In the 19th century, the Japonisme trend—sparked by the 1854 opening of Japan to Western trade—saw Impressionist artists like Claude Monet incorporate elements of Japanese folding screens into their work, such as the asymmetrical perspectives and flat color planes evident in Monet's La Japonaise (1876), where a woman is depicted against a screen-like backdrop evoking ukiyo-e aesthetics.^[65] This fascination extended to Orientalism, where screens symbolized the allure of the East, influencing painters like James McNeill Whistler to use screen motifs in compositions that blended Eastern decorative elements with Western portraiture, as seen in his The Little White Girl (1864).^[66] In domestic settings, folding screens became integral to 18th-century European grand houses as part of the chinoiserie style, which romanticized Chinese aesthetics through imported and locally crafted lacquered panels adorned with pagodas, birds, and floral motifs, often placed in salons to create intimate alcoves or enhance opulent interiors.^[67] By the 19th century, these screens migrated to bohemian artists' studios across Europe, serving as multifunctional dividers that evoked creative freedom and cosmopolitanism; for instance, in Paris ateliers, they partitioned workspaces while displaying eclectic collections, reflecting the bohemian ideal of blending art, life, and global influences.^[68] The colonial legacy of folding screens underscored global trade networks, with biombos—hybrid screens produced in 17th- and 18th-century New Spain (modern Mexico)—now housed in Western museums like the Brooklyn Museum and the Art Institute of Chicago, symbolizing the Manila Galleon trade's fusion of Asian, European, and Indigenous motifs, such as panoramic cityscapes and conquest scenes painted on gilded panels.^[29] These biombos influenced Art Deco design in the early 20th century through their lacquer techniques and exotic patterns, which echoed in streamlined furniture and decorative arts by designers like Émile-Jacques Ruhlmann, adapting biombo-inspired screens for modern luxury interiors.^[38] Socially, screens reinforced privacy in emerging middle-class homes during the 18th and 19th centuries, particularly in dressing rooms where they shielded women during toilettes, aligning with gender norms that emphasized female modesty and seclusion in domestic spaces.^[69]

Modern Adaptations

Contemporary Designs and Innovations

In the late 20th and early 21st centuries, folding screen designs evolved to incorporate modern materials like acrylic, metal, and fabric panels, enhancing durability, transparency, and versatility compared to traditional wood and paper baselines. Acrylic panels, such as plexiglas, allow for lightweight, see-through partitions that simulate screen forms while permitting light diffusion. Metal elements, including brass frames, provide structural strength and a contemporary sheen, often paired with fabric for acoustic absorption in open spaces. Fabric panels, like those in acoustic felt dividers, offer customizable textures and sound-dampening properties, adapting screens for multifunctional use in homes and offices.^[70]^[71]^[72] Sustainability has driven innovations in material choices, with designers favoring recycled and responsibly sourced options to reduce environmental impact. Folding screens made from recycled newspapers or magazines, woven into kiln-dried wooden frames, create eco-friendly, portable dividers that repurpose waste materials. Molo Design's paper softwall utilizes FSC-certified wood-based paper, dyed and coated with non-toxic fire retardants, ensuring recyclability and efficient flat-pack shipping. Similarly, Screenflex partitions incorporate 76% recycled content, emphasizing longevity and minimal resource use in commercial settings. These shifts prioritize low-energy production and modular reusability, aligning with global eco-conscious trends.^[73]^[74]^[75] Design advancements focus on modularity, technology integration, and ergonomic features to suit dynamic modern lifestyles. Modular systems, such as MIO Culture's portable panels, allow reconfiguration with magnetic connections and added elements like shelves or doors, using recycled cardboard and wood for adaptable layouts. Ergonomic hinges enable effortless folding and transport, as in IKEA's RISÖR solid-wood divider, which folds compactly for storage. Technological enhancements include LED and OLED integrations; Studio WA+CH's Vivid screens employ flexible, transparent OLED displays on wheeled frames, functioning as room dividers with built-in video conferencing, whiteboarding, and digital customization like virtual plants. Digital prints on fabric or paper panels further enable personalized motifs, blending artistry with functionality.^[72]^[76]^[77] Influences from minimalist Scandinavian aesthetics, often seen in IKEA-inspired fusions with Asian simplicity, emphasize clean lines and natural materials like rattan in the TOLKNING series, creating serene, light-permeable dividers. Prominent 21st-century examples emerged at design exhibitions, such as Milan Design Week 2023, where Zoé Piter's Zig Zag screen reinterpreted cave paintings through primitive-modern forms in a sculptural folding structure. The same year's Paraventi exhibition at Fondazione Prada highlighted contemporary commissions, including plexiglas partitions and digital-layered works by artists like Cao Fei, exploring screens as interactive art. Recent innovations, like 2024's mycelium-based Reishi folding screens at Design Miami, showcase biomaterial panels for sustainable, organic textures.^[78]^[79]^[70]^[80]

Current Applications in Design

In contemporary interior design, folding screens serve as versatile room dividers, particularly in open-plan offices where they provide acoustic privacy and flexible zoning without permanent alterations.^[81] For instance, the Herman Miller Eames Folding Screen is a staple for dividing collaborative workspaces while maintaining visual connectivity.^[81] In boutique hotels post-2020, such screens have gained popularity for creating intimate guest areas, as seen in adaptable partitions that enhance both functionality and aesthetics in compact lobbies or suites.^[82] Multifunctional designs, like those doubling as headboards or workspace separators, further support their use in hybrid home-office setups.^[83] Folding screens are widely employed in event settings as portable backdrops and partitions, offering quick setup for dynamic environments. At weddings and conferences, collapsible tension fabric holders, such as the NEWSANDOR model, provide customizable displays that fold for easy transport and storage.^[84] In trade shows, they function as booth backdrops with full-bleed printing, enabling rapid assembly in minutes to define exhibit spaces.^[85] For pop-up shops, their lightweight, adjustable nature allows temporary retail configurations in urban venues, blending portability with visual impact.^[86] Global design trends highlight a revival of folding screens incorporating biophilic elements, such as nature-inspired motifs like landscapes, bamboo, and organic patterns that foster a connection to the natural world.^[68] These motifs align with biophilic principles by simulating environmental complexity through textured, plant-derived materials.^[87] Additionally, smart home integrations feature foldable screens embedded with IoT sensors for environmental monitoring, such as LED-equipped partitions that adjust lighting or air quality dynamically.^[88] The market for folding screens has seen significant growth in the 2020s, driven by e-commerce platforms that facilitate sales of space-saving solutions for urban apartments, where average home sizes have decreased by 6% since 2018.^[89] Valued at USD 3.5 billion in 2024, the sector is projected to reach USD 10.2 billion by 2033, with a CAGR of 12.5%, reflecting rising demand for multifunctional items in densely populated areas.^[89] This expansion underscores their role in optimizing limited spaces without structural changes.^[83]

References

[1]
Behind the Screen: A Brief History of Chinese “Pingfeng”
Sep 28, 2022 · It's widely believed that the prototype of the screen was called 坫 (diàn), a simple piece of furniture made of wood and grass that northern ...Missing: origin | Show results with:origin
[2]
The Magnificent History of Japanese Screens - Hyperallergic
Nov 28, 2021 · Screens were first imported to Japan from China in the eighth century. The byōbu, or “barrier against the wind,” was initially an object of the ...Missing: definition | Show results with:definition
[3]
Meet Decorating's Ultimate Master of Disguise: The Folding Screen
Oct 21, 2021 · Hinged wooden panels lacquered to the hilt by highly skilled artisans, early folding screens were a smash, spreading through Asia (notably to ...Missing: definition | Show results with:definition
[4]
Biombo, View of the Palace of the Viceroy in Mexico City
This biombo, a folding screen, was used as a room divider in an elite house in New Spain. Its artist has used the long horizontal format to portray Mexico City ...Missing: definition | Show results with:definition
[5]
The History Of Portable Room Dividers - Screenflex
Folding room dividers first originated in China around the 4th century BC. These early Chinese folding screens functioned both as a furnishing as well as a ...Missing: definition | Show results with:definition
[6]
Screens within Screens - Japan - Edo period (1615–1868)
$$12.95 deliveryRough Waves, Ogata Kōrin Japanese, Two-panel folding screen; ink, color. Rough Waves. Ogata Kōrin. ca. 1704–9. Willows and Bridge, Pair of six-panel folding ...
[7]
Painted Panels: Japanese Folding Screens | Nippon.com
Sep 6, 2021 · The Japanese word for folding screen is 屏風 (byōbu), with the character 屏 (byō) meaning to “cover” or “block” and 風 (bu) indicating a breeze ...
[8]
[PDF] Looking at Japanese FoLding screens - Asian Art Museum
Though most six-panel screens are about 5½ feet tall, there are also smaller varieties. two-paneL FoLding screen. Two-panel screens are a convenient size for ...
[9]
History of Byobu｜Japanesescreens.net
As byobu literally means "wind wall," the original purpose of the screen was to block drafts in traditional open-layout Japanese homes.Missing: etymology | Show results with:etymology
[10]
Byeongpung: The Folding Screens of Korea - KLWAVE
In the past, when it was common for babies to be born at home, a folding screen, called byeongpung (亶蠾, lit. “wind blocker”) in Korean, would be used to turn ...Missing: etymology | Show results with:etymology
[11]
The Influence of Japanese Art on Colonial Mexican Painting
Jan 12, 2012 · Known in Spanish as biombo–a Portuguese and Spanish transliteration of the Japanese word for folding screen, byōbu–the Mexican artform was ...
[12]
PARAVENT Definition & Meaning - Merriam-Webster
a screen from the wind. Word History Etymology French, from Italian paravento, from parare to shield, guard, ward off (from Latin, to prepare) + vento wind.
[13]
[PDF] The Care and Handling of Art Objects: Practices in The Metropolitan ...
The construction of a folding screen begins with a latticework interior panel, traditionally made from light, nonresinous wood. As many as ten layers of ...
[14]
How to Care for Japanese Scrolls & Screens, Part 1 of 2 | Denver Art ...
May 24, 2013 · The sturdy paper hinges allow the panels to fold onto each other in an accordion-like manner. The individual panels consist of numerous layers ...Missing: components | Show results with:components
[15]
Byobu: 7 Things to Know About Japanese Folding Screens
Apr 21, 2022 · Byobu, which literally means wind walls (屏 byo wall, 風 bu wind), are ornate mobile walls used to separate interior spaces and provide privacy ...Missing: etymology | Show results with:etymology
[16]
Japanese Folding Screens – The Lantern - Web – A Colby
Apr 11, 2018 · This unique art form incorporates wooden construction with stretched paper, paper interlocking hinges, lacquer covering the wooden frame, ...Missing: components | Show results with:components
[17]
Behind the screen - Chinadaily.com.cn
Jan 11, 2013 · The first single-panel screen dates back to the Eastern Zhou Dynasty (770-256 BC). It was not until the Han Dynasty (206 BC-AD 220) that ...Missing: origins wind<|separator|>
[18]
https://www.archaeology.org/news/2017/03/01/170301-china-confucius-mirror/
[19]
[PDF] the chinese screens in the collection of the naprstek museum in ...
The screen is one of the oldest and most common piece of furniture in China and be- side porcelain one of the most significant imported ware during the European ...
[20]
Landscape with Pavilion Screens by Yuan Jiang and Wang Yun
The word appears in written documents from the Han Dynasty (206 B.C.-220 A.D.), but there is evidence that screens were in use even earlier than that! In the ...
[21]
Screening the Rococo | Cooper Hewitt, Smithsonian Design Museum
Oct 6, 2014 · This is a design for a panel for a folding screen by the prolific French painter, designer and academician François Boucher.
[22]
Azuchi Screens Research Network - Faculty of Arts
... Japanese painted folding screens gifted to Pope Gregory XIII in 1585. These paintings were commissioned around 1579 by Oda Nobunaga (1534-1582), the first ...
[23]
The Art of the Fold: A History of Decorative Screens in the Interior
Jan 12, 2018 · We will focus on the broader history of screens and how they became a popular and fashionable item in Georgian England and Continental Europe.Missing: decline | Show results with:decline
[24]
Screen with the Siege of Belgrade and Hunting Scene (or Brooklyn ...
Folding screens (called biombos) acted as room dividers, and ... Biombo with the Conquest of Tenochtitlan and View of Mexico City. late 17th century. Mexico ...
[25]
Folding Screens in the Japanese Collection, Naprstek Museum ...
Three basic types of Chinese screens existed: pingfeng – non-transferable screen settled on a pedestal, weiping – winged folding screen made of several ...
[26]
kangxi period (1662-1722) - Christie's
Free deliveryA MAGNIFICENT TWELVE-PANEL COROMANDEL LACQUER SCREEN KANGXI PERIOD (1662-1722) The screen is finely carved and vibrantly decorated on one side with a ...
[27]
Feng Langgong - Palace Scene - China - Qing dynasty (1644–1911 ...
$$12.95 deliveryPalace Scene, Feng Langgong (Chinese,), Twelve-panel folding screen; wood, painted, lacquered and with gilt, ChinaMissing: pingfeng | Show results with:pingfeng<|separator|>
[28]
'Unfolding' Japanese screens - NGV
Japanese folding screens, or Byõbu, were initially for blocking drafts, then became multi-panel artworks made with timber, paper, and paste, and are ...Missing: ground | Show results with:ground
[29]
Byeongpung | Korean Folding Screens | Skinner Inc.
Sep 10, 2018 · This type of munjado screen in ink is likely to be placed in a study or a child's room to remind the occupant of the Confucian codes of behavior ...Missing: etymology | Show results with:etymology
[30]
Four-Panel Screen (paravent) - Getty Museum
Apr 17, 2025 · In the 1700s folding screens of this size, known as paravents, were used mainly in salons or dining rooms to protect the occupants from ...
[31]
Four-leaf folding screen (Paravent) - The Metropolitan Museum of Art
Four-leaf folding screen (Paravent) ... Screens were very fashionable during the eighteenth-century as is illustrated in depictions of contemporary interiors.
[32]
Fire Screen - Guide to Value, Marks, History | WorthPoint Dictionary
Fire screens date as early as the Middle Ages. However, by the 18th-century, they became essential functional and decorative items among Europeans. Fire screens ...
[33]
Folding Screen (Biombo) | The Art Institute of Chicago
This 17th-century Sino-Portuguese folding screen (Biombo) is made of wood, canvas, paper, polychrome colors, and gilding, with each panel measuring 193.7 × 59. ...Missing: Spanish | Show results with:Spanish
[34]
Biombo with the Conquest of Tenochtitlan and View of Mexico City
Created in the second half of the seventeenth century, the screen features a panoramic birds-eye map of Mexico City on one side and scenes from the Conquest of ...
[35]
https://www.getty.edu/art/collection/object/103SF8
[36]
French 19th Century Painted Folding Screen - Fireside Antiques
Out of stockThis antique folding screen features four tall panels with curved tops. On one side you'll find painted floral designs on simple canvas panels.Missing: decline | Show results with:decline
[37]
[PDF] (f4><U.(kbj - Smithsonian Institution
proliferation of home-made folding screens. This trend may have. originated from the earlier use of fire-screens, both the 'chevul' or four-legged style and ...Missing: definition | Show results with:definition
[38]
[PDF] Twelve Japanese Screens - The Metropolitan Museum of Art
In the upper-right corner are two sliding doors with a landscape painting framed with brocade borders. Just below are four panels of a hinged folding screen.
[39]
JAANUS / byoubu 屏風
The byoubu format gained popularity around the Muromachi period, by which time screens were usually produced in pairs. By this time, too, byoubu were altered by ...
[40]
Euigwe and the Documentation of Joseon Court Ritual Life
Dec 12, 2022 · Peony flowers, which symbolize wealth and noble rank, in these Joseon palace screens are arranged in columns with stylized rocks below the.Missing: prosperity | Show results with:prosperity
[41]
Longevity in Chinese Art - The Metropolitan Museum of Art
Aug 1, 2010 · Chinese art uses the character for longevity, immortals, peaches, pines, cranes, and the butterfly (pun for age 70-80) to symbolize longevity.
[42]
SHIKI: The Four Seasons in Japanese Art, Jan. 30-Aug. 1, 2021
Jan 26, 2021 · The enclosures are filled with colored powdered enamels and then fired to melt the enamels into a glass-like finish. The Japanese began making ...
[43]
Birds and Flowers of the Four Seasons - Japan - Momoyama period ...
$$12.95 deliveryThis composition of flowers shown in a seasonal progression from spring to winter, paired with an auspicious motif of cranes, promotes longevity.Missing: byobu | Show results with:byobu
[44]
Mountain Deity | LACMA Collections
Mountain Deity, Unknown, Korea, Joseon dynasty (1392-1910), 19th century, Paintings, Panel, ink and color on cotton, Korea is a mountainous country, ...Missing: bipyo folding screens
[45]
The Significance of Bình Phong in Vietnamese Architecture
Jun 9, 2023 · Bình phong (screens) were a key feature to various architectural structures in the past such as schools, graves, communal houses, temples, shrines and ...
[46]
Wind God and Thunder God Screens - Kyoto National Museum
The masterful use of the gold background medium not only as a decorative motif but also to create a boundless space within which the demonic deities float makes ...Missing: symbolism infinity heaven
[47]
Japanese Tiger and Dragon - Minneapolis Institute of Art
The screens illustrate why these two animals, both of them powerful and strong, are fitting symbols for yin and yang. The tiger crouches low to the rocky ground ...
[48]
Red and Gold: The Symbolism of Colors in Chinese New Year
Feb 5, 2024 · Red is the most prominent color during Chinese New Year, representing good luck, happiness, and prosperity.
[49]
11 Taboos in Chinese Culture - ThoughtCo
May 5, 2025 · According to Chinese taboo, clocks symbolize that time is running out. There are many other such ominous Chinese gifts to avoid. If you give ...
[50]
Screen | Unknown - Explore the Collections - V&A
Aug 13, 1999 · This folding screen comprises 12 wooden panels joined together by hinges. The decoration of a continuous landscape indicates that it was intended to be viewed ...
[51]
Irises｜Nezu Museum
By Ogata Kōrin · Japan Edo period, 18th century · Pair of six-panel screens; ink and color on gold-foiled paper · h: 151.2cm w: 358.8cm each · [10301].
[52]
Painting of the Sun, Moon, and Five Peaks on Six-panel Folding ...
The most representative theme of Joseon's royal paintings, depicted in this screen symbolizes the king's authority and dignity, and presents a wish that the ...Missing: 1728 | Show results with:1728
[53]
Folding Screen with the Siege of Belgrade (front) and Hunting ...
This biombo enconchado is the only known work to combine the two elite Mexican genres of biombos (folding screens) and tableros de concha nácar y pintura.
[54]
Minneapolis Institute of Art Acquires Thirteen-Century Samurai ...
Aug 31, 2022 · ... folding screens showing sail boats on Yodo River in Fushimi (circa 1600; restored in 1672). Folding screens were popular room dividers for ...Missing: Portuguese | Show results with:Portuguese
[55]
Folding Screens - TOKYO NATIONAL MUSEUM
Apr 24, 2007 · Folding screens in Japan have been used traditionally as furniture. They divide a large space into smaller ones, for both public and private ...
[56]
English | 在外日本古美術品保存修復協力事業
We hope that by continuing to search for potential objects for restoration throughout the world and restoring valuable art objects, we may be able to cooperate ...
[57]
Drying Fishnets in the Four Seasons - Brooklyn Museum
... folding screens were used as flexible decorations in Japanese palaces and temples. They served as temporary room dividers and, through their style and ...Missing: partition | Show results with:partition
[58]
Folding screens: from high art to practical design - Country Life
Jul 24, 2014 · By the early 18th century, designers and craftsmen were producing a wide variety of distinctively European forms. Screens made of embossed or ...
[59]
[PDF] The Role and Impact of the Folding Screen in Eighteenth-Century ...
Apr 26, 2022 · folding screen and its intriguing role in French literary history. In its appearances in eighteenth- century French texts, the folding ...<|control11|><|separator|>
[60]
Waves at Matsushima 松島図屏風 - National Museum of Asian Art
The brilliant paintings on this pair of folding screens are regarded as masterpieces among only six surviving sets of screens by Sotatsu, a talented and ...Missing: room China
[61]
[PDF] The Arts of Japan - Smithsonian Institution
Folding screens ideally suit the flexible environment of traditional Japanese architecture, in which most interior partitions consist of sliding panels ...
[62]
[PDF] ASHIKAGA FORMAL DISPLAY IN THE MUROMACHI PERIOD by ...
May 21, 2017 · ... folding screens in the larger eight mat room where the poetry ... 210 For detailed history of construction process of Yoshinori's Muromachi Palace ...
[63]
Monet & Japan - National Gallery of Australia
These portable screens provided temporary division of interior spaces in traditional Japanese buildings where there were large open spaces and few walls. The ...
[64]
Japonisme - Smarthistory
It refers to the fashion for Japanese art in the West and the Japanese influence on Western art and design following the opening of formerly isolated Japan to ...
[65]
Porcelain to Peonies: Chinoiserie and the Fantasy of Nature
Sep 19, 2025 · In 18th-century Europe, chinoiserie wasn't limited to faux porcelain—it also thrived in print. Johan Nieuhof, who served as an ambassador of ...
[66]
The decorative life of the folding screen | House & Garden
Sep 30, 2025 · Through trade with Japan and Europe, the screen began its journey westward. Japanese byōbu – literally 'wind walls' – reached the continent ...Missing: spread | Show results with:spread
[67]
The Dressing Room in Eighteenth-Century English Liter" by Tita Chico
Jul 14, 2023 · Tita Chico's Designing Women argues that the dressing room becomes a powerful metaphor in late seventeenth- and eighteenth-century literature.Missing: folding screens middle- class norms 19th West
[68]
PARAVENTI - Fondazione Prada
“Paraventi: Folding Screens from the 17th to 21st Centuries” is an extensive exhibition curated by Nicholas Cullinan that investigates the histories and ...Missing: Versailles | Show results with:Versailles
[69]
Luxury Room Dividers and Screens | Artemest
Shop luxury room dividers and screens crafted in brass and wood by expert Italian artisans ... Otello Folding Screen with Floral Motifs. USD 4,600. Ships in 7-8 ...
[70]
Modular room dividers for adaptable living & workspaces - MIO Culture
### Summary of Modular Room Dividers from MIO Culture
[71]
https://artemest.com/categories/furniture/other-furniture/room-dividers
[72]
paper softwall | flexible freestanding partition - Molo Design
In stockA modern partition design and folding wall that has the flexibility to be shaped in any curved or linear formation.
[73]
Go Green! Save More Than A Tree | Screenflex Room Dividers
Screenflex Room Dividers are made of 76% recycled materials! We are on the brink of serious eco-effects on our planet. Let's all go green!
[74]
RISÖR room divider, white/black, 85x727/8" - IKEA
Product details. Made of solid wood, which is a durable and warm natural material. Practical as a room divider or screen. Easy to fold and store away.
[75]
Studio WA+CH designs OLED screens that double as room dividers
May 12, 2022 · Studio WA+CH explains its concept for a movable OLED display that can be used as a room divider, whiteboard and video conferencing device.
[76]
TOLKNING room divider, handmade rattan, 59x667/8" - IKEA
In stock Rating 4.5 (39) The versatile TOLKNING series is made of natural fibers with a warm look. This room divider creates the feeling of a room within a room.Missing: minimalist | Show results with:minimalist<|separator|>
[77]
5 Trends From Milan Design Week 2023 - The Italy Edit
May 5, 2023 · The Zig zag folding screen by Zoé Piter, explores cave paintings, part primitive, part state of the art. The Twiggy chair by Chris Wolston ...
[78]
Mycelium Muse exhibition celebrates "irregularities" of mycelium fabric
Nov 13, 2024 · Seven French designers and artists have worked with a mycelium-based biomaterial called Reishi to create products including folding screens, desks and lighting ...Missing: contemporary | Show results with:contemporary
[79]
The Best Room Dividers for Creating Functional, Stylish Spaces
Free deliveryAug 14, 2025 · From simple folding privacy screens and sliding door designs to floor-to-ceiling hanging room dividers and foldable options, we'll help you achieve your ...
[80]
Folding Paper Room Divider - Portable Privacy Screen for Offices ...
Folding Paper Room Divider - Portable Privacy Screen for Offices, Hotels, Salons & More | Partition - Easy Setup & Unique Design.Missing: interior open 2020s
[81]
Folding Screen Room Divider: Classic of Interior Design
Japanese Shoji Screens – Made with translucent rice paper panels for soft, diffused light. Eileen Gray's Brick Screen (1920s) – A modernist Art Deco masterpiece ...
[82]
Portable Collapsible Pop Up Trade Show Display Backdrop Stand ...
Portable collapsible pop up trade show display backdrop stand, a folding tension fabric holder for tradeshow booth exhibition wedding conference party event.
[83]
Trade Show Backdrops - Displays2go
4.5 1.8K · 1–2 day deliverySet up and break down these trade show backdrops in minutes. We stock backdrops in plain colors or with full-bleed custom printing.
[84]
https://www.amazon.com/NEWSANDOR-Collapsible-Tradeshow-Exhibition-Conference/dp/B0DK6NLGGT
[85]
Sustainability and Biophilic Design with Folding Glass Walls
Apr 19, 2023 · Biophilic design utilizes natural materials, patterns, and phenomena to cultivate a connection to nature within a built environment.
[86]
Screens Room Dividers: Folding, Sliding & Custom Designs ... - Accio
Rating 5.0 (183) · Free 14-day returnsSmart dividers incorporating IoT sensors for environmental monitoring or integrated displays are emerging. Improved manufacturing techniques enhance the ...
[87]
Folding Screen Panels Market Size, Consumer Trends & Forecast ...
Rating 4.5 (81) The Folding Screen Panels Market is expected to witness robust growth from 3.5 billion USD in 2024 to 10.2 billion USD by 2033, with a CAGR of 12.5%.Missing: 2020s | Show results with:2020s