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This seems to be a motif considering Yoshino and Uji. The composition is so dynamic, forming a striking contrast to the left part that has a serene atmosphere. Clouds are created with torn and cut gold and silver leaf and sunago (a type of gold leaf cut into small pieces like grains of sand) or by roughly spreading silver noge (a type of silver leaf cut into long thin strips) while the cherry petals and the parapet of the bridge are created by building up layers of white pigment.   \nOn the other hand, the left part of the screen depicts the turn of the seasons from fall to winter by placing the silver crescent moon and very formalized water streams in the center, ears of rice and Japanese pampas grass on the right and post-harvest fields and snowcapped mounds of earth on the left. As is the case with the right part of the screen, the left part has the ground covered with mica powder and most of the clouds and mounds of earth are created by applying gold or silver leaf.  \nThe sophisticated composition and elaborate depiction method found in the left part seems to suggest that this screen was created by a painter of the Tosa school after the mid-16th century. It can be estimated that the right part, which has a style clearly different from that of the left, was created in the early 16th century. \n","@language":"en"},{"@value":"从构图的不连续性及技法的不同等点来看，这左右两架屏风曾分别为另外的作品，由于与其分别相对的屏风遗失，因此才将这两架屏风合为一体。\n对面右侧的屏风在盛开的山樱间，绘有山间小溪及其下流的盈盈水流、小桥以及山脚的柳树，远山处还镶嵌有镀金的日轮，应该是参考了吉野与宇治的主题吧。画面的构成极为生动，正好与充满宁静气氛的左侧屏风形成对比。现已确认屏风中的云采用了金银的碎箔、大小切箔及砂子、或者疏密撒银芒的方式制成，樱花花瓣及桥的栏杆部分则为胡粉（日本画中使用的一种白色颜料）堆积技法。\n相对的左侧屏风以镀银的新月和极其形式化的水流为中心，右侧绘有稻穗及芒草，左侧绘有收割过的田地及顶部积雪的土坡，表现了从秋至冬的季节推移。与右侧屏风一样，其以云母为底色，云及土坡的大部分为贴金属箔制成。\n从精炼的画面构成及纤细的描绘技法推测，此作出自16世纪中叶以后的土佐派画师之手。而与其明显属于不同画系的右侧屏风的制作，也许完成于16世纪前半叶。\n","@language":"zh"},{"@value":"연속성 없는 구도, 기법의 차이 등을 볼 때 좌우 양 폭은 원래 별개의 작품이었지만각각의 짝을 이루는 폭이 없어져 이 둘을 조합시킨 것으로 추정된다.\n  오른쪽 폭은 만개한 산벚꽃을 중앙에 배치하고 산속의 시냇물과 넘치도록 흐르는 하류, 다리와 그 옆의 버드나무를 그렸으며 먼산 저편에는 도금한 일륜을 넣었다. 요시노와 우지를 상징하는 디자인일 수도 있다. 그림의 구성은 매우 역동적이며 평온한 분위기를 지닌 왼쪽 폭과 대조를 이룬다. 구름은 금•은 파박(破箔), 크고 작은 절박(切箔)과 가루 혹은 은을 잘게 자른 것을 조밀하게 뿌려 만들었으며, 벚꽃의 꽃잎과 다리의 난간에는 호분을 덧발랐다.\n  왼쪽 폭에는 도은을 한 초승달과 양식화된 물의 흐름을 중심으로 오른편에 벼 이삭과 억새, 왼편에 추수가 끝난 논과 눈 쌓인 둑을 그려, 가을에서 겨울로 넘어가는 계절의 변화를 표현했다. 오른쪽 폭처럼 바탕에 운모를 발랐지만 구름과 둑의 대부분에는 박을 입혔다.\n  세련된 구성과 정밀한 기법 등을 통해 16세기 중반 이후 도사파 화가의 작품으로 추정된다. 이와는 명확히 다른 화계의 오른쪽 폭은 16세기 전반에 제작되었으리라 여겨진다.\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100269001004/4/thumbnail.jpeg","@type":"dctypes:Image","height":98,"width":200},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural Heritage","@language":"en"},{"@value":"国立文化财机构","@language":"zh"},{"@value":"국립문화재기구","@language":"ko"}],"logo":[{"@id":"https://emuseum.nich.go.jp/assets/img/logo.png"}],"rendering":{"@id":"https://emuseum.nich.go.jp/detail?langId=ja&webView=&content_base_id=100269&content_part_id=0&content_pict_id=0","label":[{"@value":"e国宝 - 日月山水図屏風","@language":"ja"},{"@value":"e-Museum - Landscapes with the sun and 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