Momoyama Gold Screen draws on the kinpeki shōhekiga of the late sixteenth century — Kanō-school folding screens whose entire ground is burnished gold leaf, laid sheet over sheet on paper and treated as a warm field of light. Over that gold, painters set monumental pines, hawks, tigers and lions in opaque mineral pigment, framed by cloud-band negative space.

Commissioned by warlords like Nobunaga and Hideyoshi to line castle halls, these screens were declarations of martial wealth: bold, large-scale, and unapologetically gold. The system keeps that conviction — the ground itself is gold, never cream or white, and colour arrives in confident mineral blocks rather than fussy ornament.