An exceedingly rare late Edo silk curtain, known as "kicho," featuring a skillfully rendered, tethered falcon perched on an elaborate wooden rod-and-textile  ceremonial stand. The term "kicho" translates to "curtain of state." Its historical significance traces back to Japan's Heian era (794-1190). During this period, the kicho served a unique role as a partition screen, strategically concealing noblewomen from prying eyes. Typically, these curtains were positioned near the veranda, and historical records suggest that many romantic liaisons during the Heian period blossomed when a lady allowed a gentleman behind her kicho.

The kicho's design, color, and ornamentation would change in accordance with the seasons, and the materials used reflected the finest resources available to a household. Nobles of the era often engaged in friendly competition over the artistic merits of these screens. Multiple kicho curtains could be strung together to form larger partitions, allowing for flexibility in their arrangement.

This specific kicho comprises four silk panels artfully connected by a finely braided rope. Wood stick supports and brass hanging eyelets adorn the top section of the screen. The intricate design depicts a magnificent white trained falcon, meticulously detailed and embroidered, perched upon a lavishly adorned "daiboko" or man-made perch. From the perch dangles a "hokodare,"a silk screen crafted with threads of gold. A deer skin strap (known as "ashikawa") is securely fastened to the falcon's legs.

The practice of falconry in Japan dates back to the fourth century, with early Buddhist temples, which were also landowners, initially opposing the sport due to their ideological stance against killing. Falconer lords, however, devised rationales rooted in Buddhism or resorted to Shinto justifications to continue the practice. Over time, falconry became a symbol of status and an exceedingly expensive pastime. The Edo period, which commenced in the 17th century, marked a significant evolution in falconry as it became one of the primary pursuits for the samurai and nobility class to channel their militaristic energies. Falcons were revered for their fierce nature, regal demeanor, and directness of action, symbolizing the very essence of their owners' souls.

As falconry gained visibility and popularity during the Edo period, many samurai and nobility commissioned falcon-related artwork, including paintings that depicted the hunt and portraits of individual birds tethered to stands. These falcon portraits evolved from generic depictions into personalized portraits intended to commemorate the individual birds, a phenomenon unique to East Asia. This reflects the deep affection that shoguns and lords held for their hawking partners.

Notable artists who created portraits of individual trained falcons during this period include Hasegawa Tohaku, Kano Eiun, Hakuin Sekkei, Itaya Keishic, Sumiyoshi Keishu, Ryuryukyo Shinsai, Totoya Hokkei, and Doi Toshiatu. Additionally, Katsushika Hokusai's works, "Falcon and Cherry Blossom" and" Falcon," closely resemble the imagery found on this kicho.

Remarkably, only a limited number of extant textiles with themes of tethered falcons are known to exist. In addition to this kicho, there is an 18th-century kosode in the Tokyo National Museum featuring yuzen-painted depictionsof a falcon perched on a folding screen. Furthermore, a ceremonial miyamairi boy's kimono, YAT2767, is another rare textile associated with this theme.

The prominent depiction of oak branches on this textile carries auspicious symbolism. Since ancient times, oak (kashiwa) leaves were used as makeshift dishes for offerings. Over time, they became associated with offerings to deities, and by the late Heian period, the oak tree itself was considered the abode of protective forest and grove deities.

The creation of this kicho involves various techniques: the oak leaves are rendered using paint and gold foil; the falcon is hand-painted and embroidered; and the kicho itself is yuzen-painted, incorporating elements of simple embroidery, metallic couching, braiding, and sagara embroidery. The overall effect exudes subtlety and sophistication.

This is the most refined and authentic surviving kicho that is currently known. It is worth noting that a few extant 19th century kicho examples were created from sections of old kimonos, although their authentic usage as kicho curtains is not confirmed. While depictions of kicho were frequently encountered in Edo and Meiji art, spanning textiles and diverse mediums, the scarcity of extant examples and historical citations suggests that the production of kicho textiles during these epochs was notably restricted. Instead, these artworks portraying kicho evoked the revered era of Japanese culture known as the "golden age," the Heian period, which transpired a thousand years ago.

Taking into account the subject matter of this specific example, the remarkable level of artistic expertise, and the historical context where kicho curtains enjoyed popularity among Heian nobility but not in more recent times, it is plausible that this kicho is a rare "revival" artwork commissioned by a wealthy and influential Japanese noble family. Although a ceremonial use is conceivable, the reason for its creation remains uncertain.53"/135cm in width by 56"/142cm in height.

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