brocade were attached, a lacquered wood frame (typically black or dark red) was applied to protect the outer perimeter of the , and intricately decorated metal hardware (strips, right angles, and studs) were applied to the frame to protect the lacquer. In the following Azuchi–Momoyama period (1568–1600) and early Edo period (1600–1868), the popularity of grew, as interest and investment in arts and crafts developed significantly thanks to the patronage of the merchant classes. adorned samurai residences, conveying high rank and demonstrating wealth and power. This led to radical changes in crafting, such as backgrounds made from and highly colorful paintings depicting nature and scenes from daily life, a style pioneered by the Kanō school. In the modern day, are often machine-made; however, hand-crafted are still available, mainly produced by families that preserve the crafting traditions. Mexican During the colonial-era of Mexico, the art of Mexico was influenced by Asian art, objects and artists introduced to the region via the Manilla Galleons. Notable among the influences were Japanese folding screens. The word entered Mexican Spanish as . The scenes depicted on these folding screens were frequently historical, such as the Conquest of Tenochtitlán. Others depicted everyday life, such as a folding screen depicting the happenings of the village of Ixtacalco. Japonism were a popular Japonism import item to Europe and America starting in the late 19th century. The French painter Odilon Redon created a series of panels for the Château de Domecy-sur-le-Vault in Burgundy, which were influenced by the art of . Contemporary artists The greatest painter of the second half of the 20th century was . He painted nearly 100 screens over a thirty-year period, several of which are in the National Museum of Modern Art, Tokyo. Since Matazo's death, very few artists still paint . Many contemporary artists continue to allude to the format, aligning multiple panels in a row, creating ultra-wide paintings. In the age of international art commerce, this is done more for ease of handling and transport, since ultimately, these works are displayed flat on a wall. produced an exceptional two-screen (each screen with six panels) for his Master's project at Tama Art University entitled . Abandoning the traditional format, Sato used individual panels, which more closely resemble (sliding screens used as interior partitions). Both he and paint large works using mineral pigments on Japanese paper which are then mounted on four or six individual