Kano Artists - Volume 6 by john p westfall

The Art of the Kano School – Volume 6

A Collection of Japanese Scrolls from the Early 1400’s to the Late 1800’s - Lost Treasures Part 3 (Including Artists from the Nanga, Rinpa, Kishi, Nagasaki Schools and more)

By John P. Westfall 1st Edition

Introduction

It is true that the greatest of all Japanese two-dimensional ancient art sprang forth in the form of the full screen, whether a “fusuma” (sliding door) or a “byobu” (folding screen). Countless great works adorned the halls of the ancient castles of Osaka, Nijo, Himeji, Nara, Nagoya and more. But most of those pieces have been spirited away, either into private collections and museums, or destroyed over time by Mother Nature or in the many wars that fell upon their walls. Many of these works were painted by great artists such as Motanobu, Tanyu, Naganob, Eitoku or others, each of whom started their studies on a much smaller scale, on either paper or silk, which were then mounted into the more readily available or affordable form of the Japanese scroll called “kakemono” or “kakejiku”. Each of these artists spent years in their respective schools as young apprentices, studying the collections of paintings done in house by their mentors or by the works of Chinese masters generations before. Each element that was to find its way into a larger fasuma or byobu, was studied, painted and repainted until it was deemed worthy by their masters. Painting after painting was produced in the smaller and sometimes more intimate form of the “makuri” or “honshi” (unmounted painting). Finally, with a trove of smaller paintings left behind, these students were allowed to participate in the larger commissions of the halls of the great palaces under the watchful eyes of their masters.* Is it possible that this process may have left behind paintings available not to just the elite, but to the general population as well?

The Rise of the Kano School

Beginning with Kano Motanobu, a family of artists sprang up in Kyoto that dominated the art scene in Japan for over a dozen generations, spanning from the mid-16th century until its last great master, Kano Hogai died in the late 1800’s. Earlier in the Muromachi period, Zen scholars from China brought their collections of paintings and beliefs to Japan, influencing artists such as Tenson Shubun, Sesshu Toyo, Sesson Shukei and others. Their designs were influenced by these early Chinese paintings, synthesizing monochrome traditions and styles from the Sung and Yuan dynasties and concepts from the Che school of the Ching dynasty. Motanobu followed the footsteps of his father, Kano Masonobu, therein creating a vernacular that was admired and sought after by the Tokagowa Empire. Subsequently, each generation found the talent to satisfy its patrons and maintain a legacy that endured. Over the centuries, several major “schools” developed, each deriving its name from the various streets or neighborhoods within the confines of Kyoto and Tokyo (Edo). These included the Nakabashi, Kobikicho, Hamamachi, Kajibashi, Surugadashi and Kyoto/Kano lines.*

It is with the collection contained in this exhibit that one will find the early works by these artists that have been largely ignored by these larger institutions. It has been my good fortune to have been able to collect a number of these scrolls and to be able to display them for the enjoyment of others.

The Rise of the Tosa School

It is starting with Tosa Mitsunobu that a definite art school (atelier, workshop) and family line can be established. But Mitsunobu purports that the origins of the school can be traced back further to Fujiwara Tsunetaka (Yukimitsu who held the post of edokoro azukari in 1355–1371.

The earliest documentary evidence for an artist using the name Tosa are two early 15th-century references to a man named Fujiwara Yukihiro (1406–1434) who was also known as Tosa Shōgen), a title derived from his position as governor of Tosa Province. Yukihiro's activity as a painter is known primarily from an inscription on illustrated handscrolls of the Stories of the Origin of Yūzū Nembutsu; 1414, Seiryōji , Kyoto.

A bloodline descent from Yukimitsu to Mitsunobu (father-son?) is speculated, but the family document Tosa Monjo lacks records covering that period. Mitsunobu's daughter married Kano Motonobu, head of the Kanō school, which increased the tendency of Kanō artists, already using two distinct styles, to work in a Tosa style when occasion demanded. The surviving paintings that can be attributed to Mitsunobu show less quality than his reputation in historical sources would suggest, but many fine works remain from Mitsunobu's hand. Although he painted both Buddhist paintings and portraits in addition to the standard repertoire of courtly themes, he is best known for his illustrated handscrolls, emaki, such as The Legends of Kiyomizu-dera.

The Tosa school's art tradition was passed from Mitsunobu to Mitsumochi (1496 – c. 1559) under whom the fortunes of the school began to decline, then to Mitsumochi), but Mitsumochi perished in battle in 1569, causing the family to lose their position as head of the painting bureau (edokoroazukari). The headship of the school passed to Tosa Mitsuyoshi (1539–1613), whose relationship with his predecessors is uncertain.

Mitsuyoshi eventually left the capital and his post and settled in the city of Sakai, a port city near Osaka, where he sold paintings to the local townspeople. Mitsumochi also moved away from the traditional Tosa themes to specialize in bird-and-flower paintings. During this period, the stewardship of the imperial painting bureau passed from the Tosa school into the hands of Kanō school painters.

Mitsuyoshi's son, Mitsunori (1583–1638) continued to live and work in Sakai, painting for townsmen, until 1634 when he moved to the capital with his eldest son, Mitsuoki (1617–1691) at the invitation of Emperor Go-Mizunoo, where Mitsunori began painting ceremonial fans for the court. Twenty years later, in 1654, Mitsuoki won back the position of edokoro-azukari for the family, which enabled him to revive the school. Mitsuoki rejuvenated the traditional Tosa style by introducing elements from Chinese painting. He is particularly noted for his elegant paintings of quail, as for example, the Chrysanthemum and Quail screens which he painted with the help of his son Mitsunari (1646–1710).

Mitsuoki's successors headed the Imperial painting bureau until the end of the Edo period, but their reliance on imitating the style of Mitsuoki, rather than developing new techniques or themes, led to the production of works that were increasingly static and conventional. However, Mitsusada (1738–1806), a dedicated practitioner of the Tosa traditions, managed to effect a temporary Tosa revival.

Artists of the school but not the family were more significant, notably Sumiyoshi Jokei (1599–1670), a pupil of Mitsuyoshi, and his son Gukei Sumiyoshi (1631–1705), whose work revitalized the original tradition of small narrative scrolls with emphasis on details of everyday life. Reviving interest in Japanese history in the 18th and 19th centuries kept demand for Tosa style work alive, but the style of the school, with its thin line and reliance on detail was less suited to the larger hanging-scrolls that were now the format preferred by patrons. The interest in painting everyday life of the Tosa School was influential on the ukiyo-e school of paintings and prints, especially on the aristocratic painter Iwasa Matabei (1578–1650), who is regarded as one of the founders of ukiyo-e.*

*Excerpt from Wikipedia

John P. Westfall

Comments? Please contact me at johnpwestfall@gmail.com

The Japanese Scroll

The construction of the Japanese scroll has been refined over the centuries to a work of art unto itself. Many scrolls are accompanied by a wooden box or “tomobako”, made of paulownia wood, native to Japan and similar in resistance to vermin and decay as cedar. On occasion a lacquered outer box called a “nijubaku” may contain the inner box.

To start, a painting or “honshi” is mounted to a cloth or “washi” (Japanese paper) and is the base onto which the artwork is attached. The "Maruhyousou" style of kakejiku has four distinct named sections. The top section is called the "ten" heaven. The bottom is the "chi" earth with the "hashira" pillars supporting the heaven and earth on the sides. Across the top and bottom are the borders or “ichimoji” which are often of fine brocade with the upper border usually being twice the depth as the lower one. This is due to the fact that in the past, Kakemono were viewed from a kneeling (seiza) position and provided perspective to the honshi main work. This tradition carries on to modern times.

Hassou (Cloth rod)

Futai

Ten (Heaven)

Ichimonji

Hashira (Pillars)

Honshi

At the bottom of the scroll, a crosspiece referred to as the” jiku” around which the scroll is rolled. Weights or “fuchin” may be attached on either side to assist the scroll from blowing in the wind or simply for decoration. It is often times capped at either end with wood, bone, pottery or tusks of elephant. The top piece is referred to as the “hyoumoku” which allows the scroll to be hung from a cord.

Finally, many scrolls will also have two narrow silk brocade strips, known as “futai,” hanging down vertically from their top edge.

In the Japanese home, often a series of hanging scrolls would be rotated one-by-one in their honored, central display alcove area known as the home’s “tokonoma.” Many such scrolls were considered to be “seasonal,” while others might relate to specific holidays or special occasions. When not on display, they would then be carefully rolled, placed inside their protective paulownia storage boxes, and then typically stored in a drawer of a nearby “tansu” (wooden dresser).

Chi (Earth)

Jiku (End knobs)

The Plates

Plate No. 1 Artist: Shugetsu Tokan (1440-1529)

Plate No. 2 Artist: Kano Motonobu (1476-1559)

Plate No. 3 Artist: Sesson Shukei (1504-1589)

Plate No. 4 Artist: Kano Eitoku (1543-1590)

Plate No. 4.1 Artist: Hon’ami Koetsu (1558-1637)

Plate No. 5 Artist: Kano Sansetsu (1589-1651)

Plate No. 6 Artist: Kano Sansetsu (1589-1651)

Plate No. 7 Artist: Kano Tanyu Morinobu (1602-1674)

Plate No. 8 Artist: Kano Tanyu Morinobu (1602-1674)

Plate No. 8.1 Artist: Kano Tanyu Morinobu (1602-1674)

Plate No. 9 Artist: Kano Tanyu Morinobu (1602-1674)

Plate No. 10 Artist: Kano Naonobu (1607-1650)

Artist: Kano Eishin Yasunobu (1614-1685)

Plate No. 11 Artist: Kano Eishin Yasunobu (1614-1685)

Plate No. 12 Artist: Kano Eishin Yasunobu (1614-1685)

Plate No. 13 Artist: Kano Eishin Yasunobu (1614-1685)

Plate No. 14 Artist: Tosa Mitsuoki (1617-1691)

Plate No. 15 Artist: Tosa Mitsuoki (1617-1691)

Plate No. 16 Artist: Kusumi Morikage (1620-1690)

Plate No. 17 Artist: Kusumi Morikage (1620-1690)

Plate No. 18 Artist: Kano Tokinobu (1642-1678)

Plate No. 19 Artist: Tosa Mitsunari (1647-1710)

Plate No. 20 Artist: Hanabusa Itcho (1652-1724)

Plate No. 21 Artist: Kano Tansetsu (1655-1714)

Plate No. 22 Artist: Kano Bauin (1657-1715)

Plate No. 23 Artist: Ogota Korin (1658-1716)

Plate No. 24 Artist: Kano Chikanobu (1660-1728)

Plate No. 25 Artist: Miyagawa Chosun (1700?)

Plate No. 26 Artist: Koami (1700-1775)

Plate No. 27 Artist: Kano Ei’Senen Michinobu (1730-1790)

Works: “Cranes Under a Pine Tree” (Cat. No. 368)

Works: “Birds and Trees” (Cat. No. 401)

Works: “Sansui” (Cat. No. 403)

Works: “Sansui” (Cat. No. 366)

Works: “Autumn Flowers” (Cat. No. 413)

Works: “Snowy Landscape” (Cat. No. 376)

Works: “Pigeon on Bamboo” (Cat. No. 390)

Works: “Morning Glories” (Cat. No. 374)

Works: “Rainy Day” (Cat. No. 388)

Works: “Li Bai Viewing a Waterfall” (Cat. No. 415)

Works: “Sansui” (Cat. No. 417)

Works: “Gibbons” (Cat. No. 402)

Works: “Yuima-koji with a Tiger and Dragon” (Cat. No. 364)

Works: “Monkeys (Cat. No. 378)

Works: “Jurojin (God of Longevity)” (Cat. No. 405)

Works: “The Tale of Genji” (Cat. No. 399)

Works: “Birds on a Plum Tree” (Cat. No. 363)

Works: “Tiger and Dragon” (Cat. No. 365)

Works: “Falcon on Perch” (Cat. No. 375)

Works: “Sugawara No Michizone” (Cat. No. 371)

Works: “Two Chickens” (Cat. No. 397)

Works: ““Shishi No Kootoshi, Tra No Kowatashi” (Cat. No. 380)

Works: “Cranes and Jurojin” (Cat. No. (364)

Works: “White Heron” (Cat. No. 377)

Works: “Flowers and Butterflies” (Cat. No. 392)

Works: “Dragon and Lion on Wave” (Cat. No. 394)

Works: “Beautiful Woman and Flowers” (Cat. No. 385)

Works: “Sansui” (Cat. No. 384)

Works: “Hotei, Tigers and Lions” (Cat. No. 406)

The Plates cont…

Plate No. 28 Artist: Maruyama Okyo (1733-1795)

Plate No. 28.1 Artist: Kano Eiryo (1741-1771)

Plate No. 29 Artist: Sakai Hoitsu (1761-1829)

Plate No. 30 Artist: Sakai Hoitsu (1761-1829)

Plate No. 31 Artist: Kano I’senin Naganobu (1775-1828)

Plate No. 32 Artist: Kishi Gantai (1782-1865)

Plate No. 33 Artist: Kano Seisen Osanobu (1796-1846)

Plate No. 34 Artist: Mori Ippo (1805-1859)

Plate No. 35 Artist: Kishi Renzan (1805-1857)

Plate No. 36 Artist: Okamoto Shuki (1807-1862)

Plate No. 37 Artist: Kano Tadanobu (1823-1880)

Plate No. 38 Artist: Kano Hogai (1828-1888)

Plate No. 39 Artist: Yamamoto Tan’en (Fl.1830)

Plate No. 40 Artist: Hashimoto Gaho (1835-1908)

Works: “Dragon in the Clouds” (Cat. No. 372)

Works: “Peacocks and Peonies” (Cat. No. 416)

Works: “Cherry Blooms and Dandelions” (Cat. No. 393)

Works: “Jurojin with Cranes and Deer” (Cat. No. 412)

Works: “Tiger Drinking Water” (Cat. No. 389)

Works: “Tiger” (Cat. No. 381)

Works: “Three Views of Japan” (Cat. No. 407)

Works: “Minamoto no Yoshimitsu Playing the Flute” (Cat. No. 387)

Works: “Sansui” (Cat. No. 367)

Works: “Pair of Peacocks” (Cat. No. 410)

Works: “Lion” (Cat. No. 362)

Works: “Crab” (Cat. No. 408)

Works: “Chinese Lion with Peonies” (Cat. No. 404)

Works: “Sansui” (Cat. No. 391)

Note: I wish to acknowledge that the description of each artist contained herein has been taken from the Website “Wikipedia”, each with its own various contributors or from the seller of the scroll themselves.

Shugetsu Tokan 秋月

等観 (1440~1529)

Shûgetsu Tôkan was a leading Satsuma-based ink painter of the Muromachi period. His school of painting became one of the dominant ones in Edo period Satsuma.

Shûgetsu studied ink painting directly under the great Zen painter Sesshû. He also traveled to Ming Dynasty China, bringing back new styles, skills, and insights.

Shûgetsu had many disciples, but the systems of lineages of disciples used in many other parts of the realm was not adopted in Satsuma. Rather, Shûgetsu's style spread more widely, and more organically. By the 18th century, the Kanô school and many of the other chief schools of painting in Edo and Kyoto had arguably become rather stagnant, as they reproduced images from copy-books (funpon or tehon) rather than creatively, dynamically, exploring new forms and subjects. By contrast, Satsuma artists did not rely upon copy-books, and did not adhere strictly to the style of their teachers; as a result, at least according to Kagoshima perspectives, they were more dynamic.

Shugetsu Tokan (1440-1529)

“Cranes under Pine Tree” (w/ box)

Hand painted on Paper w/ Kiwamegaki Hatakeyama Gyuan)

Roller ends: Wood

Size: 24.6" x 26.8" x 74.4"

Plate No. 1, Cat. No. 368

Hatakeyama Gyuan (1625-93) was the son of the first Hatakeyama Gyuan (15891656), one of his direct disciples who learned the art of ancient calligraphy appraisal from Kohitsa Ryosa (1582-1662). He was the second of three generations to call himself Hatakeyama Gyu-an, and his name was Yoshitaka, and he was named Kunsui Zuise, Sokuo, etc. He ran an appraisal business in Oyumicho, Edo Hongo, and was praised for his authority along with old calligraphy artists. The kiwamein inherited the gourd seal of "Gyuan", but in order to distinguish it from the first generation, it is also used in conjunction with the "傳庵" seal.

Kano Motonobu

(1476-1559) The 2nd head of the Kano school, born in Kyoto as the son of Masanobu, and founder of the Kano style. Motonobu's given name is Shirojiro. At the time of the parent and child, the Tosa School was in full flourish, and Tosa Mitsunobu was designated as the official court painter. The Tosa School was good at Yamato-e (Japanese style) painting. On the other hand, Kano Masanobu, Motonobu's father, was good at Kara-e (Chinese style) painting. Masanobu wanted to innovate the Tosa's style to the Kano so Motonobu married Chiyo, the daughter of Tosa Mitsunobu. Motonobu absorbed Yamato-e painting methods from the Tosa School, and he accreted the Yamato-e style and Kara-e style. As a result, Motonobu created new Kano style, and the Kano school prospered for about 400 years. Motonobu was ordained as Hogen rank.

Kano Motonobu (1476-1559)

“Birds and Trees”

Hand painted on paper w/ double box and Kiwamesho by Okura Kosai

Size: 19.7" x 22.5" x 72.0"

Plate No. 2, Cat. No. 401

Sesson Shukei

was a Japanese artist who was the most distinguished and individualistic talent among the numerous painters who worked in the style of Sesshū, the 15th-century artist considered the greatest of the Japanese suiboku-ga (“water-ink”) painters. Sesson was a monk of the Sōtō sect of Buddhism and a self-taught artist who lived in northern Honshu (the main island of Japan), far from the imperial capital, Kyōto, which was the centre of artistic activity. He studied the paintings of Shūbun (a suiboku-ga artist active in the first half of the 15th century) and later, from 1533, those of Sesshū and called himself Sesson Shūkei in tribute to the two masters. His style, however, was influenced more by Sesshū than by Shūbun. Like Sesshū, he excelled in landscapes, to which he imparted dynamic expression with his bold brushwork.

Sesson Shukei (1504-1589)

“Sansui” (w/ box)

Kiwamesho by Okura Kosai, Yamana Tsurayoshi and Ohkura Kinzan

Hand painted on Paper

Roller ends: Bone

Size: 30.7" x 33.3" x 62.6"

Plate No. 3, Cat. No. 403

Kano Eitoku

(狩野永徳?, February 16, 1543 - October 12, 1590) was a

Japanese painter who lived during the Azuchi–Momoyama period of Japanese history and one of the most prominent patriarchs of the Kanō school of Japanese painting.

Born in Kyoto, Eitoku was the grandson of Kanō Motonobu (1476–1559), an official painter for the Ashikaga shogunate. He was recognized for his artistic talent at a very young age. Under Motonobu's guidance, he developed his grandfather's style, which had influence from Chinese painting.

Collaborating with his father Shōei (1519–92), Eitoku painted the wall panels of the abbot's quarters in Jukō-in, a subtemple of the Daitoku-ji Zen monastic complex in Kyoto.

During his lifetime, Eitoku's patrons included Oda Nobunaga and Toyotomi Hideyoshi. His standing screen, sliding door, wall, and ceiling paintings decorated Nobunaga's Azuchi castle and Hideyoshi's residence in Kyoto and Osaka castle. Contemporary accounts indicate that Eitoku was one of the most highly sought-after artists of his time, and received many wealthy and powerful patrons. Maintaining the preeminence of the Kanō School was not merely an artistic feat, but an organizational and political one also. Eitoku was able to secure a steady stream of commissions and an efficient workshop of students and assistants, and at one point successfully intercepted a warlord's commission of the rival Hasegawa studio

Kano Eitoku (1543-1590)

“Sansui”

Hand painted on Silk (w/ box)

Roller ends: Wood

Kiwamebako by Okura Kosai

Size: 20.4" x 23.9" x 65.4"

Plate No. 4, Cat. No.366

Hon’ami Koetsu

Hon'ami Koetsu (1558-1637) was a calligrapher, craftsman, lacquerer, potter, landscape gardener, connoisseur of swords and a devotee of the tea ceremony. He was born in Kyoto. Along with Konoe Nobutada (1565-1614) and Shokado Shojo (1584-1639), he came to be known as one of the Three Brushes or Sanpitsu of the Kan'ei Era (Kan'ei no Sanpitsu).

Hon'ami Koetsu (1558-1637)

“Autumn Flowers” (w/ orig. box)

Hand painted on Silk Roller Ends: Bone

Size: 26.3" x 28.5" x 82.3"

Plate No. 4.1, Cat. No. 413

Kano Sansetsu

Kano Sansetsu 狩野山雪, (1589-1651) was a painter in the early Edo period. He is also known as Kano Heishiro. He studied under Kano Sanraku (1559-1635) and married his daughter. After the death of Sanraku's eldest son, he became his adopted son and took over his position.

Kano Sansetsu 1589-1651

“Snowy Landscape” (w/ box)

Kiwamebaku by Irie Sekitei (1765-1839)

Hand painted on Paper

Roller Ends: Ivory (?)

Size: 15.3" x 16.8" x 68.0"

Plate No. 5, Cat No. 376

Kano Sansetsu

Kano Sansetsu 1589-1651

“Pigeon” (w/ double box) Kiwamebaku by Kimura Tosuke (1901-1992)

Hand painted on Paper Roller Ends: Ivory (?)

Size: 24.8" x 27.4" x 81.1"

Plate No. 6, Cat No. 390

Kano Tanyu Morinobu

was one of the foremost Japanese painters of the Kano school. His original given name was Morinobu; he was the eldest son of Kano Takanobu and grandson of Kano Eitoku. Many of the most famous and widely known Kano works today are by Tan'yu.

In 1617, Tan'yu was appointed by the Tokugawa shogunate to become one of the shogunate's official artists. Over the following years, he was given many highly prestigious commissions. Over the 1620s and '30s, he created a number of large-scale works for Edo castle, Nijo castle, Osaka castle, Nagoya castle, and Nikko Tosho-gu.

Prolific in a variety of painting styles, Tan'yu's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the Momoyama style, depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.

Tan'yu was also accomplished, however, in monochrome ink painting based on the prototypical style of the Muromachi period, yamato-e compositions in a style similar to that of the Tosa School, and Chinese style scrolls. His most famous yamato-e work is a narrative handscroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yu.

In addition to being a highly honored and respected painter in his own right, Tan'yu was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication.

Kano Tanyu Morinobu (1602-1674)

“Morning Glories” (w/ box)

Hand painted on Silk Roller ends: Wood

Size: 26.7" x 28.5" x 77.1"

Plate No. 7, Cat. No. 374

Kano Tanyu Morinobu

Kano Tanyu Morinobu (1602-1674)

“Rainy Day” (w/ box) Hand painted on Silk w/ Kiwamebaku by Okura Kosai

Roller ends: Bamboo

Size: 17.1" x 19.4" x 68.1"

Plate No. 8, Cat. No. 388

Kano Tanyu Morinobu

Kiwame-sho by

Kiwame-sho by Kano Esien’in Michinobu

Kano Isen’in Naganobu

Kano Tanyu Morinobu (1602-1674)

“Li Bai Viewing the Waterfall” (w/ box)

Hand painted on Silk w/ Kiwame-sho by Kano Esien’in Michinobu & Kano Isen’in Naganobu

Roller ends: Resin (?)

Size: 33.5" x 36.0" x 93.3"

Plate No. 8.1, Cat. No. 415

Kano Tanyu Morinobu

Kano Tanyu Morinobu (1602-1674)

“Sansui” (w/ box)

Hand painted on Silk Roller ends: Resin (?)

Kiwamebako by Kano Isen’in Naganobu (1775-1828) and Kawamura Ukoku (1837-1906)

Size: 45.0" x 48.0" x 96.0"

Plate No. 9, Cat. No. 417

Kiwamebako by Kano Isen’in Naganobu Kiwamebako by Kawamuru Okoku

Kano Eishin Yasunobu

(狩野安信, 10 January 1614 – 1 October 1685) was a Japanese painter of the Kanō school of painting during the Edo period. He was the third son of Kanō Takanobu, who had been head of the school, and succeeded Kanō Sadanobu as head of the Kyoto branch in 1623. Yasunobu was the youngest brother of Kanō Tan'yū, one of the most prominent painters of the Kanō school. His best remembered work is the Gadō Yōketsu, a Kanō school history and training manual. He also worked under the art names Eishin and Bokushinsai.

Kano Naonobu

Kano Naonobu was born in Kyoto as a younger brother of Kano Tanyu. His debut was when he was 17 years old and he was requested to create a painting for Tokugawa Iemitsu. Accompanying his brother Tanyu, he was invited to Edo. There he learned Tanyu's painting technique very quickly and joined in national affairs with Tanyu. His painting was thicker and deeper than Tanyu's painting. In his private life, he preferred going on a trip or fishing. He was very popular as well as Tanyu. He called himsef "Jitekisai" after his shaved head.

Kano Eishin Yasunobu (1614-1685) and Kano Naonoby (1607-1650)

“Gibbons” (w/ box)

Hand painted on Paper

Roller ends: Wood

Size: 25.0" x 27.0" x 78.0"

Plate No. 10, Cat. No. 402

Kano Eishin Yasunobu

Kano Eishin Yasunobu (1613-1685)

“Yuima-koji with a Tiger and Dragon” (w/ box) With Kiwamesho by Kohitsu Ryochu

Hand painted on Paper Roller ends: Bone

Size: 26.4” x 28.5” x 83.5”

Plate No. 11, Cat. No. 364

YUIMA-KOJI (Vimalakirti), the legendary hero of a sutra that became popular in China and Japan, was a wealthy disciple and patron of Shakyamuni Buddha. His wisdom and eloquence surpass that of all the other disciples and bodhisattvas. He is featured in the Vimalakirti Nirdesha Sutra, The Sutra of Displays [or Teachings] of Vimalakirti, one of the older Mahayana sutras, dating back at least to the first or second century. Vimalakirti's name means "undefiled fame or glory."

Aside from the sutra in which he is featured, there is only brief mention of him in several other minor Mahayana scriptures and commentaries. Unlike Manjushri, Samantabhadra, Avalokiteshvara, or Jizo, Vimalakirti is not a cosmic, mythic bodhisattva, but is a historical lay follower of Shakyamuni. Vimalakirti and his sutra are not central to any school of Buddhism. He does not appear in tantric mandalas, and his image is not commonly venerated on temple altars.

But Vimalakirti's sutra is highly entertaining spiritual literature and was very influential, especially in East Asia. He is shown seated, with flowing white layman's robes and a soft cloth hat, often with a long beard. sometimes leaning on an armrest, suggesting the illness that initiates the drama of the sutra.

Vimalakirti's teaching is about seeing through the trappings of religion to the spiritual heart of the wonder of reality.

Vimalakirti playfully and magically demonstrates that truth is always available to people and is not dependent on priestly intercession or hierarchical status, either worldly or spiritual.

KOHITSU RYOCHU--Edo calligraphy authenticator 1657-1736

Kano Eishin Yasunobu

Kano Eishin Yasunobu (1613-1685)

“Monkeys” (w/ box)

Hand painted on Silk Roller ends: Wood

Size: 19.0" x 21.7" x 66.3"

Plate No. 12, Cat. No. 378

Kano Eishin

Yasunobu

Kano Eishin Yasunobu (1613-1685)

“Jurojin (God of Longevity)” (w/ box)

Hand painted on Paper

Roller ends: Resin (?)

Size: 23.8" x 83.0" x 26.0" Plate No.13, Cat. No. 405

Tosa Mitsuoki

(土佐光起, November 21, 1617 – November 14, 1691) Son and pupil of Tosa Mitsuyoshi. Lived first in Sakai. In 1634 to Kyoto where he was made Edukoro azukari in 1654. In 1681, passing his position on to his son Mitsunari, became a priest and took the name Josho and named Hogen in 1685.

Tosa Mitsuoki (1617-1691)

The Tale of Genji w/ Box Hand painted on Silk Roller Ends: Ivory (?) w/ Kiwamesho by Tosa Mitsusada And Okura Kosai

Size: 18.9" x 21.0" x 75.2"

Plate No. 14, Cat. No. 399

Tosa Mitsuoki

Tosa Mitsuoki (1617-1691)

“Birds on a Plum Tree” w/ Box Hand painted on Silk Roller Ends: Bone w/ Kiwamesho by Okura Kosai

Size: 16.8” x 18.5” x 66.5”

Plate No. 15, Cat. No. 363

Kusumi Morikage

Kusumi Morikage (久隅守景, c. 1620–1690) was a Japanese painter of the Edo period. He came from Kaga Province (Ishikawa Prefecture), the center of the lands of the Maeda clan. He was one of the four great students of Kano Tan'yu (1602-1674) and married his niece. However, he was said to have been expelled by his master.

Kusumi Morikage (c. 1620–1690)

“Tiger and Dragon” (w/ box)

Hand painted on Silk Roller Ends: Bone Size: 24.2" x 26.3" x 76.5" Plate No.16, Cat. No. 365

Kusumi Morikage

The type of the present painting is called a kayo-zu. It means "hawk on a perch" and depicts non-flying hawks or falcons fixed to a perch with cordons. The popularity of these types of paintings reflects the passion of the military class for falconry.

One of the main characteristics of this genre of work is the great detail given to the feathering of the falcon, the result of the artist's direct study from nature. But other important aspects are the decorations of the perches and the way the cordons are tied, all depicted with great realism.

Kusumi Morikage (c. 1620 –1690)

“Falcon” (w/ box)

Hand painted on Silk Roller Ends: Bone Size: 14.1” x 16.0” x 58.2" Plate No. 17, Cat. No. 375

Kano Tokinobu

Kanō Tokinobu (1642-1678) was a Kano-school painter and the adopted son and pupil of Kano Yasunobu (1613-1685). He became the second-generation head of the Nakabashi line of the Kano school. Because his early death, there are few works extant.

SUGAWARA NO MICHIZANE (845-903) is an outstanding cultural figure of the Heian period (794-1185) and now widely venerated as the god of scholarship in Japan. He was a scholar of Chinese and politician who rose to be Minister of the Right, one of the highest ranks in the government of the time. However, he was exiled to Kyushu as the result of a conspiracy of the Fujiwara family. After his death in exile, there were several disasters in the capital of Kyoto, which people believed they were caused by his angry spirit. He was therefore reinstated and raised to the rank of a Shinto deity (renamed Karai Tenjin 火雷天神), and the Kitano Shrine was founded in his memory.

Kano Tokinobu (1642-1678)

“Sugawara No Michizane” (w/ box)

Hand painted on Silk Roller ends: Bone Size: 26.7" x 28.5" x 77.1" Plate No. 18, Cat. No 371

Tosa Mitsunari

Tosanokami Fujiwara Mitsunari "土佐守藤原光成" Tosa Mitsunari "土佐光成" (ca,1647-1710) was a Tosa school painter active in early to mid Edo period. He was the first son of Tosa Mitsuoki "土佐光起" and learned painting under him.

Tosa Mitsunari (1647 –1710) (w/ double box)

Two Chickens

Hand painted on Silk Roller Ends: Ivory (?)

Cert. by Tosa Mitsusada

Size: 23.2" x 25.5" x 76.0"

Plate No. 19, Cat. No. 397

Hanabusa Itcho

英一蝶?, 1652 – February 7, 1724) was a Japanese painter, calligrapher, and haiku poet. He originally trained in the Kanō style, under Kanō Yasunobu, but ultimately rejected that style and became a literati (bunjin). He was also known as Hishikawa Waō and by a number of other art-names.

Born in Osaka and the son of a physician, he was originally named Taga Shinkō. He studied Kanō painting, but soon abandoned the school and his master to form his own style, which would come to be known as the Hanabusa school.

He was exiled in 1698, for parodying one of the shogun's concubines in painting, to the island of Miyake-jima; he would not return until 1710. That year, in Edo, the artist would formally take the name Hanabusa Itchō.

Most of his paintings depicted typical urban life in Edo and were approached from the perspective of a literati painter. His style, inbetween the Kanō and ukiyo-e, is said to have been "more poetic and less formalistic than the Kanō school, and typical of the "bourgeois" spirit of the Genroku period". Hanabusa studied poetry under the master Matsuo Bashō, and is said to have been an excellent calligrapher as well

Hanabusa Itcho (1652-1724)

“Shishi No Kootoshi, Tra No Kowatashi”

Hand painted on Silk w/ box and Kiwamebako by Okura Kosai (1795-1863)

Roller ends: Bone

Size: 17.5" x 19.4" x 67.5"

Plate No. 20, Cat. No. 380

Kano Tansetsu

(1655-1714) was a Kano-school painter and the second son of Kano Tan'yu (1602-1674).

Kano Tansetsu (1655-1714)

“Cranes and Jorijin” (w/ box)

Hand painted on Silk Roller ends: Bone

Size: 18.9" x 69.2"

Plate No. 21, Cat. No. 364

Kano Baiun

(1657-1715) was a Japanese Kano School painter of the Edo period and the second son of Kano Ujinobu (1616-1669)

Kano Baiun 1657-1715

“White Heron” (w/ box)

Ownership (?)

Ogimachi Kinmichi

Hand painted on Silk Roller Ends: Bone

Size: 14.0” x 16.0” x 65.0"

Plate No. 22, Cat. No. 377

Ogimachi Kinmichi (正親町公通)

(August 19, 1653-August 21, 1733) was a kuge (court noble) in the mid-Edo period. He mainly served the two emperors of the Emperor Reigen (112th) and the Emperor Higashiyama (113th). He is known by putting effort to prevail Suika Shinto (Shinto thoughts advocated by Ansai YAMAZAKI). In addition, he was in charge of bukedenso-yaku (an officer who communicated with bakufu, or Japanese feudal government headed by a shogun) in the Imperial court and worked for the communication between the Imperial court and bakufu. He was given the name Shushosai and Sushureisha as his go (byname). His Gago (pseudonym) were Hakugyokuo and Fusuiken.

He was born as the first son of Sanetoyo OGIMACHI, a kuge of Gon Dainagon (provisional chief councilor of state), in Kyoto. His mother was a daughter of Tamekata FUJITANI, a kuge of Gon Chunagon (provisional vice-councilor of state). Machiko OGIMACHI (a concubine of Yoshiyasu YANAGISAWA) was his sister. He was raised to the peerage in 1658. In 1661 he was assigned to jiju (a chamberlain) in Jugoinojo (Junior Fifth Rank, Upper Grade) and celebrated his attainment of manhood in 1665. After that, he was promoted to Sangi (councilor) and raised to the peerage as Kugyo (the top court officials) through the positions of Ukone no shosho (Minor Captain of the Right Division of Inner Palace Guards) and Ukone no chujo (Middle Captain of the Right Division of Inner Palace Guards). In 1681 he was assigned to Gon Chunagon in Shosanmi (Senior Third Rank) and promoted to Junii (Junior Second Rank) in 1685. Through other positions such as Geben (a kugyo who supervised many matters outside Jomei Gate at sechie (Imperial Court Ceremony)) in Toka no sechie (Imperial Court Ceremony), he was in charge of bukedenso-yaku from 1693 to 1700. He was in charge of Gon Dainagon from 1695 to 1696. It is said that he made a great effort in the unusual investiture of Keishoin, a mother of Shogun Tsunayoshi TOKUGAWA, to Juichii (Junior First Rank) in 1702 from the Imperial court because he was asked to lobby senior vassals of the Imperial court by Yoshiyasu YANAGISAWA, his brother-in-law. He was promoted to Shonii (Senior Second Rank) in 1705. In addition, he was promoted to Juichii in 1712. He died on August 21, 1733. He was 81 years old.

He was one of the students of Ansai YAMAZAKI, and he made efforts to prevail Suika Shinto which was founded by Ansai in the Imperial court. The Suika Shinto prevailed by Kinmichi was called Ogimachi Shintoism commonly. In his later years, he devoted himself to paintings and kyoka (comic (satirical) tanka).

He had six children: the first son Kinnari OGIMACHI and the second son Kinryo OGIMACHI died early, the third son Sanemoto URATSUJI was adopted by the Uratsuji family as a son, the forth son Takanobu SHIJO was adopted by the Shijo family, the fifth son Sadatoshi NONOMIYA was adopted by the Nonomiya family, so that the youngest son Sanetsura OGIMACHI succeeded the estate of Ogimachi family.

Ogata Korin

(尾形光琳?, 1658 – June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts and is said to have given his son some elementary instruction therein. Kōrin also studied under Soken Yamamoto, the Kanō school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sōtatsu.

Kōrin was an enigma. He broke away from all tradition and developed a very original and distinctive style of his own, both in painting and in the decoration of lacquer. The characteristic of this is a bold impressionism, which is expressed in few and simple highly idealized forms, with an absolute disregard for naturalism and the usual conventions. In lacquer, Kōrin's use of white metals and of mother-of-pearl is notable; but here he followed Honami Kōetsu.

An artist of the Rinpa school, he is particularly known for his gold-foil folding screens. A screen in the Museum of Fine Arts, Boston depicting Matsushima is a particularly famous work, and his "Irises" in the Nezu Museum is a National Treasure of Japan.

Korin died at the age of 59. His chief pupils were Kagei Tatebayashi and Shiko Watanabe, but the present knowledge and appreciation of his work are largely due to the efforts of Sakai Hōitsu, who brought about a revival of Kōrin's style.

Ogata Korin (1658 –1716) “Flowers and Butterflies” (w/ Double box)

Hand painted on Silk Size: 26.2" x 28.7" x 80.7"

Plate No. 23, Cat. No. 392

Kano “Shushin” Chikanobu

Kano painter. Born in Musashi Province. Eldest son of Kano Tsunenobu, elder brother of Kano Minenobu; his mother a daugter of Kano Yasunobu. In 1678, entered the service of the shogunate. In 1681, worked with his father at Edo Castle. In 1713, succeeded his father as third-generation head of the Kobiki-chobranch of Kanoschool. In 1719, received honorary title of Hogan; in the same year, on command of the shogun, painted a screen to given to a Korean emissary. Is said to have painted another screen presented to the king of the RyukyuIslands. One of his pupils was Toriyama Sekien, teacher of Kitagawa Utamaro

Kano “Shushin” Chikanobu (1660-1728)

Dragon and Lion in Wave (w/ box)

Hand painted on Silk Roller Ends: Wood

Size: 50.8” x 52.0" x 64.5" Plate No. 24, Cat. No 394

Miyagawa Chosun

(1682-1752) was an ukiyo-e artist and the founder of the Miyagawa school and Katsukawa school.

Miyagawa Chosun (1682-1752)

“Beautiful Women and Flowers”

Hand painted on Silk, w/ Box

Roller ends: Ivory (?)

Size: 28.3" x 30.7" x 85.4"

Plate No. 25, Cat. No. 385

Koami

Koami (1700-1775) was a Japanese-style painter born in Osaka. He was a disciple of Ooka Shunboku (1680-1763)

Koami 1700-1775

“Sansui Landscape”

Hand painted on Silk Roller ends: Bone

Size: 23.2" x 26.7" x 77.1"

Plate No. 26, Cat. No. 384

Kano Ei’Senin Michinobu

Kano Ei’Senen Michinobu (1730-1790) was a Kano-style painter and the first son of Kano Furunobu (1696-1731). He came to dominate the Kano school. In the face of the rising popularity of popular art of the Nanpin school, he strove to revive the Kano school's fading status and re-introduced the bold brush strokes of the school's Chinese-inspired roots. He won the deep favour of the shogun Tokugawa Ieharu (1737-1786). In 1763, he became an "inner painter" (oku-goyo eshi), a title Ieharu had created that year for painters appointed to paint the shogun's inner chambers and which gave the painter freedom to roam these chambers and personal access to the shogun.

Kano Ei’Senen Michinobu (1730-1790)

“Hotei, Tigers and Lions”

Hand painted on Silk w/ box and letter

Roller Ends: Resin (?)

Size: 20.6" x 69.3" x 22.4" Plate No. 27, Cat. No. 406

Maruyama Okyo

Kouto Maru-uzi 皇都圓氏 Okyo 應舉 Maruyama Ōkyo (円山応挙, traditional characters: 圓山應舉, June 12, 1733 – August 31, 1795), born Maruyama Masataka, was a Japanese artist active in the late 18th century. He moved to Kyoto, during which he studied artworks from Chinese, Japanese and Western sources. A personal style of Western naturalism mixed with Eastern decorative design emerged, and Ōkyo founded the Maruyama School of painting. Although many of his fellow artists criticized his work as too slavishly devoted to natural representation, it proved a success with laymen.

It comes with Kiwamebako (the storage box which a successor, relative or judgement person authorized that it is work of the artist oneself).

It comes with Kiwamesho (the letter which a successor, relative or judgement person authorized that it is work of the artist oneself) by Okura Kosai (1795-1863).

Maruyama Okyo (1733-1795)

“Dragon in Clouds”

Hand painted on Paper

Roller ends: Bone

Size 35.4” x 38.5” x 91.7”

Plate No. 28, Cat. No. 372

Kano Eiryo

Kano Eiryo 1741～1771. He was the head of the Kyo Kano (the branch of Kano school), adopted son of Eihaku Kano (狩野永伯). In 1769, he was hired by Kujo family and got a job. However, he died in 1771. His known works are few because he died an untimely death.

Kano Eiryo (1741-1771)

“Peacocks and Peonies” (w/ orig. box)

Hand painted on Silk Roller Ends: Wood Size: 28.0” x 90.0" Plate No. 28.1, Cat. No. 416

Sakai Hoitsu

酒井抱一 (1761~1829) ： Hoitsu was born in Tokyo as a son of the Himeji feudal lord. His older brother was famous for Japanese tea ceremonies. Hoitsu also became familiar with the tea ceremony, haiku, and kyoka influenced by his brother, and his talent was good enough to become known. Hoitsu learned painting from Kano Koshin and Soshiseki. Three years later his brother died, and he became a priest and a pupil of Ogata Korin (Rin-pa). And he used the way and technique of painting from Maruyamashijo-ha, Tosa-ha, Nanpin-ha, and from Ito Jakuchu. And finally he made his own school as Edorin-pa. He was close to Tani Buncho, Ota Nanbo and so many cultural people. In 1783, he became a pupil of Utagawa Toyoharu and he learned the way of painting Ukiyoe.

His pseudonyms are Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi, Meimeii, etc...

Sakai Hoitsu (1761-1829)

“Cherry Blossoms and Dandelions” (w/ Double box)

Hand painted on Silk Roller Ends: Bone

Size: 18.5” x 20.3” x 76.0”

Plate No. 29, Cat. No. 393

Sakai Hoitsu

His pseudonyms are Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi, Meimeii, etc...

Sakai Hoitsu (1761-1829)

“Jurojin with Cranes and Deer” (w/ box)

Kiwamebako by Kamisaka Sekka

Hand painted on Silk Roller Ends: Resin (?)

Size: 17.1” x 72.8”" Plate No. 30, Cat. No. 412

Kamisaka Sekka (1866–1942) was an important artistic figure in early twentieth-century Japan. Born in Kyoto, he was recognized for his talents in art and design and aligned himself with the traditional Rinpa school of art. He is considered the last great proponent of this artistic tradition. His unique style and appreciation for nature earned him a place among the greatest artists of the 20th century.

Kano I’senin Naganobu

A painter, son and pupil of Kano Yosen'in Korenobu, whom he succeeded as seventhgeneration head of the Kobikicho branch of the Edo Kano school that had been founded by Kano Naonobu (1607-1650). As such he would have had privileged access to study antique Chinese and Japanese paintings in the collections of the Shogunate and feudal lords. Naganobu was granted the title 'hogen' ('Eye of the Law') in 1802, and was subsequently further elevated to the highest 'hoin' ('Seal of the Law') rank in 1816.

Kano I’senin Naganobu (1775-1828)

“Tiger Drinking Water” w/ Box

Hand painted on Silk

Roller ends: Bone

Size: 19.0" x 21.3” x 48.5"

Plate No. 31, Cat. No. 389

Kishi GanTai

KISHI GANTAI (1782-1865) was a Kishi-school painter. He was the first son of Kishi Ganku (1756-1839). He was trained in his father’s studio together with Kishi Renzan (1804-1859), Yokoyama Kazan (1784-1837), Minwa Bumpo and Shodo, who were the second generation of the famous Kishi school. After Ganku’s death he became the leader of the Kishi school, together with his brother-in-law Kishi Renzan.

Description:

The vigorous brushwork and intricate detail are in perfect harmony, and the tiger's vitality and power are beautifully depicted. Each hair of the tiger's fur is delicately rendered. In addition, the tiger's powerful physique and piercing gaze accentuate its presence and dignity.

Kishi GanTai (1782-1865)

“Tiger”

Hand painted on Paper

Roller ends: Bone

Size: 24.0" x 25.5" x 83.8"

Plate No. 32, Cat. No. 381

Kano Seisen Osanobu

was a painter of late Edo period. He is a child of Kano Isen'In Naganobu and 9th generation of Kobikicho Kano family. Through reproducing old picture scrolls, he studied the style of Yamato-e, or classical Japan decorative paintings, and he provided a breath of fresh air in Kano school. As a result, he became a major player of it in Bakumatsu period.

Kano Osanobu was one of the last significant painters of the famous Kano school. The sign “Hoin” in his signature stands for a title that has been awarded since 1834 From a German collection.

The Tokyo National Museum alone holds copies of 150 picture scrolls and 500 paintings by Osanobu in its collection.

Kano Seisen Osanobu (1796-1846)

“Three Views of Japan”

Hand painted on Paper w/ signed box by Sakai Hosyuku (b. 1878) Roller ends: Resin

Size: 18.5" x 21.0" x 71.7"

Plate No. 33, Cat. No. 407

Mori Ippo

Mori Ippo (1798-1871) was a Shijo-style painter of the late Edo period. He was born and lived in Osaka. He studied under Mori Tetsuzan (1775-1841) and later became his adopted son. Mori Kansai (1814-1894) was his fellow disciple.

Mori Ippo (1798-1871)

“Minamoto no Yoshimitsu

Playing the Flute” (w/ double box)

Hand painted on Paper

Roller Ends: Bone Size: 21.6" x 76.0"

Plate No. 34, Cat No. 387

Kishi Renzan

Renzan, Kishi 連山岸 (1805 - 1859) He was trained in the studio of Kishi Ganku, his father-in-law, together with Ganku’s son Kishi Gantai, Yokoyama Kazan, Minwa Bumpō and Shōdō. Together they were the second generation of the famous Kishi School. Of all the followers of the Kishi School Renzan has the greatest reputation in Japan. He is known for his painting of wild geese on the wall of the Imperial Palace

Kishi Renzan (1805-1859)

“Sansui Landscape” Hand painted on Silk Roller ends: Bone

Kiwamebako by Takamori Saigan (1847-1917)

Size: 20.3" x 22.2" x 74.4

Plate No. 35, Cat. No 367

Okamoto Shuki

Okamoto Shuki (1807-1862) was a painter of the late Edo period. He was a child of Ishiguro Masayoshi. He served under Okubo family, the load of Sagami Odawara clan. He studied under Onishi Keisai (1773-1829) and Watanabe Kazan (1793-1841). He was good at flower-and-bird painting.

Okamoto Shuki (1807-1862)

“Pair of Peacocks” (w/ box and Kiwamebaku By Watanabe Kaseki)

Hand painted on Silk Roller Ends: Bone Size: 25.6" x 27.7" x 89.8"

Plate No. 36, Cat. No. 410

Kano Shosen’in

Tadanobu

(1823-1880) was a Kano-school

painter, the first son of Kano Osanobu (1796-1846) and the 10th head of the Kobikicho branch of the Kano school. He received honorary title of hoin and took the name of "Shosen'in". His pupils include Hashimoto Gaho (1835-1908) and Kano Hogai (1828-1888).

Kano Shosen’in Tadanobu (1823-1880)

“Lion” (w/ box)

Hand painted on Paper

Roller ends: Wood

Size: 28.1" x 49.8"

Plate No. 37, Cat. No. 362

Kano Hogai

狩野芳崖 (1828~1888) ：

Hogai was born in Chofu-cho, Yamaguchi as a son of Kano Seiko. His talent was obvious when he was little. In 1846 when he was 19 years old, Hogai became the pupil of Kano family of Kobiki-cho and learned the way of painting from Kano Shosen’in Tadanobu and was given the name "Shokai Gado". On the same day Hogai became a pupil, Hashimoto Gaho became a pupil as well. They became best friends for the rest of their lives. Both Gaho and Hogai made conspicuous figures in youth, each in the way of painting, being called "Shosenin no Nishinzoku / God's legs of Shosenin". Meeting with Ernest Fenollosa in 1884 greatly influenced his painting. His last painting "HIBO KANNON" is an Important Cultural Property of Japan. His pseudonym Hogai, Shorin, Korin, etc...

Kano Hogai (1828-1888)

“Crab” w/ Orig. Double Box

Kiwanebako by Okakura Shusui (1869-1950)

Hand painted on Paper Roller ends: Resin (?)

Size: 11.4" x 13.4" x 59.8"

Plate No. 38, Cat. No. 408

Okakura Shûsui was a Nihonga painter and nephew of Okakura Kakuzô. He studied under Kanô Hôgai and is perhaps best known for his copy of Hôgai's famous Hibo Kannon painting. He was born and raised Okakura Kakuhei in Fukui prefecture, later taking on the name Shûsui.

Okakura enrolled in the Tokyo Fine Arts Academy in1889, but left the following year to teach at a girls' high school, later becoming an instructor at Gakushuin Academy. In 1900, he founded the Jitsugetsukai artists' society along with Kobayashi Gôkyo.

Yamamoto Tan’en

Yamamoto Tan’en (?-?) was a painter of the Kano school who is said to have been active in Kyoto around 1830. He studied under Tsurusawa Tansen (?-1816). He also worked to nurture younger artists, such as Horie Yusei (1802-1873) and Hara Zaichu (1750-1837).

Yamamoto Tan’en (1830)

“Chinese Lion with Peonies” (w/ box)

Hand painted on Silk Roller ends: Wood Size: 18.5" x 20.5" x 71.2"

Plate No. 39, Cat. No. 404

Hashimoto Gaho

(橋本雅邦, August 21, 1835 – January 13, 1908) was a Japanese painter, one of the last to paint in the style of the Kanō school.

Born in Edo, he studied painting under Kanō Shōsen'in, and was influenced as well by the work of Kanō Hōgai. He created many works in the traditional style of the Kanō school, using color & gold, or otherwise monochrome black ink. But while his paintings are very much the works of a traditionalist, using traditional methods and depicting traditional subjects, Gahō, like Kanō Hōgai, incorporated elements of Western art as well. Brushstrokes, various types of detailing, and in particular, attempts at the proper depiction of perspective are evident in Gahō's paintings and in many others of this period.

He opened his own studio in 1860, but the political and economic upheavals surrounding the Meiji Restoration forced Gahō to seek income in other ways than by selling fine art. He produced maps for the Naval Academy, painted on fans, and used his skills in a number of other ways to earn a living.

Gahō was invited in 1884, by Okakura Kakuzō, to become the chief professor of painting at the Tōkyō Bijutsu Gakkō (東京美術学校, now the Tokyo National University of Fine Arts and Music) which would open five years later. In 1898, Gahō joined Okakura in leaving the Bijutsu Gakkō, and founding the Japan Fine Arts Academy (日本美術院, Nihon Bijutsuin). He would teach there until his death in 1908.

As a result of his position as chief painting professor, Gahō had a number of important pupils, including Yokoyama Taikan and Kawai Gyokudō.

Hashimoto Gaho

“Sansui Landscape” w/ box and Kiwamebako by Onda Tokuju

Hand painted on Silk Roller ends: Wood

Size: 13.0" x 72.5"

Plate No. 40, Cat. No. 391

Conclusion

As one looks through this catalogue, no doubt they will find threads of common themes throughout. These themes include gibbons gazing at the reflection of the moon in languishing pools of water, leaping tigers, lions pushing their cubs off nearby cliffs to test their courage, pairing of cranes to represent longevity and devotion, dragons ascending and descending, a hawk perched in a tree or on a stand, portraying strength and power, a scholar contemplating a waterfall and its surrounds or a lone peasant walking up a trail to a homestead, just to name a few.

Many of these themes were adapted from earlier Chinese paintings, previously collected and handed down through the various artists of the Kano school. Over time, each artist added his/her own personality, thus creating within the strict vernacular of the school, their own interpretations.

As one sees in the various other schools rising around the Kano School, artists were experimenting with many other styles and mediums, some even influenced by the art coming out of the European continent. But the Kano School endured for nearly three centuries more after its rise in the late 16th century, closing with the works of Kano Hogai and others.

These paintings represent a timeless portraiture of a culture rich in beauty, refinement, diversity and wonder. I hope you will enjoy them as much as I.

John P. Westfall