The Art of the Kano School – Volume 1 A Collection of Japanese Scrolls from the Early 1500’s to the Late 1800’s By John P. Westfall 3rd 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.** *Excerpt from Wikipedia ** It is my hope that these paintings are original, but without continuous provenance, it is impossible to know. 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)
Kano School of Japanese Painting Muromachi Period 1392
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Ikkyu Sojin (1394-1481)
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Plate No. 2
Tensho Shubun (1416-1460) l l ----------Sesshu Toyo (Pupil 1420-1506)
Plate No.3
Shugetsu Tokan (1440-1529)
Plate No. 4 Sesson Shukei (Influenced by Shubun and Sesshu 1504-1589)
Plate Nos. 6 & 7
l ---------------------------Kano Masanobu (1434-1530) l l -----------------------------Kano Motonobu (1476-1559) Plate No. 5 l l -----------------------------Kano Hideyori (?-1557) l l -----------------------------Kano Munenobu (1514-1562) l l -----------------------------Kano Shoei (1519-1592) l l ----------------Kano Eitoku (1543-1590) Plate No. 9 l l l -----------------------Kano Soshu (1551-1601) l l Kano Naganobu (1577-1654) mei Kyuhaku l -----------------------------------l l l -----------------------------------Kano Naizen (1570-1616) I l ---Hasegowa Tohaku (Pupil 1539-1610) Plate No. 8 l l ---------Kano Sanraku (Pupil 1559-1635) (Kyo Kano Line) Plate No. 10 l l l ----------------Kano Mitsunobu (1561-1608) l l l -----------------------Kano Takanobu (1571-1618) l l l l ----------------------Kano Tanyu Morinobu (1602-1674) (Founder of Kajibashi Line) Plate Nos. 11, 12, 13 & 14 l l l l l ----------------------Kano Naonobu (1607-1650) (Founder of Kobikicho Line) Plate Nos. 15 & 16 l l l l l l -----------------------------Kano Eishin Yasunobu (1613-1685) (Founder of Nakabashi Line) Plate Nos. 17, 18 & 19 l l l I l l l l ----------------------Kano Toun Masanobu (Pupil of Kano Tanyu) Plate Nos. 20, 21 & 22 l l l I l l l l ----------------------Kano Tsunenobu (1636-1713) (2nd generation Kobikicho head) Plate No. 25 & 26 l l l l l l l l ----------------------Kano Chikenobu (1660-1728) (3rd generation Kobikicho head) Plate No. 36 l l l l l l l l l ----------------------Kano Zuisen Minenobu (1662-1708) (Founder of Hamamachi Line) l l l l l l l l------------------------------------Kano Eisen'in Furunobu (1696-1731) (4th generation Kobikicho head) l l l l l l l l -----------------------------Kano Eisen'in Michinobu (1730-1790) (5th generation Kobikicho head) l l l l l l l l -----------------------------Kano Yosen'in Korenobu (1753-1808) (6th generation Kobikicho head) l l l l l l l l ----------Kano Isen'in Naganobu (1775-1828) (7th generation Kobikicho head) l l l l l l l l -----------------------Kano Seisen'in Osanobu (1796-1846) (8th generation Kobikicho head) l l l l l l l l l -----------------------------Kano Eitoku (Tsunenobu, Tatsunobu 1814-1891) l l l l l l l l -----------------------Kano Shosen'in Masanobu (Tadanobu 1823-1880) (9th generation l l l l Kobikicho head) l l l l -----------------------Kano Enshin Hogai (Pupil 1828-1888 ) (Discovered by Fenollosa) l l l l l l l l -----------------------Hashimoto Gaho (Pupil 1835-1908) l l l l l l ------------------------------------------Kano Tansetsu (1655-1714) l l l l l l ------------------------------------------Kano Tanshin Morimasa (1653-1718) (2nd generation Kajibashi head) Plate Nos. 30, 31, 32, 33, 34 & 35 l l l l l l -----------------------Kano Tansen Akinobu (1686-1728) (3rd generation Kajibashi head) l l l l l l ------------------------------------Kano Tanjo Moritomi (1706-1756) (4th generation Kajibashi head) l l l l l l -----------------------Kano Tanrin Morimi (1732-1777) (5th generation Kajibashi head) l l l l l l -----------------------Kano Tamboku Morikuni (1760-1832) (6th generation Kajibashi head) l l l l l l ----------------Kano Tanshin Morimichi (1785-1835) (7th generation Kajibashi head) l l l l l l ----------------Kano Tan'en Morizane (1805-1853) (8th generation Kajibashi head) l l l l l l ----------------Kano Tansen Moritsune (1829-1866) (9th generation Kajibashi head) l l -----------------------------Kano Tambi Moritaka (1840-1893) l l -----------------------------Kano Tanrei (Pupil 1857-1931)
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Kano School of Japanese Painting Muromachi Period 1392
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l l l l ----------------------------Kano Eishin Yasunobu (1613-1685) (Founder of Nakabashi Line) l l l l l I----------Kano Tokinobu (1642-1678) (2nd generation Nakabashi head) l l l l l l l -----------------------------------Kano Joshin (Pupil (?-1697)) l l l l l l l -----------------------------------Hanabusa Itcho (Pupil 1652-1724) Plate No. 29 l l l l l l ------------------------------------Kano Eishuku Morinobu (1675-1724) (3rd generation Nakabashi head) l l l l l l -------------------------------------------------------------------Kano Norinobu (1692-1731) (4th generation Nakabashi head) l l l l l l -------------------------------------------------------------------Kano Terunobu (Hidenobu) (1716-1767) (5th generation Nakabashi head) l l l l l l -----------------------Kano Eitoku Takanobu (1740-1794) (6th generation Nakabashi head) l l l l l ----------Kano Yasunobu (1767-1798) (7th generation Nakabashi head) (8th generation Nakabashi head) l l l l l l----------Kano Kuninobu (Tanshu, Yusei) (Pupil -second son of Kano Morikuni 1787-1840) l l l l l l ----- Kano Sanraku (Pupil 1559-1635) (Founder of Kyo Kano (Kyoto) Line) l l -----------------------------Kano Sansetsu (Son in Law 1589-1651) (2nd generation Kyo Kano head) Plate No. 10 l l l l -----------------------------------Kano Eino (Yoshinobu) (1631-1697) (3rd generation Kyo Kano head) Plate No. 23 l l l l ----------------------Kano Eikei (Nagataka) (1662-1702) (4th generation Kyo Kano head) l l l l ----------------Kano Eihaku (Kiyonobu) (1687-1764) (5th generation Kyo Kano head) l l l l -----------------------Kano Eiryo (Nagayoshi) (1710-1770) l l l l ----------------Kano Eijo (Nagatsune) (1731-1787) l l l l ------------------------------Kano Eishun (1769-1816) l l l l -----------------Kano Eigaku (Pupil 1790-1867) l l l l -----------------------Kano Tanyu Morinobu (1602-1674) l l ----------------------Kano Toun (Doun) Masanobu (Pupil 1625-1694) (Founder of Surugadai Line) l l ----------------------Kano (Fukonobu) Toshun (Doshun) (?-1724) (2nd generation Surugadai head) l l -----------------------------------Kano Gensen (1695-1751) (3rd generation Surugadai head) l l -------------------------------------------Kano Toshun Yoshinobu (1747-1797) (4th generation Surugadai head) l l -----------------------Kano (Chikanobu) Tohaku (1771-1821) (5th generation Surugadai head) l l -----------------Kano Toeki (Harunobu) (Pupil ?-1841) (6th generation Surugadai head)
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The Plates Plate No. 1 Plate No. 2
Artist: Kose Kanaoka (10th Century) Artist: Ikkyu Sojun (1394-1481)
Plate No. 3 Plate No. 4 Plate No. 5 Plate No. 6 Plate No. 7 Plate No. 8 Plate No. 9 Plate No. 10 Plate No. 11 Plate No. 12
Artist: Sesshu Toyo (1420-1506) Artist: Sugetsu Tokan (1440-1529) Artist: Kano Motonobu (1476-1559) Artist: Sesson Shukei (1504-1589) Artist: Sesson Shukei (1504-1589) Artist: Hasegawa Tohaku (1539-1610) Artist: Kano Eitoku (1543-1590) Artist: Kano Sanraku (1559-1635) Artist: Kano Sansetsu (1589-1651) Artist: Kano Tanyu Morinobu (1602-1674) Artist: Kano Tanyu Morinobu (1602-1674)
Plate No. 13 Plate No. 14 Plate No. 15
Artist: Kano Tanyu Morinobu (1602-1674) Artist: Kano Tanyu Morinobu (1602-1674) Artist: Kano Naonobu (1607-1650)
Plate No. 16 Plate No. 17 Plate No. 18
Artist: Kano Naonobu (1607-1650) Artist: Kano Eishin Yasunobu (1613-1685) Artist: Kano Eishin Yasunobu (1613-1685)
Plate No. 19
Artist: Kano Eishin Yasunobu (1613-1685)
Plate No. 20 Plate No. 21 Plate No. 22 Plate No. 23 Plate No. 24
Artist: Kano Toun Masanobu (1625-1694) Artist: Kano Toun Masanobu (1625-1694) Artist: Kano Toun Masanobu (1625-1694) Artist: Kano Eino (1631-1697) Artist: Kano Kyuen (1640-1717)
Works: “Wise Man” (Cat. No. 53) Works: “Calligraphy, Two Deer and Stone Lantern (Cat. No. 172) “Shoki” (Cat. No. 164) Works: “Sansui” (Cat. No. 162); “Flowers and Birds” (Cat. No. 65) Works: “Juroquin” (Cat. No. 187) Works: “Two Hawks on Pole” (Cat. No. 125) Works: “Sansui” (Cat. No. 80); “Sansui” (Cat. No. 83) Works: “Sansui” (Cat. No. 163); “Hawk and Waterfall” (Cat. No. 167) Works: “Hawk on Tree” (Cat. No. 253) Works: “Cart with Flowers” (Cat. No. 23) Works: “Juroquin and Crane” (Cat. No. 78) Works: “Snowy Landscape” (Cat. No. 283) Works: “Sansui” (Cat. No. 31) Works: “Tigers in River” (Cat. No. 272); “Bamboo and Tiger” (Cat. No. 274) Works: “Kannon and Lion” (Cat. No. 255) Works: “Shoki and Lion” (Cat. No. 264) Works: “Sansui” (Cat. No. 19); “Monkey” (Cat. No. 48); “Shitake” (Cat. No. 257) Works: “Minamoto no Yoshitsune” (Cat. No. 46) Works: “Monkey” (Cat. No. 120) Works: “Cresent Moon and Ume Tree” (Cat. No. 17); “Monkey” (Cat. No. 111) Works: “Kannon and Lion” (Cat. No. 216); “Three Monkeys” (Cat. No. 241) Works: “Tigers and Monkeys” (Cat. No. 142) Works: “Ume Tree” (Cat. No. 117) Works: “Tigers and Dragons” (Cat. No. 93) Works: “Dragon Ascending” (Cat. No. 95) Works: “Monkey” (Cat. No. 170)
The Plates cont… Plate No. 25
Artist: Kano Tsunenobu (1636-1713)
Plate No. 26 Plate No. 27 Plate No. 28 Plate No. 29 Plate No. 30
Artist: Kano Tsunenobu (1636-1713) Artist: Kano Kiyohara Yukinobu (1643-1682) Artist: Kano School (1600-1700’s) Artist: Hanabusa Itcho (Pupil) 1652-1724)) Artist: Kano Tanshin Morimasa (1653-1718)
Plate No. 31 Plate No. 32 Plate No. 33
Artist: Kano Tanshin Morimasa (1653-1718) Artist: Kano Tanshin Morimasa (1653-1718) Artist: Kano Tanshin Morimasa (1653-1718)
Plate No. 34 Plate No. 35
Artist: Kano Tanshin Morimasa (1653-1718) Artist: Kano Tanshin Morimasa (1653-1718)
Plate No. 36
Artist: Kano “Shushin” Chikanobu (1660-1728)
Works: “Sansui” (Cat. No. 60); “Monkey Hanging” (Cat. No. 108); “Lion and Cub” (Cat. No. 254) Works: “Sansui” (Cat. No. 173) Works: “Tree and Hawk” (Cat. No. 266) Works: “Men of Other Days Scenery” (Cat. No. 85) Works: “Pine Tree” (Cat. No. 42) Works: “Cranes and Pine Tree” (Cat. No. 18); “Flowers and Birds” (Cat. No. 55) Works: “Sansui” (Cat. No. 74); “Wise Man” (Cat. No. 77) Works: “Cranes, Pine Tree and Bamboo” (Cat. No. 123) Works: “Waterfall Scenery (Cat. No. 141); “Waterfall and Wise Man” (Cat. No. 161) Works: “Cranes, Pine Tree and Bamboo” (Cat. No. 127) Works: “Waterfall Viewing”, “Ume Tree and Bird”, “Two Egrets” & “Two Mandarin Ducks” (Cat. No. 201) Works: “Two Sparrows on Bamboo” (Cat. No. 171)
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.
Kose Kanaoka
(巨勢金岡 Kose no Kanaoka) was a ninth-
century Japanese artist, court painter of Heian (Kyoto), who was a proponent of the artistic styles of the Tang dynasty of China. Though few of his works have survived, he is known to have painted landscapes and portraits. He also founded the Kose School of Art, which is named for him. He made the first tonal graduation, and the first Buddha in crayonnage style
Kose Kanaoka (9th Century) “Wise Man” (w/ box) Hand painted on Silk Roller Ends: Wood Size: Approx. 20” x 72” Plate No. 1, Cat. No. 53
Ikkyu Sojin 休 宗純 (1394~1481): Ikkyu Sojun was a Rinzai sect priest and poet in the middle Muromachi period. He was said to be a son of Emperor Gokomatsu (1377-1433). He was good at calligraphy painting, but also known for being an eccentric. He had a great impact on the infusion of Japanese art and literature with Zen attitudes and ideals.
Ikkyu Sojun (1394-1481) “Calligraphy, Two Deer and Stone Lantern” Handpainted on Paper w/ Original Box Roller Ends: Wood Size: 14.4" x 62.3" Plate No. 2, Cat. No. 172
Ikkyu Sojun (1394-1481) “Shoki” Handpainted on Paper w/ Box Roller Ends: Wood Size: 18.3” x 66.7” Plate No. 2, Cat. No. 164
Sesshu Toyo
was the most prominent
Japanese master of ink and wash painting from the middle Muromachi period. He was born into the samurai Oda family (小田 家), then brought up and educated to become a Rinzai Zen Buddhist priest. However, early in life he displayed a talent for visual arts, and eventually became one of the greatest Japanese artists of his time, widely revered throughout Japan and China. Sesshū studied under Tenshō Shūbun and was influenced by Chinese Song Dynasty landscape painting. In 1468–9 he undertook a voyage to Ming China, where too he was quickly recognized as an outstanding painter. Upon returning to Japan, Sesshū built himself a studio and established a large following, painters that are now referred to as the Unkoku-rin school—or "School of Sesshū.
Sesshu Toyo (1420-1506) “Sansui” Hand painted on Paper (w/ original box) Roller ends: Wood Size: 19.8" x 70.2" Plate No. 3, Cat. No.162
Sesshu Toyo (1420-1506) “Flowers and Birds” Hand painted on Paper (w/ box) Roller ends: Bone Size: 23.2” x 67.1” Plate No. 3, Cat. No. 65
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) “Juroqin” (w/ box) Hand painted on Paper w/ Shiki Bako (Kano Tsunenobu) Roller ends: Wood Size: 27.7” x 80.5” Plate No. 4, Cat. No. 187
Kano Motonobu
(1476-1559)
The 2nd head of the Kano school and was born in Kyoto as the son of Masanobu, the 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) “Two Hawks on Pole” Hand painted on paper Roller ends: Wood Size: 22.2” x 74.3” Plate No. 5, Cat. No. 125
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 suibokuga (“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/ double box) Hand painted on Paper Size: 14.6” x 38.2” Plate No. 6, Cat. No. 80
Sesson Shukei (1504-1589) “Sansui” (w/ box) Hand painted on Paper Roller ends: Wood Size: 23.4” x 78.8” Plate No. 6, Cat. No. 83
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 15thcentury 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) “Hawk and Waterfall” Hand painted on Paper Honshi Size: 13.5" x 31.4" Plate No. 7, Cat. No. 167
Sesson Shukei (15041589)“Sansui” (w/ box)Hand painted on Paper Size: 22.2” x 73.7” Plate No. 7, Cat. No.163
Hasegawa Tohaku
(長谷川 等伯
1539 – March 19, 1610) was a Japanese painter and founder of the Hasegawa School. He is considered one of the great painters of the Azuchi–Momoyama period (1573-1603), and he is best known for his byōbu folding screens. Hasegawa Tōhaku, born Okumura Tōhaku (奥村 等伯) in 1539 in Nanao, a town in Noto Province (in the vicinity of present-day Ishikawa Prefecture) to a noted local family of cloth dyers, although evidence shows that Tōhaku's original family name was Okumura and that he was adopted into the Hasegawa family. Tōhaku started his artistic career as a painter of Buddhist paintings in his home province of Noto. By the age of 20 Tōhaku was a professional painter, and by his thirties he had moved to Kyoto to study under the prestigious Kanō school, then headed by Kanō Shōei. The Kanō school was well known at the time for their large bold paintings that decorated the castle walls of many a wealthy warlord patron. These were often ink on white paper or gold-leaf decorative wall panels that served a dual purpose of reflecting light around the dim castle rooms as well as flaunting the castle owner's abundant wealth to commission such extravagant pieces. Many of Tōhaku's earlier works are in the style of the Kanō school, such as his Maple, Chishaku-in painted in 1593.
Hasegawa Tohaku (1539-1610) “Hawk on Tree” (w/ box) Hand painted on Paper Roller ends: Wood Size: 26.7" x 56.6" Plate No. 8, Cat. No. 253
At the same time he also studied the older Song, Yuan and Muromachi periods' styles of ink painting by examining scrolls from Mu Qi and Sesshū Tōyō, which he is believed to have gained access to in his time at the Daitoku-ji temple in Kyoto. After a period of time in Kyoto, Tōhaku developed his own style of Sumie which in many ways departed from the bold techniques indicative of the Kanō school, and called back to the minimalism of its predecessors. The works of Sesshū Tōyō in particular influenced Tōhaku's redirection of artistic style as Tōhaku also studied under Sesshū's successor, Toshun for some time. Tōhaku was in fact so much enamored with the techniques of Sesshū that he attempted to claim rights as his fifth successor, though he lost in a court battle to Unkoku Togan. Still, the influence of Sesshū is evident in many of Tōhaku's mid to late works, such as his Shōrin-zu byōbu (松林図 屏風) Pine Trees screen, which were declared a national treasure of Japan are argued to be the first paintings of their scale to depict only pine trees as subject matter. The school founded by Hasegawa Tōhaku is known today as the Hasegawa school. This school was small, consisting mostly of Tōhaku and his sons. However small, its members conserved Tōhaku's quiet and reserved aesthetic, which many attribute to the influence of Sesshū as well as his contemporary and friend, Sen no Rikyū. It is suspected that these simple aesthetics protest the usage of intimidation and wealth rampant in the Kanō school. Tōhaku's most noted contemporary was Kanō Eitoku who often competed with Tōhaku for the patronage of Toyotomi Hideyoshi. After Eitoku's death in 1590, Tōhaku stood alone as the greatest living master of his time. He became the official painter for Hideyoshi, and produced some of his greatest and most elegant paintings under his patronage. He and his atelier produced the wall and screen paintings in Shoun-ji (temple), commissioned by Toyotomi Hideyoshi in 1593. The paintings were moved to Chishaku-in (temple), Kyoto and have survived. At the age of 67, Tōhaku was summoned to Edo and granted the priestly title of hōgen by the shōgun Tokugawa Ieyasu. There he stayed for the remainder of his life.
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 Daitokuji 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) “Cart with Flowers” Hand painted on Silk (w/ box) Roller ends: Wood Size: 35.3" x 60.3" Plate No. 9, Cat. No. 23
Kano Sanraku
(1559 - 1635) was a
Japanese painter also known as Kimura Heizo, Shuri, Mitsuyori, and Sanraku. His father was the painter Kimura Nagamitsu who flourished circa 1570. Sanraku worked for Toyotomi Hideyoshi in the 1570s, which lead to him studying under and being adopted by Kano Eitoku. Sanraku was the half-sibling and teacher of Kano Sansetsu, and became Eitoku's son-in-law and later the head of the Kano school. His patrons included Tokugawa Hidetada.
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) Hand painted on Paper Roller Ends: Wood Size: 27.1" x 80.0" Plate No 10 Cat No. 283
Kano Sanraku (1559-1635) “Jurojin and Crane” (w/ double box) Hand painted on Paper Roller ends: Bone Size: 27.3" x 84.8" Plate No. 10, Cat. No. 78
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) “Sansui” Hand painted on Silk (w/ box) Roller ends: Bone Size: 28.3" x 82.2" Plate No. 11, Cat. No. 31
Kano Tanyu Morinobu Kano Tanyu Morinobu (1602-1674) “Bamboo and Tiger” Hand painted on Silk (w/ boxw/ Siko Baku by Arao Chikashige, former Museum Director of Kobe City Art Museum) Roller Ends: Bone Size 32.1” x 47.2” Plate No. 12, Cat No. 274
Kano Tanyu Morinobu (1602-1674) “Tigers Crossing River” Hand painted on Silk (w/ box) Roller ends: Bone Size: 34.1" x 57.3" Plate No. 12, Cat. No. 272
Kano Tanyu Morinobu (狩野 探幽, 4 March 1602 – 4 November 1674) 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
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) “Kannon and Lion” (w/ orig. box) Hand painted on Silk Size: 28.5" x 78.4" Plate No. 13, Cat. No. 255
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) “Shoki and Lion” (w/ box) Hand painted on Silk Size: 25.0" x 78." Plate No. 14, Cat. No. 264
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 Naonobu (1607-1650) “Shitoke” Hand painted on Silk (w/ orig. box) Size: 24.5” x 45.2” Plate No. 15, Cat. No. 257 Kano Naonobu (1607-1650) “Monkey” Hand painted on Silk Roller ends: Bone Size 13.3” x 70.2” Plate No. 15, Cat. No. 48 Kano Naonobu (1607-1650) “Sansui” Hand painted on Paper (w/ box) Roller ends: Wood Size: 26” x 76” Plate No. 15, Cat. No. 19
Kano Naonabu Minamoto no Yoshitsune : Minamoto no Yoshitsune (1159-1189) was a general of the Minamoto clan of Japan in the late Heian and early Kamakura period. Yoshitsune was the ninth son of Minamoto no Yoshitomo. His older brother Minamoto no Yoritomo (the third son of Yoshitomo) founded the Kamakura shogunate. His name in childhood was Ushiwakamaru. Yoshitsune was born slightly before the Heiji Rebellion of 1159 in which his father and oldest two brothers were killed. His life was spared and he was put under the care of Kurama Temple, nestled in the Hiei Mountains near the capital of Kyoto, while Yoritomo was banished to Izu Province. Eventually Yoshitsune was put under the protection of Fujiwara no Hidehira, head of the powerful regional Northern Fujiwara clan in Hiraizumi, Mutsu Province.
Kano Naonabu (1607-1650) “Minamoto no Yoshitsune” Hand painted on Silk Roller ends: Bone Size: 25.9" x 75.3" Plate No. 16, Cat. No. 46
In 1180, Yoshitsune heard that Yoritomo, now head of the Minamoto clan, had raised an army at the request of Prince Mochihito to fight against the Taira clan which had usurped the power of the emperor. Yoshitsune shortly thereafter joined Yoritomo along with Minamoto no Noriyori, all brothers who had never before met, in the last of three conflicts between the rival Minamoto and Taira samurai clans in the Genpei War.
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 Eishin Yasunobu (1613-1685) “Monkey” (w/ box) Hand painted on Paper Roller ends: Bone Size: 18.1” x 70.6” Plate No. 17, Cat. No. 120
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 Eishin Yasunobu (1613-1685) “Crescent Moon and Ume Tree” (w/ box) Hand painted on Silk Roller ends: Bone Size: 16.6” x 74” Plate No. 18, Cat. No 17
Kano Eishin Yasunobu (1613-1685) “Monkey” (w/ box) Hand painted on Silk Roller ends: Bone Size: 20.1” x 65.1” Plate No. 18, Cat. No. 111
Kano Eishin Yasunobu Kanō 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 (永真) and Bokushinsai (牧心斎).
Kano Eishin Yasunobu (1614-1685) “Three Monkeys” (w/ box) Hand painted on Silk Roller ends: Bone Size: 24.1” x 73.8” Plate No. 19, Cat. No 241
Kano Eishin Yasunobu (1614-1685) “Kannon and Lion” (w/ box) Hand painted on Silk Roller ends: Wood Size: 15.9” x 70.8” Plate No. 19, Cat. No. 216
Kano Toun Masanobu was a Kano school painter in Edo era. He learned calligraphy from Shokado Shojo and then was adopted by Kano Tanyu when he was 11 years old. Afterwards, Kano Toun became a founder of Surugadai Kano School.
Kano Toun Masanobu (1625-1694) “Tigers and Monkeys” (w/ box) Hand painted on Silk Roller ends: Bone Size: 20.8” x 70.5” Plate No. 20, Cat. No. 142
Kano Toun Masanobu
was a Kano school painter
in Edo era. He learned calligraphy from Shokado Shojo and then was adopted by Kano Tanyu when he was 11 years old. Afterwards, Kano Toun became a founder of Surugadai Kano School.
Kano Toun Masanobu (1625-1694) “Ume Tree” (w/ box) Hand painted on Silk Roller ends: Bone Size: 17.2” x 84.6” Plate No. 21, Cat. No. 117
Kano Toun Masanobu
was a Kano school painter
in Edo era. He learned calligraphy from Shokado Shojo and then was adopted by Kano Tanyu when he was 11 years old. Afterwards, Kano Toun became a founder of Surugadai Kano School.
Kano Toun Masanobu (1625-1694) “Two Tigers and Two Dragons” (w/ box) Hand painted on Silk Roller ends: Bone Size: 26.5” x 77.7” Plate No. 22, Cat. No. 93
Kano Eino Yosinobu (1631~1697)： Kano Eino succeeded his father, Sansetsu, as the third head of the Kyoto-based branch of the preeminent Kano family workshop. The House of Kano served as official painters to the imperial and military elite for more than four centuries. In addition to excelling in the family style, Eino is widely known as the author of History of Painting in This Realm (Honcho gashi), the first major history of painting written in Japan. His text, based on drafts by his father, was heavily influenced by Chinese histories of the subject, reflecting a continental bias that is also evident in his and other Kano artists' paintings.
Kano Eino (1631-1697) “Dragon Ascending” Hand painted on Paper Roller Ends: Bone Size: 21.2” x 71.2” Plate No. 23, Cat. No. 95
Kano Kyuen Kano Kyuen (1640-1717) was a noted Japanese painter of the mid- Edo period and grandson of Kano Kyuhaku Naganobu
Kano Kyuen (1660-1717) “Two Monkeys and Moon” Hand painted on silk (w/ box) Roller ends: Wood Size: 23” x 69.6” Plate No. 24, Cat. No. 170
Kano Tsunenobu
(1636-1713)
was the eldest son of Kano Naonobu. After his father's death in 1650, he became head of the Kobikicho line of the Kano school. In 1704 he received the honorary title of Hogan (Eye of the Law) and in 1709 the most coveted title of Hoin (Sign of the Law). He was buried at Honmonji, a temple in the Ikegami area of Edo.
Kano Tsunenobu (1636-1713) “Sansui” (w/ box) Hand painted on Silk Size: 23.4” x 45.6” Plate No. 25, Cat No. 60
Kano Tsunenobu (1636-1713) “Monkeys Hanging from Tree” (w/ box) Hand painted on Paper Roller Ends: Bone Size: 16.4” x 61.9” Plate No. 25, Cat. No. 108
Kano Tsunenobu (1636-1713) “Lion and Cub” (w/ box) Hand painted on Silk Size: 26.7” x 76.8” Plate No. 25, Cat No. 254
Kano School 1700’s
Kano School 1600-1700’s “Men of Other Days Scenery” (w/ box) Hand painted on Paper Roller Ends: Wood Size: Approx. 20.3” x 58.4” Plate No. 28, Cat. No. 85
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) “Pine Tree” (w/ orig. box) Hand painted on Silk Roller ends: Bone Size: 18” x 76” Plate No. 29, Cat. No. 42
Kano Tanshin Morimasa (狩野 探信? 1653 - 1718) was a Japanese painter and was the son of Kanō Tan'yū by his second wife. He led the Kajibashi branch of the Kanō School after 1674.
Kano Tanshin Morimasa (1653-1718) “Cranes and Pine Tree” Hand painted on Silk Roller ends: Bone Size: 22.8” x 49” Plate No. 30, Cat. No. 18 Kano Tanshin Morimasa (1653-1718) “Flowers and Birds” (w/ box) Hand painted on Silk Roller ends: Wood Size: 23.8" x 81" Plate No. 30, Cat. No. 55
Kano Tanshin Morimasa Kano Tanshin Morimasa (1653-1718) “Sansui” Hand painted on Silk Roller ends: Bone Size: 37.3” x 59” Plate No. 31, Cat. No. 74
Kano Tanshin Morimasa (1653-1718) “Figure” Hand painted on Silk Roller ends: Bone Size: 28.2" x 84.1" Plate No. 31, Cat. No. 77
Kano Tanshin Morimasa (狩野 探信?, 1653 - 1718) was a Japanese painter and was the son of Kanō Tan'yū by his second wife. He led the Kajibashi branch of the Kanō School after 1674.
Kano Tanshin Morimasa (1653-1718) “Two Cranes, Pine Tree & Bamboo” Hand painted on Silk Roller ends: Bone Size: 18.1” x 70.1” Plate No. 32, Cat. No. 123
Kano Tanshin Morimasa (狩野 探信?, 1653 - 1718) was a Japanese painter and was the son of Kanō Tan'yū by his second wife. He led the Kajibashi branch of the Kanō school after 1674
Kano Tanshin Morimasa (1653-1718) “Waterfall and Wise Man” Hand painted on Silk Honshi Size: 21.0” x 43.0” Plate No. 33, Cat. No. 161
Kano Tanshin Morimasa (1653-1718) “Waterfall Scenery” Hand painted on Silk Honshi Size: 27.1” x 57.1” Plate No. 33, Cat. No. 141
Kano Tanshin Morimasa (狩野 探信?, 1653 - 1718) was a Japanese painter and was the son of Kanō Tan'yū by his second wife. He led the Kajibashi branch of the Kanō School after 1674.
Kano Tanshin Morimasa (1653-1718) “Cranes, Pine Tree & Bamboo” Hand painted on Silk Honshi Plate No. 34, Cat. No. 127
Kano Tanshin Morimasa (狩野 探信?, 1653 - 1718) was a Japanese painter and was the son of Kanō Tan'yū by his second wife. He led the Kajibashi branch of the Kanō school after 1674
Kano Tanshin Morimasa (1653-1718) “Waterfall Viewing”, “Ume Tree and Bird”, Two Egrets” & “Two Mandarin Ducks” Hand painted on Paper Honshi Size: 21.0” x 51.9” Plate No. 35, Cat. No. 201
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) “Two Sparrows on Bamboo” (w/ box) Hand painted on Silk Roller Ends: Wood Size: 21.2" x 40.1" Plate No. 36, Cat. No 171
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
Notes:
Notes: