Kano Artists - Volume 3 3rd edition by john p westfall

The Art of the Kano School – Volume 3 A Collection of Japanese Scrolls from the Early 1500’s to the Late 1800’s (Including Artists from the Tosa, Soga, Rinpa, Kishi, Nagasaki Schools and more) 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 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.* 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)

Tosa School of Japanese Painting With various other Artists of the Momoyama and Edo Periods (including the Rimpa and Kishi Schools) Muromachi Period 1392

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Meiji period 1868

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l ------ Tosa Mitsunobu (1434-1525) (Father in law of Kano Motonobu) Plate No. 1 l l ----------------------------------------------------------------- Tosa Mitsushige (1496-1559) l l ------------------------------------------ Tosa Mitsumoto (1530-1569) l l ------------------------------------------------------ Tosa Mitsuyoshi (1539-1613) l l--------------------------------------------- Tosa Mitsunori (1583-1638) l l ----------------------------------------------Tosa Mitsuoki (1617-1691) Plate No. 2 l l ---------------------------Tosa Mitsunari (1646-1710) Plate Nos. 3, 4, 5 & 6 l l ---------------------------------- Tosa Mitsusuke (1675-1710) Plate No. 7 l l ---------------------------------- Tosa Mitsuyoshi (1700-1771) l l ------------------------------------ Tosa Mitsuatsu (1734-1764) l l --------------------------------------------- Tosa Mitsusada (1738-1806) Plate Nos. 8 & 9 l l --------------------------------------------- Tosa Mitsuzane (1780-1852) l l -------------------------- Tosa Mitsukiyo (?-1862) l l ------------------------------------Tosa Mitsubumi (1812-1879) Honami Koetsu (1558-1637)

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(Rimpa School)

Plate No. 10

Plate Nos. 18, 19 & 20 Sakai Hoitsu (1761-1829)

(Rimpa School)

Maruyama Okyo (1733-1795)

Plate Nos. 21, 22, 23 & 24

Plate Nos. 34 & 35

Katsukawa Shunsho (1726-1793)

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Katsushika Hokusai (1760-1849)

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Utagowa Hiroshige (1797-1858)

Plate No. 41

l ----- Kishi Ganku (1756-1848) l l -----------------Kishi Gantai (1782-1865) l -----------------------l l -----------------------

(Kishi School)

Plate Nos. 29, 30 & 31 (Kishi School)

Kishi Gankei (1811-1848)

(Kishi School)

Plate No. 33 Mori Kansai (1814-1889)

Soga Nicholkuan (active 1625-1660)

Plate Nos. 13, 14 & 15

Itaya Hironaga (1760-1814)

(Itaya Family)

Plate No. 11

Tani Buncho (1763-1840) Shen Quan (1682-1760)

Plate Nos. 25, 26, 27 & 28

Plate No. 50

So Shiseki (1715-1786)

Plate No. 48

Yanagisawa Kien (1704-1758)

Plate No. 44 Sengai Gibon (1750-1837)

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Plate No. 34

Plate No. 12 Soga Shohaku (1730-1781)

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Kishi Ganrei (1816-1883)

Mori Sosen (1747-1821)

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Ogata Korin (1658-1716)

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Tawaraya Sotatsu (1570-1640)

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The Plates Plate No. 1 Artist: Tosa Mitsunobu (1434-1525) Plate No. 2 Artist: Tosa Mitzuoki (1617-1691) Plate Nos. 3, 4 & 5 Artist: Tosa Mitsunari (1647-1710) Plate No. 6 Artist: Tosa Mitsunari (1647-1710) Plate No. 7 Artist: Tosa Mitsusuke (1675-1710) Plate No. 8 Artist: Tosa Mitsusada (1738-1806)

Works: “Birds and Flowers” (Cat. No. 81) Works: “Scenery” (Cat. No. 121)

Plate No. 9 Plate No. 10

Artist: Tosa Mitsusada (1738-1806) Artist: Tosa Mitsuzane (1780-1852)

Works: Works:

Plate No. 11 Plate No. 12 Plate No. 13 Plate No. 14

Artist: Itaya Hironaga (1760-1814) Artist: Soga Nichokuan (active 1625-1660) Artist: Soga Shohaku (1730-1781) Artist: Soga Shohaku (1730-1781)

Works: Works: Works: Works:

Plate No. 15 Plate No. 16 Plate No. 17 Plate No. 18 Plate No. 19 Plate No. 20 Plate No. 21

Artist: Soga Shohaku (1730-1781) Artist: Tawaraya Sototsu (1570-1643) Artist: Tawaraya Sototsu (1570-1643) Artist: Ogota Korin (1658-1716) Artist: Ogota Korin (1658-1716) Artist: Ogota Korin (1658-1716) Artist: Sakai Hoitsu (1761-1829)

Works: Works: Works: Works: Works: Works: Works:

Plate No. 22 Plate No. 23 Plate No. 24 Plate No. 25 Plate No. 26 Plate No. 27 Plate No. 28

Artist: Sakai Hoitsu (1761-1829) Artist: Sakai Hoitsu (1761-1829) Artist: Sakai Hoitsu (1761-1829) Artist: Tani Buncho (1763-1840) Artist: Tani Buncho (1763-1840) Artist: Tani Buncho (1763-1840) Artist: Tani Buncho (1763-1840)

Works: Works: Works: Works: Works: Works: Works:

Works: Works: Works: Works:

“Portfolio- Eight Views of Omi” (Cat. No. 198) “Cranes” (Cat. No. 160) “Crane and Tortoise” (Cat. No. 44) “Traveling East from Kyoto” (Cat. No. 118); “Kochoraka-Dance of the Butterfly” (Cat. No. 154) ”Cranes” (Cat. No. 64); “Minamoto no Yoshitsune” (Cat. No. 89) “Crane and Pine Tree” (Cat. No. 69) “Many Cranes on the Waterside” (Cat. No. 102) “Dragons” (Cat. No. 66) “Fierce Hawk” (Cat. No. 213) “Sansui” (Cat. No. 45) “Hawk in Oak Tree” (Cat. No. 92); “Hawk in Pine Tree” (Cat. No. 96); “Doshaku-ga” (Cat. No. 252) “Figure & Sansui” (Cat. No. 268) “Flowers” (Cat. No. 200) “Two Cranes” (Cat. No. 224) “Moon and Autumn Flowers” (Cat. No. 188) “Pine Trees and Cranes” (Cat. No. 97) “Pheasant on Maple Tree” (Cat. No. 195) “Ume Tree and Bird” (Cat. No. 165); “Cherry Tree and Bird” (Cat. No. 204) “Rising Sun and Cherry Blossoms” (Cat. No. 265) “Flower and Bird” (Cat. No. 263) “Fall Deer and White Pigeons” (Cat. No. 282) “Parent and Child Shishi in Valley” (Cat. No. 189) “Scenery” (Cat. No. 293) “Butterflies” (Cat. No. 256) Calligraphy (Cat. No. 8)

The Plates cont… Plate No. 29

Artist: Kishi Gan Ku (1749-1839)

Plate No. 30 Plate No. 31

Artist: Kishi Gan Ku (1749-1839) Artist: Kishi Gan Ku (1749-1839)

Plate No. 32 Plate No. 33 Plate No. 34 Plate No. 35 Plate No. 36 Plate No. 37 Plate No. 38 Plate No. 39

Artist: Kishi Gan Tai (1782-1875) Artist: Mori Sosen (1747-1821) Artist: Mori Kansai (1814-1889) Artist: Maruyama Okyo (1733-1795) Artist: Maruyama Okyo (1733-1795) Artist: Anonymous Artist: Nagasawa Rosetsu (1805-1859) Artist: Katsukawa Shunsho (1726-1793)

Works: “Moon and Fierce Tiger” (Cat. No. 155); “Tiger in the Rain” (Cat. No. 249) Works: “Tiger and Waterfall” (Cat. No. 169) Works: “Bamboo and Roaring Tiger” (Cat. No. 176); “Tiger and Cub” (Cat. No. 177) Works: “Hawk” (Cat. No. 76) Works: “Monkey” (Cat. No. 140) Works: “Tiger” (Cat. No. 214) Works: “Bird and Nandina in Snow” (Cat. No. 178) Works: “Tiger” (Cat. No. 168) Works: “Waterside Trees and Birds” (Cat. No. 284) Works: “Fierce Tiger and Bamboo” (Cat. No. 244) Works: “Kimono Beauty” (Cat. No. 101)

Plate No. 40 Plate No. 41 Plate No. 42 Plate No. 43

Artist: Katsushika Hokusai (1760-1849) Artist: Utagawa Hiroshige (1797-1858) Artist: Kaburaki Kiyokata (1878-1972) Artist: Sengai Gibon (1750-1837)

Works: Works: Works: Works:

Plate No. 44 Plate No. 45 Plate No. 46 Plate No. 47

Artist: Yanagisawa Kien (1704-1758) Artist: Yosa Buson (1716-1784) Artist: Yosa Buson (1716-1784) Artist: Ike no Taiga (1723-1776)

Works: Works: Works: Works:

Plate No. 48 Plate No. 49 Plate No. 50

Artist: So Shiseki (1715-1786) Artist: Anonymous Artist: Shen Quan (1682-1760)

Works: Works: Works:

“Kimono Beauty in Snow” (Cat. No. 90) “Moonlit Night Scenery” (Cat. No. 112) “Beauty under Maple Tree” (Cat. No. 126) “Daikokuten God of Wealth” (Cat. No. 258); “Cow and Man” (Cat No. 259) “Sansui” (Cat. No. 207) “Thatched Huts in a Ravine” (Cat. No. 227) “Figure Painting” (Cat. No. 280); “Figure Painting” (Cat. No. 281) “Raintei Kyokusui- Poetry Gathering at the Orchid Pavilion” (Cat. No. 287) “Moon and Owl – Watching Locust” (Cat. No. 218) “Playing Tigers” Cat No. 269; “Tiger Nagasaki” (Cat. No. 275) “Flowers and Birds” (Cat. No. 4); “Crane Over Rocks” (Cat. No. 5)

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.

Tosa Mitsunobu (佐光信, 1434 – June 10, 1525) was a Japanese artist generally regarded as the founder of the Tosa school of Japanese painting. A member of an aristocratic family that had traditionally served as painters to the Imperial court, he was head of the court painting bureau from 1493 to 1496. In 1518 he was appointed chief artist to the Ashikaga shoguns (a family of military rulers who governed Japan from 1338 to 1573), thus securing for his school patronage that continued into the 19th century. The style that the Tosa school revived and preserved was the Yamato-e (Japanese painting), distinguished by delicate, precise contour lines and variegated colours. It is often used in narrative scrolls, such as those illustrating scenes from classical literature (especially The Tale of Genji). A few extant works by Mitsunobu include a portrait of the emperor Go-En-yū dated 1492 and located in the Unryū-in, Kyōto, and narrative scrolls illustrating the histories and legends of temples and shrines—“Kiyomizu-dera engi emaki” (“The Illustrated History of the Kiyomizu Temple”), in the Tokyo National Museum

Tosa Mitsunobu (1435-1525) “Flowers and Birds” Hand painted on Paper Roller ends: Wood Size: 25.8” x 78.4” Plate No. 1, Cat. No. 81

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) “Scenery” (Honshi) Hand painted on Silk Honshi Size: 26" x 59.7" Plate No. 2, Cat. No. 121

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. Was a first son of Tosa Mitsuoki "土佐光起". Learned painting under father Mitsuoki.

Tosa Mitsunari (1647 –1710) Portfolio (w/ original box) Eight views of Omi Hand painted on Silk Cert. by Okura Kyusui (? - 1825) Size: 11.4” x 10.4” Plate No. 3, Cat. No. 198 `

Plate No. 4, Cat. No. 198

Plate No. 5, Cat. No. 198

Tosa Mitsunari Tosanokami Fujiwara Mitsunari "土佐守藤原光成" Tosa Mitsunari "土佐光成" (ca,16471710) was a Tosa school painter active in early to mid Edo period. Was a first son of Tosa Mitsuoki "土佐光起". Learned painting under father Mitsuoki.

Tosa Mitsunari (1647 –1710) “Cranes” (w/ original box) Hand painted on Silk Roller Ends: Wood Size: 21” x 76.6” Plate No. 6, Cat. No. 160

Tosa Mitsusuke (土佐光祐, 1675–1710) was a Japanese artist in the middle period of the Edo era. He was the 18th head of the Tosa school. Painters that belonged to the Tosa were good at painting in the Yamato-e style. Successive heads of the Tosa served the Emperors as EdokoroAzukari (=Official court painter). His father was Tosa Mitsunari. In 1696, he succeeded his father's occupation and became an official court painter. In 1709, he did paintings of room partitions in the royal palace and in the Sento palace with Kano Tsunenobu. He died in 1710 at the age of 36

Tosa Mitsusuke (1675-1710) “Crane and Tortoise” (w/ orig. box) Hand painted on Silk Roller ends: Bone Size: 16.6" x 72.8" Plate No. 7 Cat. No. 44

Tosa Mitsusada was a Tosa painter and second son of Tosa Mitsuyoshi, younger brother of Mitsuatsu. In 1754, became Edokoro Azukari. In the 1760s painted Fusuma for the court, and in 1789, when the Kyoto Imperial Palace was being remodeled, was again called on to paint Fusuma. Left a number of admirable copies of ancient Chinese paintings. An adequate painter and a staunch exponent of the Tosa tradition, creating a temporary revival of the Tosa School.

Tosa Mitsusada (1738-1806) “Traveling East from Kyoto” (w/ box) Hand painted on Silk Roller ends: Wood Size: 21.5” x 75.7” Plate No. 8, Cat. No. 118 Tosa Mitsusada (1738-1806) “Kochoraka – Dance of the Butterfly” (w/ box) Hand painted on Silk Roller ends: Bone Size: 23.8” x 75.3” Plate No. 8, Cat. No. 154

Tosa Mitsusada (1738-1806) was a Tosa painter and second son of Tosa Mitsuyoshi, younger brother of Mitsuatsu. In 1754, became Edokoro Azukari. In the 1760s painted Fusuma for the court, and in 1789, when the Kyoto Imperial Palace was being remodeled, was again called on to paint Fusuma. Left a number of admirable copies of ancient Chinese paintings. An adequate painter and a staunch exponent of the Tosa tradition, creating a temporary revival of the Tosa School.

Tosa Mitsusada (1738-1806) “Minamoto no Yoshitsune” (w/ box) Hand painted on Silk Roller ends: Bone Size: 23.8” x 74.8” Plate No. 9, Cat. No. 89

Tosa Mitsusada (1738-1806) “Two Cranes and Pine” (w/ box) Hand painted on Silk Roller ends: Wood Size: 21.2” x 74.9” Plate No. 9, Cat. No. 64

Tosa Mitsuzane (佐光孚 (1779-1852) Mitsuzane was the first son of Tosa Mitsusada. He became Edokoro-Azukari (Chief of Edo Shognate Atelier) as a successor of his father and worked togather. His pseudonym is Kakusui

Tosa Mitsuzane (1780-1852) “Pime Tree and Cranes” (w/ box) Hand painted on Silk Roller Ends: Bone Size: Plate No. 10, Cat. No. 69 Tosa Mitsuzane (1780-1852) “Many Cranes on the Waterside” Hand painted on Silk Roller Ends: Bone Size: 19.9” x 74.3” Plate No. 10, Cat. No. 102

Itaya Hironaga (板谷桂意廣長) (1760-1814) was a painter active in the end to the middle of Edo period. Hironaga was the second son of Itaya Keishu and his older brother was Sumiyoshi Hiroyuki. His son was Itaya Hirotaka. Hironaga was the second successor of Sumiyoshi-ha Itaya Family. His pseudonym is Keii.

Itaya Hironaga (1760~1814) “Dragons” (w/ box) Hand painted on Silk Roller ends: Bone Size: 19.7” x 63.7” Plate No. 11, Cat. No. 66

Soga Nichokuan (Soga Nichokuan (active ca 1625-60), well known for his paintings of hawks, is the successor to, and likely the son of, Soga Chokuan (active ca 1596-1615). Extant records indicate that both were based in or nearby the port city of Sakai, south of Osaka. Nichokuan sometimes signed his name “the Sixth Generation from Shubun”, in light of the Soga school beginning in the early 15th century with Korean emigrant Ri Shubun. In addition, a document written by Nichokuan in 1656, accompanied by a set of hawk scrolls preserved at Horyu-ji temple, includes a lineage chart that ties Chokuan to Soga Jasoku. Some scholars dispute these claims, suggesting possible fabrication of the scrolls for the purpose of enhancing the reputations of both painters. Regardless, they were both highly respected and talented artists whose works are preserved in major temples throughout the Kansai region of Japan to this day. Nichokuan was succeeded by a number of painters, including Sanchokuan and Tamura Chokuou. Later artists who claimed descent from Soga Jasoku include Soga Shohaku (1730-81).

Soga Nichokuan (?) (active 1625-1660) “Fierce Hawk” (w/ box) Hand painted on Paper Roller ends: Wood Size: 29.5" x 70.0" Plate No. 12, Cat. No. 213

Soga Shohaku (曾我蕭白 (1730–1781) was a Japanese painter of the Edo period. Shōhaku distinguished himself from his contemporaries by preferring the brush style of the Muromachi period, an aesthetic that was already passé 150 years before his birth. Shōhaku's birth name was Miura Sakonjirō. His family was wealthy, but all of his immediate family members died before he reached age 18. As a young man he studied painting under the guidance of Takada Keiho of the Kanō school (school of painting based on Chinese subject matter and techniques) in Kyōto, but his disillusionment with contemporary art led him to look into the past. He came particularly to appreciate the works of the Muromachi painter Soga Jasoku and called himself Jasoku ken, or Jasoku jussei (“the tenth”). He excelled in ink monochrome portraits, which he made with powerful brushwork using broad strokes. The two-scroll painting “Kanzan and Jittoku”—two Chinese monks of the T’ang dynasty—is a good example. He also drew pictures of weird and demoniac quality and, being of a haughty disposition and an eccentric, was regarded by many as either a madman or an anachronism. He had no successors to carry on his style Soga Shohaku (1730-1781) “Sansui” (w/ orig. box) Hand painted on Silk Roller ends: Wood Size: 25.9" x 75.3" Plate No. 13, Cat. No. 45

Soga Shohaku Soga Shohaku (1730-1781) “Hawk in a Pine Tree” (w/ box) Hand painted on Paper Roller Ends: Wood Size: 22.0” x 72.0” Plate No. 14 Cat. No. 96

Soga Shohaku (1730-1781) “Hawk in Oak Tree” (w/ box) Hand painted on Paper Roller ends: Wood Size: 21.5” x 79.0” Plate No. 14 Cat. No. 92

Soga Shohaku (1730-1781) “Doshaku-ga” Hand Painted on Paper Roller Ends: Bone Size: 23.2” x 71.6” Plate No. 14 Cat. No. 252

Soga Shohaku (曾我蕭白?) (1730–1781) was a Japanese painter of the Edo period. Shōhaku distinguished himself from his contemporaries by preferring the brush style of the Muromachi period, an aesthetic that was already passé 150 years before his birth. Shōhaku's birth name was Miura Sakonjirō. His family was wealthy, but all of his immediate family members died before he reached age 18. As a young man he studied painting under the guidance of Takada Keiho of the Kanō school (school of painting based on Chinese subject matter and techniques) in Kyōto, but his disillusionment with contemporary art led him to look into the past. He came particularly to appreciate the works of the Muromachi painter Soga Jasoku and called himself Jasoku ken, or Jasoku jussei (“the tenth”). He excelled in ink monochrome portraits, which he made with powerful brushwork using broad strokes. The two-scroll painting “Kanzan and Jittoku”—two Chinese monks of the T’ang dynasty—is a good example. He also drew pictures of weird and demoniac quality and, being of a haughty disposition and an eccentric, was regarded by many as either a madman or an anachronism. He had no successors to carry on his style Soga Shohaku (1730-1781) “Figure & Sansui” (w/ orig. box) Hand painted on Silk Roller ends: Wood Size: 19.1" x 75.3" Plate No. 15, Cat. No. 268

Tawaraya Sotatsu Tawaraya Sotatsu was one of the Edo Period's most famous painters. In the early 1600s, he founded the Rinpa School, one of the major historical schools of Japanese painting, with his collaborator Hon'ami Kōetsu. This important work represents the epitome of early Rinpa style, which is highly regarded for beautiful depictions of birds and flowers. Sotatsu developed a technique called Tarashikomi, in which a second layer of paint is applied before the first layer is dry. This effect creates a watery blending for fine details such flower petals or leaves. It is a method of pooling pigment or ink in partially dried layers, allowing random, semi-translucent shapes to take form. The patterns that result suggest both dimensionality and ephemerality. The botanicals seen on this screen display sublime use of Tarashikomi, with subtle coloration and shading producing life-like depth. The brushwork is of rare and highly developed quality, and is among the earliest use of this technique which inspired artists both in Asia and in the West for centuries to come

Tawaraya Sotatsu (1570-1640) “Flower” Hand painted on Paper Roller ends: Wood Size: 28.7” x 85.6” Plate No 16, Cat. No. 200

Tawaraya Sotatsu (1570-1640) “Two Cranes” Hand painted on paper Honshi Size: 19.3” x 49.2” Plate No 17, Cat. No. 224

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) “Moon and Autumn Flowers” Hand painted on Silk (w/ box) Roller Ends: Wood Size: 28.7” x 80.7” Plate No. 18, Cat. No. 188

Ogata Korin

(尾形光琳?, 1658 – June 2, 1716) was a Japanese

Ogata Korin (1658 –1716) “Pine Trees and Cranes” (w/ box) Hand painted on Silk Size: 14.8” x 66.3” Plate No. 19, Cat. No. 97

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) “Pheasant on Maple Tree” (w/ box and Siki Bako by Nakano Kimei(1834-1892) Hand painted on Paper Roller Ends: Wood Plate No. 20, Cat. No. 195

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, Tosaha, 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 Tree and Bird” (w/ box) Hand painted on Silk Roller Ends: Wood Size: 24.0" x 76.3" Plate No. 21, Cat. No. 204

Sakai Hoitsu (1761-1829) “Ume Tree and Bird” (w/ box) Hand painted on Silk Roller Ends: Wood Size: 20.1" x 75.1" Plate No. 21, Cat. No. 165

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) “Rising Sun and Cherry Blossoms” (w/ orig. box) Hand painted on Silk Roller Ends: Bone Size: 28.0” x 81.1" Plate No. 22, Cat. No. 265

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) “Flower and Bird” (w/ original box) Hand painted on Silk Size: 27.0” x 81.1" Plate No. 23, Cat. No. 263

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) “Fall Deer and White Pigeons” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 20.3” x 68.3" Plate No. 24, Cat. No. 282

Tani Buncho

A painter of the Edo era

latter period. He was the person who accomplished Edo Nanga, the achievement was praised as "Three major painter of the Tokugawa era" with Maruyama Okyo (1733-1795) and Kano Tanyu (1602-1674). He learned painting from Kato Bunrei (1706-1782) of Kano School and Watanabe Gentai (1749-1822) of Nagasaki School at an early age, acquired Hokuga from Kitayama Kangan (1767-1801).1788, on the way to Nagasaki to study painting, he learned the techinique of the Nanga from Kushiro Unzen (1759-1811) under Kenkado Kimura (1736-1802) who affected many cultured people in those days in Osaka, he deepened Nanga from Chinese painter Cho Shun Koku in even Nagasaki. He got popularity by opening new style of painting that blended Nanga to subject with Hokuga. He also took in the perspective drawing of the Western painting over the countries. He had many disciples, Watanabe Kaza (1793-1841), Tachihara Kyosho (1786-1840), and so on. He always preached importance of sketch and copying of old painting for his pupil, and he died at 79 years old. His pseudonyms are Gagakusai, Munianshujin, Shasanro, Choou, Mui, etc...Tani Buncho (1763-1840)

Tani Buncho (1763-1840) “Tiger and Cubs in River” “Shishi and Cub on Cliff” Hand painted on Silk Roller ends: Bone Size: 17.5" x 60.2” Plate No. 25, Cat. No. 189

Tani Buncho (谷文晁, October 15, 1763 - January 6, 1841) A painter of the Edo era latter period. He was the person who accomplished Edo Nanga, the achievement was praised as "Three major painter of the Tokugawa era" with Maruyama Okyo (1733-1795) and Kano Tanyu (1602-1674). He learned painting from Kato Bunrei (1706-1782) of Kano School and Watanabe Gentai (1749-1822) of Nagasaki School at an early age, acquired Hokuga from Kitayama Kangan (1767-1801).1788, on the way to Nagasaki to study painting, he learned the techinique of the Nanga from Kushiro Unzen (1759-1811) under Kenkado Kimura (1736-1802) who affected many cultured people in those days in Osaka, he deepened Nanga from Chinese painter Cho Shun Koku in even Nagasaki. He got popularity by opening new style of painting that blended Nanga to subject with Hokuga. He also took in the perspective drawing of the Western painting over the countries. He had many disciples, Watanabe Kaza (1793-1841), Tachihara Kyosho (1786-1840), and so on. He always preached importance of sketch and copying of old painting for his pupil, and he died at 79 years old. His pseudonyms are Gagakusai, Munianshujin, Shasanro, Choou, Mui, etc...

Tani Buncho (1763-1840) “Scenery” (w/ Double Box) Hand painted on Silk Roller ends: Bone Size: 20.7” x 72.2” Plate No 26, Cat. No. 293

Tani Buncho (谷文晁, October 15, 1763 - January 6, 1841) was a Japanese literati (bunjin) painter and poet. He was the son of the poet Tani Rokkoku (1729–1809). As his family were retainers of the Tayasu Family of descendents of the eighth Tokugawa shogun, Bunchō inherited samurai status and received a stipend to meet the responsibilities this entailed. In his youth he began studying the painting techniques of the Kanō school under Katō Bunrei (1706–82). After Bunrei's death, Bunchō worked with masters of other schools, such as the literati painter Kitayama Kangen (1767–1801), and developed a wide stylistic range that included many Chinese, Japanese and European idioms. He rose to particular prominence as the retainer of Matsudaira Sadanobu (1759–1829), genetic son of the Tayasu who was adopted into the Matsudaira family before becoming chief senior councilor (rōjū shuza; 老中首座) of the Tokugawa Shogunate in 1787. Bunchō is best known for his idealized landscapes in the literati style (Nanga or Bunjinga). Unlike most bunjinga painters of his time, however, Bunchō was an extremely eclectic artist, painting idealized Chinese landscapes, actual Japanese sites, and poetically-inspired traditional scenery. He also painted portraits of his contemporaries (such as Ono Ranzan and Kimura Kenkadō), as well as imagined images of such Chinese literati heroes as Su Shi and Tao Yuanming. Since travel outside Japan was forbidden under the Tokugawa shogunate, Bunchō was unable to study in China; he spent many years traveling around Japan, studying Chinese, Japanese, and Western art (洋画, Yōga). Watanabe Kazan, Sakai Hōitsu and Takaku Aigai were among his disciples.[1] One of his pupils was the renowned painter Okuhara Seiko.

Tani Buncho (1763-1840) “Butterflies” (w/ box) Paper mounted on silk Roller Ends: Bone Size: 27.7” x 80.3” Plate No. 27, Cat. No. 256

Tani Buncho (1763-1840) Calligraphy Paper mounted on Silk (w/ box) Roller Ends: Bone Size: 24.5” x 48” Plate No. 28, Cat. No. 8

Kishi Gan Ku Kishi Gan Ku (1749-1839) was a noted Japanese painter of the late Edo period and founder of the Kishi School of painting. He is perhaps best known for his paintings of tigers.

Kishi Gan Ku (1749-1839) “Tiger” (w/ box) Hand painted on Silk Size: 21.7” x 75.1” Plate No. 29 Cat. No. 249

Kishi Gan Ku (1749-1839) “Moon and Fierce Tiger” Hand painted on Paper Roller ends: Wood Size: 46” x 83.2” Plate No. 29, Cat. No. 155

Kishi Gan Ku Gan Ku 岸駒 (1749-1839), or more formally known as Kishi Ganku, was a noted Japanese painter of the late Edo period and founder of the Kishi School of painting. He is perhaps best known for his paintings of tigers Ganku was born in Kanazawa as Kishi Saeki, studied painting styles including those of Chinese painter Shen Nanpin (沈南蘋) and the Maruyama school, and arrived in Kyoto around 1780. By the late 18th century, Ganku's paintings were appreciated by patrons that included the imperial family, leading to a position under Prince Arisugawa. His students included his son, Gantai 岸岱 (1782–1865), son-in-law Ganryou 岸良 (1797–1852), adopted son Renzan 連山 (1804–59), Yokoyama Kazan 横山華山 (1784–1837), Shirai Kayou 白井華陽 (fl. ca 1840-60), and Kawamura Bumpou 河村文鳳 (1779–1821). He was made honorary governor of Echizen (Echizen no kami, 越前守) toward the end of his life. Ganku died on January 19, 1839, in Kyoto.

Kishi Gan Ku (1749-1839) “Tiger and Waterfall” Hand painted on Silk Roller ends: Wood Size: 30” x 77.9” Plate No. 30, Cat. No. 169

Kishi Gan Ku Gan Ku 岸駒 (1749-1839), or more formally known as Kishi Ganku, was a noted Japanese painter of the late Edo period and founder of the Kishi School of painting. He is perhaps best known for his paintings of tigers Ganku was born in Kanazawa as Kishi Saeki, studied painting styles including those of Chinese painter Shen Nanpin (沈南蘋 ) and the Maruyama school, and arrived in Kyoto around 1780. By the late 18th century, Ganku's paintings were appreciated by patrons that included the imperial family, leading to a position under Prince Arisugawa. His students included his son, Gantai 岸岱 (1782–1865), son-in-law Ganryou 岸良 (1797–1852), adopted son Renzan 連山 (1804–59), Yokoyama Kazan 横山華山 (1784–1837), Shirai Kayou 白井華陽 (fl. ca 1840-60), and Kawamura Bumpou 河村文鳳 (1779–1821). He was made honorary governor of Echizen (Echizen no kami, 越前守) toward the end of his life. Ganku died on January 19, 1839, in Kyoto.

Kishi Gan Ku (1749-1839) “Bamboo and Roaring Tiger” “Tiger and Cubs” Hand painted on Paper Honshi Size: 18.7” x 52.3” Plate No. 31, Cat. Nos. 175, 176

Kishi Gan Tai Gan Tai 岸岱 (1782–-1865) was the son and pupil of the famous painter Gan Ku, founder of the Gan (Kishi) school of Kyoto. The father's influence can be seen very clearly here in the bold brushwork. Gan Tai was known for his landscapes, bird-and-flower, and animal paintings. He contributed to the success and prosperity of the Kishi School, and received the court title Echizen-no-suke.

Kishi Gan Tai (1782-1865) “Hawk” (w/ box) Hand painted on Paper Roller ends: Bone Size: 28” x 70.3” Plate No. 32, Cat. No. 76

Mori Sosen 森狙仙 (1747~1821) ：A painter of the Edo latter period. There is a Hyogo opinion and Nagasaki opinion for his birthplace, but it is very likely to be Osaka, it is Osaka that he played an active part. He learned the techinique of Kano School from Katsube Josyunsai (1721～1780) first. However, he was not satisfied with tradition of Kano school, then he was affected by painting of the objectivism that gained power led by Maruyama Okyo (1733～1795), worked hard at an exact sketch, he established a new realistic style of painting. He was good at an animal painting, in particular a monkey painting and a deer painting. He showed prominent technique in description of the monkey hair, it is an anecdote that he stayed in the mountains for several years and studied the habits of the monkey. He formed Mori School with Mori Tetsuzan (1774～1841) of the nephew who became an adopted child. His pseudonyms are Sosen, Jokansai, Reimeian, Morizo, etc...

Mori Sosen (1747-1821) “Monkey” (w/ box) Hand painted on Paper Roller ends: Wood Size: 22.7” x 75” Plate No. 33, Cat. No. 140

Mori Kansai (1814-1899) Mori Kansai was born in Hagi, the conservative Chōchu stronghold (Yamaguchi pref.) as Ishida Kōshuku. After training with a local artist, and a period in Edo, he moved to Osaka in 1831 to study with Mori Tetsuzan, who adopted him when he married his daughter in 1838. Subsequently Tetsuzan sent him to Kyoto where he was successful as a professional artist in the Maruyama School. In the 1860’s he got involved in the political activism of the Sonnō Jōi Movement. After the Meiji restoration this added to his reputation and prominent position as an artist-statesman. Mori Kansai was a distinguished representative of the Maruyama School, but he did not take part in its modernisation. He led a literati lifestyle, presiding over the activities of the Joun-sha Kyoto painting circle after the death of Shiokawa Bunrin in 1877. He studied Nanga style painting all his life, which shows most clearly in his later work. Kansai was master in a variety of techniques, including ink painting. He is said to have painted directly without any preliminary sketches. His best known pupils are Yamamoto Shunkyo and his adopted son Mori Yūzan.In 1893, celebrating his 80th birthday an exhibition of more than 600 of his works was held in Kyoto. Yet now not many of his works are known.He died in 1894.

Mori Kansai (1814-1899) “Tiger” (w/ original box) Hand painted on Silk Roller ends: Wood Size: 21.3” x 76” Plate No. 34, Cat. No. 214

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.

Maruyama Okyo (1733-1795) “Bird and Nandina in Snow” (w/ box) Hand painted on Silk Roller ends: Wood Size: 33.4” x 60.4” Plate No. 35, Cat. No 178

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.

Maruyama Okyo (1733-1795) “Tiger” Hand painted on Paper Roller ends: Bone Size: 22.8” x 78.7” Plate No. 36, Cat. No. 168

Anonymous

Anonymous 18th cent. “Waterside Trees and Birds” (w/ double box) Hand painted on Paper Roller Ends: Wood Size: 17.7" x 79.2" Plate No. 37, Cat No. 284 Double Wooden Box With original Kiwamebako (the signed storage box) by MARUYAMA OSHO MARUYAMA OSHO (19041981) was a Japanese-style painter born in Kyoto. He was the pupil of Yamamoto Shunkyo (1872-1933). He is also known as a connoisseur of Maruyama-style painting.

Nagasawa Rosetsu A painter of the Edo middle. He was born in the house of the low-class samurai and inherited the Nagasawas later. It is said that he became a disciple of Maruyama Okyo (1733～1795) in Kyoto. He lets his talent flower immediately after entering pupil and completely acquired technique of the Maruyama school. He showed original personality to tear the frame of the style of Okyo before long. He produced the fusuma picture of the Muryo-ji temple with Maruyama Okyo from about 1786 and showed a characteristic to the birds and beasts paintings with particularly good handling of writing brush and an original design

Nagasawa Rosetsu (1805-1859) “Fierce Tiger and Bamboo” (w/ box) Hand painted on Paper Roller ends: Wood Size: 23.8” x 57.9” Plate No. 38, Cat. No. 244

Katsukawa Shunsho 勝川春章 (1726~1793) Katsukawa Shunsho was a Japanese painter and printmaker in the ukiyo-e style, and the leading artist of the Katsukawa school. Shunsho studied under Miyagawa Shunsui, son and student of Miyagawa Choshun, both equally famous and talented ukiyo-e artists. Shunsho is most well known for introducing a new form of yakusha-e, prints depicting Kabuki actors. However, his bijin-ga (images of beautiful women) paintings, while less famous, are said by some scholars to be "the best in the second half of the 18 century".

Katsukawa Shunsho (1726-1793) “Kimono Beauty” (w/ original box) Hand painted on silk Roller Ends: Bone Size: 27.9” x 52.7” Plate No. 39, Cat. No. 101

Katsushika Hokusai (葛飾北斎, supposedly October 31, 1760 – May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūrokukei?, c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s. Hokusai created the "Thirty-Six Views" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fine Wind, Clear Morning, that secured Hokusai’s fame both in Japan and overseas. As historian Richard Lane concludes, "Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series...". While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition

Katsushika Hokusai (1760-1849) “Kimono Beauty in Snow” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 75.2cm x 199.4cm / 29.6” x 78.5” Plate No. 40, Cat. No. 90

Utagawa Hiroshige 歌川広重 (1797~1858) : The younger rival of Katsushika Hokusai, Hiroshige was a member of the Utagawa school, along with Kunisada (1786- 1865) and Kuniyoshi (1797-1861). The Utagawa school, containing hundreds of artists, stood at the forefront of nineteenth century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige's time, the print industry was booming and the consumer audience of prints was growing rapidly. Previously, prints had been issued in sets of ten or twelve, but the number of prints within a set was increasing at this time. This trend can be seen in Hiroshige's own work, from Sixty-nine Stations of the Kisokaido to One Hundred Famous Views of Edo. In terms of his style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. He adapted Western principles of perspective and receding space to his own works in order to achieve a sense of realistic depth. Even more, he worked extensively within the realm of meishoe, pictures of famous places. During the Edo Period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded and towns appeared along routes such as the Tokaido, the road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels and tales of others' adventures for inspiration in creating his landscapes. For example, in Fifty-three Stages on the Tokaido (1833) he illustrates anecdotes from Travels on the Eastern Seaboard (Tokaidochu Hizakurige, 18021809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige's Fifty-three Stations of the Tokaido (1833-1834) and One Hundred Famous Views of Edo (1856-1858) greatly influenced French Impressionists like Monet. Vincent Van Gogh also copied two of the One Hundred Famous Views of Edo. Hiroshige also influenced the Mir iskusstva, a 20th century Russian art movement of which Ivan Bilibin was a major artist.

Utagawa Hiroshige (1797-1858) “Moonlit Night Scenery” Hand painted on silk Roller Ends: Bone Box: None Size: 19.2" x 67.7" Plate No. 41, Cat. No 112

Kaburaki Kiyokata 鏑木清方 (1878~1972) Kaburaki Kiyokata is well known as Ukiyoe Painter,he breathed new breath into Edo Ukiyoe technique. His real name Kenichi. He was born in Kanda district of Tokyo to an affluent and literate family. His father was the founder and president of the Tokyo Nichi Nichi Shimbun newspaper, and a writer of popular novels. In 1891, young Kaburagi was sent to become a disciple of ukiyo-e artists Mizuno Toshikata and Taiso Yoshitoshi when he was 13 years old. His first job was as an illustrator for Yamato Shinbun, a Tokyo newspaper founded by his father. When he was sixteen, his father went bankrupt and the family had to sell their home. Kaburagi initially made his living as an illustrator, producing frontispieces called kuchi-e, illustrating the titles of popular novels. His works were highly praised by noted author Kyōka Izumi, who insisted that his novels be illustrated by Kaburagi. However, Kaburagi's first and foremost interest was in painting. In 1901, he helped create the Ugokai (烏合会?), an art group dedicated to reviving and popularizing the bijin-ga (images of beautiful women) genre. When the government-sponsored Bunten exhibitions were started in 1907, Kaburagi began to paint full-time, winning several prizes. In 1915, his work Murasame won first prize at the 9th Bunten Exhibition. In 1917, together with Hirafuku Hyakusui, Matsuoka Eikyu, Kikkawa Reika and Yuki Somei, he helped found the Kinreisha, a Nihonga association training promising young artists, including Kawase Hasui. When Watanabe Shōzaburō started an export woodcut print business, he needed many talented artists to make print designs appealing to western audiences. Kaburagi's group became a recruiting center for Watanabe. Kaburagi organized exhibitions with works of his students and introduced his best students to Watanabe. Next to Watanabe himself, it was probably Kiyokata Kaburagi, who had the greatest influence on the development and promotion of the shin-hanga movement. Not only Kawase Hasui, but also Itō Shinsui, Shiro Kasamasu, Yamakawa Shuho, Torii Kotondo and Terashima Shimei were trained by Kaburagi and then introduced to Watanabe.

Kaburaki Kiyokata (1878-1972) “Beauty under Maple” (w/ original double box) Hand painted on Silk Roller Ends: Bone Size: 29.1” x 58.7” Plate No. 42, Cat. No. 126

When Kaburagi had reached his late 40s, he was well established and a highly respected artist. In 1929 he became a member of the Imperial Fine Art Academy (Teikoku Bijutsuin). His portrait of rakugo actor San'yūtei Enchō (1930) has been registered as an Important Cultural Property (ICP) by the Agency for Cultural Affairs. In 1938 he was appointed to the Art Committee of the Imperial Household. He received the official position of court painter in 1944. In 1946, he was asked to be one of the judges for the first post-war Nitten Exhibition. In 1954, he received the Order of Culture. His house in Tokyo was burned down during the firebombing of Tokyo in World War II, and he relocated to Kamakura, Kanagawa Prefecture, where he lived until his death. Kiyokata Kaburagi died in 1972 at the age of 93. His grave is at the Yanaka Cemetery in Tokyo. His house in Kamakura has been transformed into the Kaburagi Kiyokata Memorial Museum, displaying many of his works, and preserving his studio

Sengai Gibon (1750-1837) was a Japanese monk of the Rinzai sect (one of the ramifications of the Zen branch of Buddhism). He was known for his controversial teachings and writings as well as for his lighthearted sumi-e paintings. After spending half of his life in Nagata near Yokohama, he secluded himself in Shofukuji (in Fukuoka), the first Zen temple in Japan, where he spent the rest of his life.

Sengai Gibon 1750-1837 “Cow and Man” (w/ box) Hand painted on Paper Roller ends: Bone Size: 17.2” x 43.7” Plate No. 43, Cat. No. 259

Sengai Gibon (1750-1837) “Daikokuten God of Wealth” (w/ box) Hand painted on Paper Roller ends: Wood Size: 18.3” x 63.6” Plate No. 43, Cat. No. 258

Yanagisawa Kien

柳沢淇園 /

Ryurikyo

柳里恭 (1704~1758) ： Yanagisawa Kien was an Edo period literati painter. Like many painters of the time, he began by studying under a Kanô school painter as a child. However, Kien is said to have angrily stormed out of his master's atelier, and out of the relationship, saying that modern modes of painting were too stultified, and that he would take Wu Daozi and Zhang Sengyou as his teachers, two ancient Chinese masters said to have painted with such vibrancy that “their painted dragons literally flew off the page.” Kien came to some prominence, and began teaching Ike no Taiga in 1738; Taiga would go on to be one of the most famous of all Edo period literati painters. He also taught a young girl named Machi, whose mother's teashop Kien liked to frequent; he likely is the one who introduced Taiga to Machi, and the two married - Machi went on to be a significant painter in her own right, under the name Ike Gyokuran. His pseudonyms are Chikukei, Gyokukei, Kienshujin, Kien, Ryurikyo, Ryushikobi, etc...

Yanagisawa Kien (1704-1758) “Sansui Scenery” (w/ box) Hand painted Gold-Leaf on Paper Roller ends: Wood Size: 23.3” x 59.8” Plate No. 44, Cat. No. 207

Yosa Buson Yosa Buson or Yosa no Buson (与謝蕪村, 1716 – January 17, 1784) was a Japanese poet and painter of the Edo period. Along with Matsuo Bashō and Kobayashi Issa, Buson is considered among the greatest poets of the Edo Period. Buson was born in the village of Kema in Settsu Province (now Kema-chō, Miyakojima Ward in Osaka city). His original family name was Taniguchi. Around the age of 20, Buson moved to Edo (now Tokyo) and learned poetry under the tutelage of the haikai master Hayano Hajin. After Hajin died, Buson moved to Shimōsa Province (modern-day Ibaraki Prefecture). Following in the footsteps of his idol, Matsuo Bashō, Buson travelled through the wilds of northern Honshū that had been the inspiration for Bashō's famous travel diary, Oku no Hosomichi (The Narrow Road to the Interior). He published his notes from the trip in 1744, marking the first time he published under the name Buson. After travelling through various parts of Japan, including Tango (the northern part of modern Kyoto Prefecture) and Sanuki (Kagawa Prefecture in Shikoku), Buson settled down in the city of Kyoto at the age of 42. It is around this time that he began to write under the name of Yosa, which he took from his mother's birthplace (Yosa in the province of Tango). Buson married at the age of 45 and had one daughter, Kuno. From this point on, he remained in Kyoto, writing and teaching poetry at the Sumiya. In 1770, he assumed the haigō (俳号, haiku pen name) of Yahantei (夜半亭, Midnight Studio), which had been the pen name of his teacher Hajin. Buson died at the age of 68 and was buried at Konpuku-ji in Kyoto.

Yosa Buson (1716-1784) Thatched Huts in a Ravine (w/ Original Box and Kiwamegaki) Hand Painted on Silk Size: 31.2” x 87.7” Plate No. 45 Cat. No 227

Yosa Buson (1716-1784) “Figure Painting” (w/ box) Hand Painted on Paper Roller Ends: Bone Size: 12.3” x 61.0” Plate No. 46 Cat. No 280

Yosa Buson (1716-1784) “Figure Painting” (w/ original box) Hand Painted on Silk Roller Ends: Wood Size: 13.6” x 46.6” Plate No. 46 Cat. No 281

Ike no Taiga Ike no Taiga (池大雅, 1723–1776) was a Japanese painter and calligrapher born in Kyoto during the Edo period. Together with Yosa Buson, he perfected the bunjinga (or nanga) genre. The majority of his works reflected his passion for classical Chinese culture and painting techniques, though he also incorporated revolutionary and modern techniques into his otherwise very traditional paintings. As a bunjin (文人, literati, man of letters), Ike was close to many of the prominent social and artistic circles in Kyoto, and in other parts of the country, throughout his lifetime.

Ike no Taiga 1723–1776 “Raintei KyokusuiPoetry Gathering at The Orchid Pavilion” (w/ original box and Siko Bako) Hand painted on Paper Roller Ends: Wood Size: 23.3" x 68.4" Plate No. 47, Cat No. 287

With original Kiwamebako (the signed storage box) by TAIGADO KASON. TAIGADO KASON was a Japanese-style painter of the Showa period. He studied the painting style of Ike no Taiga (17231776). He was Taigado VI.

So Shiseki Sō Shiseki (宋紫石, 1715 – 9 April 1786) was a Japanese painter of the Nagasaki and Nanpin schools. Originally from Edo, he spent some time in Nagasaki, where he studied under the Chinese painter Song Ziyan, who was known as Sō Shigan in Japanese. The name Sō Shiseki is an art-name, derived from an imitation of his master's name. Shiseki's bird and flower paintings and other works display the use of a combination of broad calligraphic brushstrokes for branches, tree trunks and rocks, ink wash and color for flower petals and leaves, and much finer brushstrokes for the fine details of feathers and flowers to produce a very detailed and lifelike, realistic depiction. Returning to Edo, Shiseki became a prominent representative and teacher of the Nagasaki school in that city, teaching Shiba Kōkan among others. He was close with such rangaku scholars as Hiraga Gennai and Sugita Genpaku, and expressed an interest in Western painting. Rather than his stylistic choice coming straight from European painting, however, scholar Meccarelli thinks Shiseki matured Nanpin school’s “flora and fauna decorative painting”. His style is indeed more focused on details, also lending credence to the legacy left by botanic manuals and scientific treatises. He composed a number of books, and woodblock printed volumes of his artworks were produced as well.

So Shiseki (signature) Kateishiseki (seal) 1715-1786 “Moon and Owl – Watching Locust” (w/ box) Hand painted on Silk Roller ends: Bone Size: 21.3” x 81.2” Plate No. 48, Cat. No. 218

Anonymous

Anonymous 18th- 19th cent. “Tiger Nagasaki-Nanpin” (w/ box) Hand painted on Paper Roller Ends: Wood Size: 23.0" x 75.3" Plate No. 49 Cat No. 275

Anonymous 18th- 19th cent. “Playing Tigers” (w/ box) Hand painted on Paper Roller Ends: Wood Size: 18.2" x 63.2" Plate No. 49 Cat No. 269

Shen Quan

was a Chinese painter during

the Qing Dynasty (1644–1912). His courtesy name was Nanpin (南蘋 and his sobriquet was Hengzhai (衡斎). His works became influential in Japanese Edo period art. Shen was born in Deqing in Zhejiang province. He specialized in birdand-flower painting, and was influenced by Bian Jingzhao and Lu Ji. His works were painted in a very realistic style, and he had many students and patrons. Shen was invited to Japan by a high official. He arrived in Nagasaki in the final month of 1731 with two students, acquiring many Japanese students after his arrival. His paintings soon became very popular, and after his 1733 return to China he continued to send paintings back to Japan. Shen had many pupils while in Japan; his most important was Kumashiro Yūhi, who in turn taught Sō Shiseki and Kakutei. Other artists influenced by Shen included Katsushika Hokusai, Maruyama Ōkyo, and Ganku’ Shen's paintings were popular for their realistic, colored images of animals and flowers, and three-dimensional trees and rocks.

Shen Quan (1682-1760) “Flowers and Birds” 41” x 92” Hand painted on Silk Roller ends: Wood Plate No. 50, Cat. No. 4

Shen Quan (1682-1760) “Crane over Rocks” (w/ box) Size: 20.9” x 80.6” Hand painted on Silk Roller ends: Bone Plate No. 50, Cat. No. 5

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