Difference between revisions of "Kano school"
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| − | *''Japanese'': | + | [[File:Sansetsu-plum.jpg|right|thumb|400px|''The Old Plum'', a set of ''fusuma'' paintings by [[Kano Sansetsu|Kanô Sansetsu]], c. 1647, on display at the Metropolitan Museum of Art in New York]] |
| + | *''Japanese'': [[狩野]]派 ''(Kanou ha)'' | ||
The Kanô school was a leading school (style) of painting in the 16th century, through the [[Azuchi-Momoyama period]], and by virtue of becoming court painters (''goyô eshi'') to the [[Tokugawa shogunate]], was the leading official/orthodox painting school of the [[Edo period]]. A great many Edo period painters, from just about every genre and school, had at least some training under a Kanô master; as such, it could be said that the Kanô school had a profound impact upon Edo period painting as a whole, high and low, informing many artists' work, and for some artists serving as the orthodoxy against which they resisted, experimenting or otherwise setting off in new directions. | The Kanô school was a leading school (style) of painting in the 16th century, through the [[Azuchi-Momoyama period]], and by virtue of becoming court painters (''goyô eshi'') to the [[Tokugawa shogunate]], was the leading official/orthodox painting school of the [[Edo period]]. A great many Edo period painters, from just about every genre and school, had at least some training under a Kanô master; as such, it could be said that the Kanô school had a profound impact upon Edo period painting as a whole, high and low, informing many artists' work, and for some artists serving as the orthodoxy against which they resisted, experimenting or otherwise setting off in new directions. | ||
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==History== | ==History== | ||
| − | The school is generally said to trace its origins to [[Kano | + | The school is generally said to trace its origins to [[Kano Masanobu|Kanô Masanobu]] (1434-1530), who was appointed court painter by the [[Ashikaga shogunate]] at some point, being joined in that position by his son [[Kano Motonobu|Kanô Motonobu]] (1476-1559) in [[1481]]. Masanobu, Motonobu, and the members of their atelier produced a wide range of works for both the Ashikaga and for other samurai clans, among other patrons, including religious icons, formal portraits, and interior decorations, in both Chinese and Japanese styles/modes.<ref>Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 135-136.</ref> |
Motonobu was followed as head of the school by his son [[Kano Shoei|Kanô Shôei]] (1514-1562), who was in turn succeeded by his son, [[Kano Eitoku|Kanô Eitoku]] (1543-1590). Eitoku's style was dramatically innovative in a variety of ways, and quickly came to define the Kanô style; Eitoku's works are among the most famous or defining works of the Azuchi-Momoyama period, and indeed he has been described as "the most celebrated painter of his time."<ref>Sasaki Johei. "The Era of the Kano School." ''Modern Asian Studies'' 18:4 (1984), 648.</ref> He was introduced to [[Shogun]] [[Ashikaga Yoshiteru]] by his grandfather in [[1552]], and soon began working alongside his father and grandfather, and their students, to paint wall paintings for major Kyoto temples such as [[Daitoku-ji]], among other elite locations. | Motonobu was followed as head of the school by his son [[Kano Shoei|Kanô Shôei]] (1514-1562), who was in turn succeeded by his son, [[Kano Eitoku|Kanô Eitoku]] (1543-1590). Eitoku's style was dramatically innovative in a variety of ways, and quickly came to define the Kanô style; Eitoku's works are among the most famous or defining works of the Azuchi-Momoyama period, and indeed he has been described as "the most celebrated painter of his time."<ref>Sasaki Johei. "The Era of the Kano School." ''Modern Asian Studies'' 18:4 (1984), 648.</ref> He was introduced to [[Shogun]] [[Ashikaga Yoshiteru]] by his grandfather in [[1552]], and soon began working alongside his father and grandfather, and their students, to paint wall paintings for major Kyoto temples such as [[Daitoku-ji]], among other elite locations. | ||
| − | After becoming head of the school himself, Eitoku and members of his atelier painted works for [[Oda Nobunaga|Oda Nobunaga's]] [[Azuchi castle]] in | + | Perhaps as early as this time, the Kanô school had developed enough of a reputation that having Kanô works in one's castle or mansion conveyed an impression of elite status, of power, and of cultured aesthetic sense. Numerous ''[[daimyo|Sengoku daimyô]]'' vied for the attentions of the school.<ref name=screech137>Screech, 137.</ref> |
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| + | After becoming head of the school himself, Eitoku and members of his atelier painted works for [[Oda Nobunaga|Oda Nobunaga's]] [[Azuchi castle]] in [[1576]],<ref name=screech137/> for [[Emperor Ogimachi|Emperor Ôgimachi's]] retirement mansion in [[1586]], and for [[Toyotomi Hideyoshi|Toyotomi Hideyoshi's]] [[Jurakudai]] the following year, the latter alongside [[Hasegawa Tohaku|Hasegawa Tôhaku]].<ref>Penelope Mason, ''History of Japanese Art'', Second Edition, Upper Saddle River, NJ: Pearson Prentice Hall (2005), 259-263.</ref> His innovations in decorative schema included a variety of techniques to make the room appear larger than it was, and also to paint large trees in such a way that they echoed or paralleled the wooden pillars of the architecture.<ref name=mason255>Mason, 255-257.</ref> While commissioned to do the wall paintings (''[[fusuma|fusuma-e]]'' or ''shôhekiga'') for many significant institutions in the 1570s-1580s, including temples, castles, elite mansions, and even the [[Kyoto Imperial Palace|Imperial Palace]], Eitoku and the members of his studio also produced many handscrolls, hanging scrolls, and folding screens (''[[byobu|byôbu]]''). | ||
Eitoku died in 1590 and was succeeded as head of the school by his son [[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608), though his pupil & adopted son [[Kano Sanraku|Kanô Sanraku]] would also be a significant artist of this next generation of the school's history.<ref name=mason255/> | Eitoku died in 1590 and was succeeded as head of the school by his son [[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608), though his pupil & adopted son [[Kano Sanraku|Kanô Sanraku]] would also be a significant artist of this next generation of the school's history.<ref name=mason255/> | ||
| − | [[Kano Tanyu|Kanô Tan'yû]] was named an official court painter to the Tokugawa shogunate in [[1617]], marking the beginning of the school's official relationship with the shogunate. Tan'yû was easily one of the most significant artists of the early decades of the Edo period. | + | [[Kano Tanyu|Kanô Tan'yû]] was named an official court painter to the Tokugawa shogunate in [[1617]], two years after his great-uncle [[Kano Naganobu|Kanô Naganobu]] moved to [[Edo]] and was granted that same honor, thus marking the beginning of the school's official relationship with the shogunate. Tan'yû was easily one of the most significant artists of the early decades of the Edo period. As the core Kanô school relocated with Tan'yû to Edo in [[1621]], Kanô Sanraku became the leading Kanô artist still active in Kyoto, where he continued to produce commissions for the Imperial Court and the [[Toyotomi clan]], among other patrons.<ref>Screech, 37.; Mason, 258-259.</ref> |
| − | [[Kano Sadanobu|Kanô Sadanobu]] | + | Several heads of the school passed away in rapid succession in the early 1600s, with [[Kano Takanobu|Kanô Takanobu]] being succeeded by [[Kano Naonobu|Kanô Naonobu]] in [[1618]], and then [[Kano Sadanobu|Kanô Sadanobu]] by [[Kano Yasunobu|Kanô Yasunobu]] in [[1623]]. Around this time, the Edo Kanô school divided into four branches: the Kajibashi, Nakabashi, Kobikichô, and Hamachô Kanô, each named for the location of their studios, and founded, respectively, by Kanô Tan'yû, his brothers Naonobu and Yasunobu, and by Yasunobu's grandson [[Kano Minenobu|Kanô Minenobu]]. These four schools formed the top levels of a hierarchy of Kanô artists; the heads of each of these schools came to be known as ''oku eshi'', or "inner artists," and were granted samurai status and requisite [[stipends]]. As shogunal vassals, they were then obligated to present works to the shogun on a set day every month. Sixteen cadet branches, alongside a number of other Kanô artists, formed the next rung down; these ''omote eshi'' ("outer artists") did not possess samurai status or stipends, but still regularly received commissions from the shogunate. Other Kanô artists were not associated with the shogunate, but were retained as court artists by various ''daimyô''. Finally there were the ''machi Kanô'' - town artists - who served individual samurai and commoner clients.<ref name=guth96>Christine Guth, ''Art of Edo Japan'', Yale University Press (1996), 96.</ref> |
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| + | For the ''oku eshi'' of the Kanô school, the first few decades of the Edo period were dominated by large-scale projects, as the Tokugawa shogunate and other elite patrons commissioned the Kanô to produce wall paintings and other large-scale works for [[Nijo castle|Nijô]], [[Osaka castle|Osaka]], [[Nagoya castle|Nagoya]], and [[Edo castle]]s, [[Nikko Toshogu|Nikkô Tôshôgû]], Daitoku-ji, the Kyoto Imperial Palace, the [[Kishu Tokugawa clan|Kishû Tokugawa clan]] summer mansion, and so forth. Later in the period, the school shifted to producing primarily smaller-scale works, including individual ''fusuma-e'', ''byôbu'', handscrolls, hanging scrolls, and the like.<ref>Guth, 97.</ref> | ||
The popular/commoner art form ''[[ukiyo-e]]'' ("pictures of the floating world") developed out of Kanô, [[Tosa school|Tosa]], and other influences over the course of the 17th century, coming into its own by the end of that century. Many of the earliest greatest ''ukiyo-e'' artists, such as [[Iwasa Matabei]] and [[Hishikawa Moronobu]], had at least some background in Kanô school training. | The popular/commoner art form ''[[ukiyo-e]]'' ("pictures of the floating world") developed out of Kanô, [[Tosa school|Tosa]], and other influences over the course of the 17th century, coming into its own by the end of that century. Many of the earliest greatest ''ukiyo-e'' artists, such as [[Iwasa Matabei]] and [[Hishikawa Moronobu]], had at least some background in Kanô school training. | ||
| − | [[Kano Hogai|Kanô Hôgai]] is often cited as the last great Kanô painter. The son of [[Kano Seiko|Kanô Seikô]], a court painter for the lord of [[Chofu han|Chôfu domain]] in [[Shimonoseki]], Hôgai later moved to [[Tokyo]], where he produced a number of works on commission for the shogunate, including a ceiling painting for the Ôhiroma, the main audience hall of [[Edo castle]], following the building's reconstruction after a fire. In the 1880s, at the encouragement and patronage of [[Ernest Fenollosa]] and [[Okakura Kakuzo|Okakura Kakuzô]], Hôgai became one of the first leading ''[[Nihonga]]'' painters, combining Kanô techniques, aesthetics, and themes & motifs with Western ones to create and promote a new form of "neo-traditional" and "national" Japanese painting. While aspects of the Kanô tradition remain very much embedded in ''Nihonga'' painting today, perhaps as early as [[1900]], even in the comparatively conservative Kyoto art world, artists and works were no longer being described as belonging to specific Edo period schools.<ref>"[http://kotobank.jp/word/%E7%8B%A9%E9%87%8E%E8%8A%B3%E5%B4%96 Kanô Hôgai]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbunsha.; Conant, Ellen (ed.). ''Nihonga: Transcending the Past''. The Saint Louis Art Museum, 1995. </ref> | + | Kanô artists came to represent the chief elite and orthodox school of painting in the Edo period, the standard which other artists emulated and aspired to, and which patrons/consumers saw as the epitome of taste and class. Many artists of many different schools spent time studying Kanô painting in order to establish or hone the foundations of their skill, and many woodblock-printed copybooks, or model books, of Kanô painting circulated, allowing people to practice Kanô styles on their own.<ref name=guth96/> |
| + | |||
| + | [[Kano Hogai|Kanô Hôgai]] (1828-1888) is often cited as the last great Kanô painter. The son of [[Kano Seiko|Kanô Seikô]], a court painter for the lord of [[Chofu han|Chôfu domain]] in [[Shimonoseki]], Hôgai later moved to [[Tokyo]], where he produced a number of works on commission for the shogunate, including a ceiling painting for the Ôhiroma, the main audience hall of [[Edo castle]], following the building's reconstruction after a fire. In the 1880s, at the encouragement and patronage of [[Ernest Fenollosa]] and [[Okakura Kakuzo|Okakura Kakuzô]], Hôgai became one of the first leading ''[[Nihonga]]'' painters, combining Kanô techniques, aesthetics, and themes & motifs with Western ones to create and promote a new form of "neo-traditional" and "national" Japanese painting. While aspects of the Kanô tradition remain very much embedded in ''Nihonga'' painting today, perhaps as early as [[1900]], even in the comparatively conservative Kyoto art world, artists and works were no longer being described as belonging to specific Edo period schools.<ref>"[http://kotobank.jp/word/%E7%8B%A9%E9%87%8E%E8%8A%B3%E5%B4%96 Kanô Hôgai]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbunsha.; Conant, Ellen (ed.). ''Nihonga: Transcending the Past''. The Saint Louis Art Museum, 1995. </ref> | ||
==Selected Notable Kanô artists== | ==Selected Notable Kanô artists== | ||
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*[[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608) | *[[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608) | ||
*[[Kano Takanobu|Kanô Takanobu]] (1571-1618) | *[[Kano Takanobu|Kanô Takanobu]] (1571-1618) | ||
| + | *[[Kano Sadanobu|Kanô Sadanobu]] (d. 1623) | ||
*[[Kano Sanraku|Kanô Sanraku]] (1559-1635) | *[[Kano Sanraku|Kanô Sanraku]] (1559-1635) | ||
| + | *[[Kano Naonobu|Kanô Naonobu]] (1607-1650) | ||
*[[Kano Sansetsu|Kanô Sansetsu]] (d. 1651) | *[[Kano Sansetsu|Kanô Sansetsu]] (d. 1651) | ||
| − | *[[Kano Tanyu|Kanô Tan'yû]] | + | *[[Kano Tanyu|Kanô Tan'yû]] (1602-1674) |
| + | *[[Kano Yasunobu|Kanô Yasunobu]] (1613-1685) | ||
*[[Kano Masunobu|Kanô Masunobu]] | *[[Kano Masunobu|Kanô Masunobu]] | ||
| + | *[[Kano Tanshin|Kanô Tanshin]] (1653-1718) | ||
*[[Kano Shunko|Kanô Shunko]] (d. 1726) | *[[Kano Shunko|Kanô Shunko]] (d. 1726) | ||
| − | *[[Kano | + | *[[Kano Michinobu|Kanô Michinobu]] (1730-1790) |
| − | *[[Kano Osanobu|Kanô Seisen'in]] (Osanobu) | + | *[[Kano Osanobu|Kanô Seisen'in]] (Osanobu, 1796-1846) |
*[[Kano Tadanobu|Kanô Shôsen'in Tadanobu]] | *[[Kano Tadanobu|Kanô Shôsen'in Tadanobu]] | ||
| − | *[[Kano Hogai|Kanô Hôgai]] | + | *[[Kano Hogai|Kanô Hôgai]] (1828-1888) |
*[[Kano Tatsunobu|Kanô Tatsunobu]] (Eitoku, 1814-1891) | *[[Kano Tatsunobu|Kanô Tatsunobu]] (Eitoku, 1814-1891) | ||
Latest revision as of 23:16, 8 July 2016
- Japanese: 狩野派 (Kanou ha)
The Kanô school was a leading school (style) of painting in the 16th century, through the Azuchi-Momoyama period, and by virtue of becoming court painters (goyô eshi) to the Tokugawa shogunate, was the leading official/orthodox painting school of the Edo period. A great many Edo period painters, from just about every genre and school, had at least some training under a Kanô master; as such, it could be said that the Kanô school had a profound impact upon Edo period painting as a whole, high and low, informing many artists' work, and for some artists serving as the orthodoxy against which they resisted, experimenting or otherwise setting off in new directions.
While the leading branch of the Kanô school relocated to Edo in the early 17th century to become court painters to the shoguns, the Kyoto Kanô school remained strong, and served the Imperial Court and court nobility, while other artists entered the service of daimyô; meanwhile, in the three main cities, as well as in many other cities across the realm, town painters under the umbrella term "machi Kanô" - often people with formal Kanô training but little connection to the central hierarchies - produced works for commoner patrons.
History
The school is generally said to trace its origins to Kanô Masanobu (1434-1530), who was appointed court painter by the Ashikaga shogunate at some point, being joined in that position by his son Kanô Motonobu (1476-1559) in 1481. Masanobu, Motonobu, and the members of their atelier produced a wide range of works for both the Ashikaga and for other samurai clans, among other patrons, including religious icons, formal portraits, and interior decorations, in both Chinese and Japanese styles/modes.[1]
Motonobu was followed as head of the school by his son Kanô Shôei (1514-1562), who was in turn succeeded by his son, Kanô Eitoku (1543-1590). Eitoku's style was dramatically innovative in a variety of ways, and quickly came to define the Kanô style; Eitoku's works are among the most famous or defining works of the Azuchi-Momoyama period, and indeed he has been described as "the most celebrated painter of his time."[2] He was introduced to Shogun Ashikaga Yoshiteru by his grandfather in 1552, and soon began working alongside his father and grandfather, and their students, to paint wall paintings for major Kyoto temples such as Daitoku-ji, among other elite locations.
Perhaps as early as this time, the Kanô school had developed enough of a reputation that having Kanô works in one's castle or mansion conveyed an impression of elite status, of power, and of cultured aesthetic sense. Numerous Sengoku daimyô vied for the attentions of the school.[3]
After becoming head of the school himself, Eitoku and members of his atelier painted works for Oda Nobunaga's Azuchi castle in 1576,[3] for Emperor Ôgimachi's retirement mansion in 1586, and for Toyotomi Hideyoshi's Jurakudai the following year, the latter alongside Hasegawa Tôhaku.[4] His innovations in decorative schema included a variety of techniques to make the room appear larger than it was, and also to paint large trees in such a way that they echoed or paralleled the wooden pillars of the architecture.[5] While commissioned to do the wall paintings (fusuma-e or shôhekiga) for many significant institutions in the 1570s-1580s, including temples, castles, elite mansions, and even the Imperial Palace, Eitoku and the members of his studio also produced many handscrolls, hanging scrolls, and folding screens (byôbu).
Eitoku died in 1590 and was succeeded as head of the school by his son Kanô Mitsunobu (1561-1608), though his pupil & adopted son Kanô Sanraku would also be a significant artist of this next generation of the school's history.[5]
Kanô Tan'yû was named an official court painter to the Tokugawa shogunate in 1617, two years after his great-uncle Kanô Naganobu moved to Edo and was granted that same honor, thus marking the beginning of the school's official relationship with the shogunate. Tan'yû was easily one of the most significant artists of the early decades of the Edo period. As the core Kanô school relocated with Tan'yû to Edo in 1621, Kanô Sanraku became the leading Kanô artist still active in Kyoto, where he continued to produce commissions for the Imperial Court and the Toyotomi clan, among other patrons.[6]
Several heads of the school passed away in rapid succession in the early 1600s, with Kanô Takanobu being succeeded by Kanô Naonobu in 1618, and then Kanô Sadanobu by Kanô Yasunobu in 1623. Around this time, the Edo Kanô school divided into four branches: the Kajibashi, Nakabashi, Kobikichô, and Hamachô Kanô, each named for the location of their studios, and founded, respectively, by Kanô Tan'yû, his brothers Naonobu and Yasunobu, and by Yasunobu's grandson Kanô Minenobu. These four schools formed the top levels of a hierarchy of Kanô artists; the heads of each of these schools came to be known as oku eshi, or "inner artists," and were granted samurai status and requisite stipends. As shogunal vassals, they were then obligated to present works to the shogun on a set day every month. Sixteen cadet branches, alongside a number of other Kanô artists, formed the next rung down; these omote eshi ("outer artists") did not possess samurai status or stipends, but still regularly received commissions from the shogunate. Other Kanô artists were not associated with the shogunate, but were retained as court artists by various daimyô. Finally there were the machi Kanô - town artists - who served individual samurai and commoner clients.[7]
For the oku eshi of the Kanô school, the first few decades of the Edo period were dominated by large-scale projects, as the Tokugawa shogunate and other elite patrons commissioned the Kanô to produce wall paintings and other large-scale works for Nijô, Osaka, Nagoya, and Edo castles, Nikkô Tôshôgû, Daitoku-ji, the Kyoto Imperial Palace, the Kishû Tokugawa clan summer mansion, and so forth. Later in the period, the school shifted to producing primarily smaller-scale works, including individual fusuma-e, byôbu, handscrolls, hanging scrolls, and the like.[8]
The popular/commoner art form ukiyo-e ("pictures of the floating world") developed out of Kanô, Tosa, and other influences over the course of the 17th century, coming into its own by the end of that century. Many of the earliest greatest ukiyo-e artists, such as Iwasa Matabei and Hishikawa Moronobu, had at least some background in Kanô school training.
Kanô artists came to represent the chief elite and orthodox school of painting in the Edo period, the standard which other artists emulated and aspired to, and which patrons/consumers saw as the epitome of taste and class. Many artists of many different schools spent time studying Kanô painting in order to establish or hone the foundations of their skill, and many woodblock-printed copybooks, or model books, of Kanô painting circulated, allowing people to practice Kanô styles on their own.[7]
Kanô Hôgai (1828-1888) is often cited as the last great Kanô painter. The son of Kanô Seikô, a court painter for the lord of Chôfu domain in Shimonoseki, Hôgai later moved to Tokyo, where he produced a number of works on commission for the shogunate, including a ceiling painting for the Ôhiroma, the main audience hall of Edo castle, following the building's reconstruction after a fire. In the 1880s, at the encouragement and patronage of Ernest Fenollosa and Okakura Kakuzô, Hôgai became one of the first leading Nihonga painters, combining Kanô techniques, aesthetics, and themes & motifs with Western ones to create and promote a new form of "neo-traditional" and "national" Japanese painting. While aspects of the Kanô tradition remain very much embedded in Nihonga painting today, perhaps as early as 1900, even in the comparatively conservative Kyoto art world, artists and works were no longer being described as belonging to specific Edo period schools.[9]
Selected Notable Kanô artists
- Kanô Masanobu (1434-1530)
- Kanô Motonobu (1476-1559)
- Kanô Shôei (1514-1562)
- Kanô Eitoku (1543-1590)
- Kanô Genshin
- Kanô Mitsunobu (1561-1608)
- Kanô Takanobu (1571-1618)
- Kanô Sadanobu (d. 1623)
- Kanô Sanraku (1559-1635)
- Kanô Naonobu (1607-1650)
- Kanô Sansetsu (d. 1651)
- Kanô Tan'yû (1602-1674)
- Kanô Yasunobu (1613-1685)
- Kanô Masunobu
- Kanô Tanshin (1653-1718)
- Kanô Shunko (d. 1726)
- Kanô Michinobu (1730-1790)
- Kanô Seisen'in (Osanobu, 1796-1846)
- Kanô Shôsen'in Tadanobu
- Kanô Hôgai (1828-1888)
- Kanô Tatsunobu (Eitoku, 1814-1891)
References
- ↑ Timon Screech, Obtaining Images, University of Hawaii Press (2012), 135-136.
- ↑ Sasaki Johei. "The Era of the Kano School." Modern Asian Studies 18:4 (1984), 648.
- ↑ 3.0 3.1 Screech, 137.
- ↑ Penelope Mason, History of Japanese Art, Second Edition, Upper Saddle River, NJ: Pearson Prentice Hall (2005), 259-263.
- ↑ 5.0 5.1 Mason, 255-257.
- ↑ Screech, 37.; Mason, 258-259.
- ↑ 7.0 7.1 Christine Guth, Art of Edo Japan, Yale University Press (1996), 96.
- ↑ Guth, 97.
- ↑ "Kanô Hôgai," Asahi Nihon rekishi jinbutsu jiten 朝日日本歴史人物事典, Asahi Shimbunsha.; Conant, Ellen (ed.). Nihonga: Transcending the Past. The Saint Louis Art Museum, 1995.
