Changes

He seems to have studied under Hanegawa Chinchô (羽川珍重), and an entry in the ''[[Ukiyo-e ruiko|Ukiyo-e ruikô]]'' indicates that he painted dragons and heavenly beings on the ceilings of Kan'ô-ji, a Buddhist temple in the Yanaka neighborhood of [[Edo]]. However, this is all that is known about Tôei from documentary evidence.

He seems to have studied under Hanegawa Chinchô (羽川珍重), and an entry in the ''[[Ukiyo-e ruiko|Ukiyo-e ruikô]]'' indicates that he painted dragons and heavenly beings on the ceilings of Kan'ô-ji, a Buddhist temple in the Yanaka neighborhood of [[Edo]]. However, this is all that is known about Tôei from documentary evidence.

His famous ''[[uki-e]]'' (vanishing point perspective) painting of a Korean procession through the streets of Edo, with [[Mt. Fuji]] and [[Edo castle]] visible in the far background, is said to depict the [[1748]] Korean mission. Slips of paper attached to the box in which the scroll is stored at the Kobe City Museum indicate that it was commissioned for the young [[Tayasu Kojiro|Tayasu Kojirô]] (d. [[1453]], age 9; son of [[Tayasu Munetake]] and grandson of [[Shogun]] [[Tokugawa Yoshimune]]). However, for such an unknown painter to attract a commission from such an elite patron has led some scholars to suggest Tôei might be a pseudonym for another, more prominent, painter of the time.

His famous ''[[uki-e]]'' (vanishing point perspective) painting of a Korean procession through the streets of Edo, with [[Mt. Fuji]] and [[Edo castle]] visible in the far background, is said to depict the [[1748]] Korean mission. Slips of paper attached to the box in which the scroll is stored at the Kobe City Museum indicate that it was commissioned for the young [[Tayasu Kojiro|Tayasu Kojirô]] (d. [[1653]], age 9; son of [[Tayasu Munetake]] and grandson of [[Shogun]] [[Tokugawa Yoshimune]]). However, for such an unknown painter to attract a commission from such an elite patron has led some scholars to suggest Tôei might be a pseudonym for another, more prominent, painter of the time.

A woodblock print version of this same composition, published by [[Okumura Masanobu]], was long identified by art historians as having been painted (designed) by Masanobu; however, [[Ronald Toby]] among others have pointed out that the seals and signatures on the print itself identify Masanobu only as publisher and ''hanmoto'' (owner of the actual physical woodblocks, and therefore the copy-right), arguing that Tôei was most likely the designer of the print.

A woodblock print version of this same composition, published by [[Okumura Masanobu]], was long identified by art historians as having been painted (designed) by Masanobu; however, [[Ronald Toby]] among others have pointed out that the seals and signatures on the print itself identify Masanobu only as publisher and ''hanmoto'' (owner of the actual physical woodblocks, and therefore the copy-right), arguing that Tôei was most likely the designer of the print.