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*''Japanese'': [[狩野]]山楽 ''(Kanou Sanraku)''

*''Japanese'': [[狩野]]山楽 ''(Kanou Sanraku)''

Kanô Sanraku was a prominent [[Azuchi-Momoyama period]] painter of the [[Kano school|Kanô school]].

Kanô Sanraku was a prominent [[Azuchi-Momoyama period]] painter of the [[Kano school|Kanô school]], and the leading Kanô artist in [[Kyoto]] for a time after the other masters of the school relocated to [[Edo]].<ref>Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 37.</ref>

Not related by blood to the Kanô masters, he was adopted into the school and the family after [[Toyotomi Hideyoshi]], whom he served as a page, noticed his artistic skill and had him placed there.

Not related by blood to the Kanô masters, he was adopted into the school and the family by [[Kano Eitoku|Kanô Eitoku]], after [[Toyotomi Hideyoshi]], whom he served as a page, noticed his artistic skill and had him placed there.

Sanraku's style has been described as a "retreat from some of Eitoku's dynamic imagery, substituting first a naturalism of expression and then a quality of elegant ornamentation"<ref>Mason. p259.</ref>. His time was marked by a slightly more intellectual or historically-minded approach both on the part of the artist and the patron, as elements or aspects of the ''[[yamato-e]]'' and ''[[kara-e]]'' (''kanga'') styles of the Heian and medieval periods were re-examined and revived.

Sanraku's style has been described as a "retreat from some of Eitoku's dynamic imagery, substituting first a naturalism of expression and then a quality of elegant ornamentation"<ref>Mason. p259.</ref>. His time was marked by a slightly more intellectual or historically-minded approach both on the part of the artist and the patron, as elements or aspects of the ''[[yamato-e]]'' and ''[[kara-e]]'' (''kanga'') styles of the Heian and medieval periods were re-examined and revived.

Following Eitoku's death, [[Kano Mitsunobu|Kanô Mitsunobu]] became head of the Kanô school, and Sanraku returned to a closer relationship with the [[Toyotomi clan]]. During this time, he produced works for [[Fushimi-Momoyama castle]], and for a number of temples and shrines in Kyoto. Among his many other works, Sanraku also created a series of ''fusuma'' panels depicting scenes from the ''[[Genji monogatari]]'', on commission from the [[Kujo family|Kujô family]].

Following Eitoku's death, [[Kano Mitsunobu|Kanô Mitsunobu]] became head of the Kanô school, and Sanraku returned to a closer relationship with the [[Toyotomi clan]]. During this time, he produced works for [[Fushimi-Momoyama castle]], and for a number of temples and shrines in Kyoto. Among his many other works, Sanraku also created a series of ''fusuma'' panels depicting scenes from the ''[[Genji monogatari]]'', on commission from the [[Kujo family|Kujô family]], though only one scene, a carriage fight from the ''Aoi'' chapter, survives, refashioned at some point into a four-fold ''[[byobu|byôbu]]''.

Though not the head of the school, his style would prove extremely influential in shaping the Kanô style of the 17th-18th centuries.

Though not the head of the school, his style would prove extremely influential in shaping the Kanô style of the 17th-18th centuries.

When the Toyotomi fell following the [[1615]] [[siege of Osaka]], Sanraku retreated from the art world, becoming a Buddhist monk and taking on the name Sanraku for the first time (up until then, he had been known as Mitsuyori). After a roughly four-year period of seclusion and absence from the art world, Sanraku returned to Kyoto in [[1619]], commissioned to produce paintings for the Imperial Palace in preparation for the occasion of the marriage of [[Tokugawa Kazuko]], daughter of [[Shogun]] [[Tokugawa Hidetada]], to [[Emperor Go-Mizunoo]].

When the Toyotomi fell following the [[1615]] [[siege of Osaka]], Sanraku retreated from the art world, becoming a Buddhist monk and taking on the name Sanraku for the first time (up until then, he had been known as Mitsuyori). After a roughly four-year period of seclusion and absence from the art world, Sanraku returned to Kyoto in [[1619]], commissioned to produce paintings for the Imperial Palace in preparation for the occasion of the marriage of [[Tofukumon-in|Tôfukumon-in]], daughter of [[Shogun]] [[Tokugawa Hidetada]], to [[Emperor Go-Mizunoo]].

 

He died in 1635, and was succeeded as head of the Kyoto Kanô by his adopted son [[Kano Sansetsu|Kanô Sansetsu]].

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