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*''Born: [[1559]]''
*''Died: [[1635]]''
*''Distinction: [[Kano school|Kanô school]] painter''
*''Other Names: Mitsuyori''
*''Japanese'': [[狩野]]山楽 ''(Kanou Sanraku)''
Kanô Sanraku was a prominent [[Azuchi-Momoyama period]] painter of the [[Kano school|Kanô school]].
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.
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]].
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]].
==References==
*Mason, Penelope. ''History of Japanese Art''. Second Edition. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. pp258-259.
<references/>
[[Category:Artists and Artisans]]
[[Category:Edo Period]]
*''Died: [[1635]]''
*''Distinction: [[Kano school|Kanô school]] painter''
*''Other Names: Mitsuyori''
*''Japanese'': [[狩野]]山楽 ''(Kanou Sanraku)''
Kanô Sanraku was a prominent [[Azuchi-Momoyama period]] painter of the [[Kano school|Kanô school]].
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.
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]].
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]].
==References==
*Mason, Penelope. ''History of Japanese Art''. Second Edition. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. pp258-259.
<references/>
[[Category:Artists and Artisans]]
[[Category:Edo Period]]
