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*''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 Kano school|Kyoto Kanô school]] remained strong, and served the Imperial Court and [[kuge|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, [[machi eshi|town painters]] under the umbrella term "''[[machi Kano|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 [[Kano Motonobu|Kanô Motonobu]] (1476-1559), or [[Kano Masanobu|Kanô Masanobu]] (1434-1530), both of whom lived in the late 15th to early 16th centuries.
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 the 1570s, 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-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 (''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/>
[[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>
==Selected Notable Kanô artists==
*[[Kano Masanobu|Kanô Masanobu]] (1434-1530)
*[[Kano Motonobu|Kanô Motonobu]] (1476-1559)
*[[Kano Shoei|Kanô Shôei]] (1514-1562)
*[[Kano Eitoku|Kanô Eitoku]] (1543-1590)
*[[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608)
*[[Kano Takanobu|Kanô Takanobu]] (1571-1618)
*[[Kano Sanraku|Kanô Sanraku]] (1559-1635)
*[[Kano Tanyu|Kanô Tan'yû]]
*[[Kano Osanobu|Kanô Seisen'in]] (Osanobu)
*[[Kano Tadanobu|Kanô Shôsen'in Tadanobu]]
*[[Kano Hogai|Kanô Hôgai]]
*[[Kano Tatsunobu|Kanô Tatsunobu]] (Eitoku, 1814-1891)
==References==
<references/>
[[Category:Sengoku Period]]
[[Category:Edo Period]]
[[Category:Art and Architecture]]
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 Kano school|Kyoto Kanô school]] remained strong, and served the Imperial Court and [[kuge|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, [[machi eshi|town painters]] under the umbrella term "''[[machi Kano|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 [[Kano Motonobu|Kanô Motonobu]] (1476-1559), or [[Kano Masanobu|Kanô Masanobu]] (1434-1530), both of whom lived in the late 15th to early 16th centuries.
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 the 1570s, 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-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 (''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/>
[[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>
==Selected Notable Kanô artists==
*[[Kano Masanobu|Kanô Masanobu]] (1434-1530)
*[[Kano Motonobu|Kanô Motonobu]] (1476-1559)
*[[Kano Shoei|Kanô Shôei]] (1514-1562)
*[[Kano Eitoku|Kanô Eitoku]] (1543-1590)
*[[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608)
*[[Kano Takanobu|Kanô Takanobu]] (1571-1618)
*[[Kano Sanraku|Kanô Sanraku]] (1559-1635)
*[[Kano Tanyu|Kanô Tan'yû]]
*[[Kano Osanobu|Kanô Seisen'in]] (Osanobu)
*[[Kano Tadanobu|Kanô Shôsen'in Tadanobu]]
*[[Kano Hogai|Kanô Hôgai]]
*[[Kano Tatsunobu|Kanô Tatsunobu]] (Eitoku, 1814-1891)
==References==
<references/>
[[Category:Sengoku Period]]
[[Category:Edo Period]]
[[Category:Art and Architecture]]
