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327:) format as used for books. Many screens and doors were also painted in monochrome, especially for monasteries, and scrolls were also painted in full colour. Kanō ink painters composed very flat pictures but they balanced impeccably detailed realistic depictions of animals and other subjects in the foreground with abstract, often entirely blank, clouds and other background elements. The use of negative space to indicate distance, and to imply mist, clouds, sky or sea is drawn from traditional Chinese modes and is used beautifully by the Kanō artists. Bold brush strokes and thus bold images are obtained in what is often a very subtle and soft medium. These expertly painted monochrome ink paintings contrast with the almost gaudy but no less beautiful gold-on-paper forms these artists created for walls and screens.
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441:(1572–1618), also a significant painter; Tan'yū's brother Yasunobu was adopted into the main line of the family. Tan'yū headed the Kajibashi branch of the school in Edo and painted in many castles and the Imperial palace, in a less bold but extremely elegant style, which however tended to become stiff and academic in the hands of less-talented imitators. The best Kanō artists continued to work mostly for the nobility, with increasingly stultified versions of the style and subject-matter already established, but other Kanō-trained artists worked for the new urban merchant class, and in due course moved into the new form of the
402:(1543–1590), a grandson of Motonobu and probably his pupil, was the most important painter of this generation, and is believed to have been the first to use a gold-leaf background in large paintings. He appears to have been the main figure in developing the new castle style, but while his importance is fairly clear there are few if any certain attributions to him, especially to his hand alone; in the larger works attributed to him he probably worked together with one of more other artists of the school. Despite having two painter sons, at the suggestion (if not the order) of
315:. That, unlike scrolls, sliding doors were by convention not signed, and screens only rarely, considerably complicates the business of attributing works to painters who were able to paint in several styles. At the same time the school continued to paint monochrome ink-on-silk landscapes for hanging scrolls in the Chinese tradition, as well as other types of subjects such as portraits. The types of scrolls were both vertical for hanging, with a backing usually of thick woven silk, the traditional Chinese format which became the most common in Japan in this period (
197:(1476–1559) and the younger Yukinobu (or Utanosuke). Motonobu is usually credited with establishing the school's distinctive technique and style, or rather different styles, which brought a firmer line and stronger outlines to paintings using Chinese conventions. Less interest was taken in subtle effects of atmospheric recession that in the Chinese models, and elements in the composition tend to be placed at the front of the picture space, often achieving decorative effects in a distinctively Japanese way. Motonobu married the daughter of
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281:). In the grandest rooms most of the walls were painted, although interrupted by wooden beams, with some designs continuing regardless of these. Very many examples in castles have been lost to fires, whether accidental or caused in war, but others were painted for monasteries, or given to them from castles, which if they survived World War II bombing have had a better chance of survival.
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tended to diminish, as all the schools worked in a range of styles and formats, making the attribution of unsigned works often unclear. The Kanō school split into different branches in Kyoto and the new capital of Edo, which had three for much of this period: the
Kajibashi, Nakabashi and Kobikicho, named after their locations in Edo.
367:, and described by Paine as "typical for hurried sweep of composition, for pure nature design, and for strength of individual brush stroke. ... Golden cloud-like areas representing mist are placed arbitrarily in the background, and emphasize the decorative magnitude of what is otherwise the powerful drawing of giant tree forms".
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which began in 1868, by which time the school had divided into many different branches. The Kanō family itself produced a string of major artists over several generations, to which large numbers of unrelated artists who trained in workshops of the school can be added. Some artists married into the
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The range of forms, styles and subjects that were established in the early 17th century continued to be developed and refined without major innovation for the next two centuries, and although the Kanō school was the most successful in Japan, the distinctions between the work of it and other schools
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Common subjects were landscapes, often as a background for animals and dragons, or birds, trees or flowers, or compositions with a few large figures, but crowded panoramic scenes from a high viewpoint were also painted. The animals and plants shown often had moral or perhaps political significance
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The screen is unusually large and there are noticeable discontinuities in the composition at the breaks between (counting from the left) panels 2 and 3, 4 and 5, 6 and 7. These reflect the original format as a set of four sliding doors, which can be deduced from this and the covered-over recesses
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Japanese art, where areas the artist chooses not to represent are hidden beneath solid colour (here gold) representing mist. Designs of this type, dominated by a single massive tree, became a common composition in the school, and this one can be compared to the similar screen of a plum tree by
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The following list is an incomplete group of major figures of their day, mostly from the Kanō family itself; there were many other artists named Kanō who retained links with the various family workshops, and still more who trained in one of these before continuing their careers independently:
515:, an early Kanō example of Yamato-e subject matter. From the Momoyama period there is a set of room decorations on walls, doors and screens by Kanō Eitoku and his father Shōei, in the Jukō-in (abbot's lodging) at the Daitoku-ji monastery in Kyoto; this includes the doors with
155:, recorded from about 1414 (as an apprentice) and 1465, another key figure in the revival of Chinese idealist traditions in Japanese painting. Masanobu began his career in Shūbun's style, and works are recorded between 1463 and 1493. He was appointed court artist to the
296:, illustrated in the gallery below, illustrates a Chinese legend and contains a "Confucian moral points to the dangers inherent in political position", a very topical message for Japan in the period following the disruptive civil wars caused by naked political ambition.
79:, but developed a brightly coloured and firmly outlined style for large panels decorating the castles of the nobility which reflected distinctively Japanese traditions, while continuing to produce monochrome brush paintings in Chinese styles. It was supported by the
91:, but the Kanō painters were firmly professional artists, very generously paid if successful, who received a formal workshop training in the family workshop, in a similar way to European painters of the Renaissance or Baroque. They worked mainly for the nobility,
410:(1561–1635), who married his daughter and succeeded him as head of the school. Sanraku's works (two illustrated here) at their best combine the forceful quality of Momoyama work with the tranquil depiction of nature and more refined use of colour typical of the
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in 1603. The new lords had risen to power by military skill, and mostly lacked immersion in the sophisticated traditions of
Japanese culture long cultivated in Buddhist monasteries and the Imperial court. Bold and vigorous styles using bright colour on a
422:), and he continued to adhere to the brightly coloured style of the Momoyama period. His son Einō painted in the same style, but is better known for a biographical history of Japanese painting, which gave the Kanō school pride of place.
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family and changed their names, and others were adopted. According to the historian of
Japanese art Robert Treat Paine, "another family which in direct blood line produced so many men of genius ... would be hard to find".
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for the door-pulls. The discontinuities would be much less obvious when the screen was standing in a zig-zag pattern, as would normally have been the case. The screen uses the "floating-cloud" convention of much older
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is among the ukiyo-e artists whose work shows influence from the Kanō school. Despite the loss of official patronage with the Meiji period, artists continued to work in the Kanō style until the early 20th century.
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in a
Chinese style, as well as figure paintings and birds and flowers. Few works certainly from his hand survive; they include a large screen with a crane in a snowy landscape in the
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This eight panel screen attributed to Eitoku, around 1590, shows the vigour of the new
Momoyama castle style, which he is probably mainly responsible for developing. It is a
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83:, effectively representing an official style of art, which "in the 18th century almost monopolized the teaching of painting". It drew on the Chinese tradition of
418:(1589–1651) to his daughter and adopted him. Sansetsu and his school remained in Kyoto when most Kanō artists moved to Edo (often after a summons from the
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style of largely narrative and religious subjects, and Kanō paintings subsequently also included more traditional
Japanese subjects typical of that school.
151:(1420–1506), a leader of the revival of Chinese influence, who had actually visited China in mid-career, in around 1467. Sesshū may have been a student of
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and emperors, covering a wide range of styles, subjects and formats. Initially innovative, and largely responsible for the new types of painting of the
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551:(19th century), were trained by the school or otherwise influenced by it. Many other works by the school have received the lower designation of
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1539:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on this school (see index)
1521:
Department of Asian Art. "The Kano School of
Painting". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2003
1533:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on the Kanō school
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433:(originally named Morinobu, 1602–1674), who was recognised as an outstanding talent as a child, attending an audience with the
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Sanretsu from a few decades later (illustrated below), which shows a more restrained version of the first bold
Momoyama style.
101:(1573–1614), from the 17th century the artists of the school became increasingly conservative and academic in their approach.
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at the age of 10, and receiving a good official appointment in 1617. He was Eitoku's grandson through his second son
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on "National
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458:(1816–1853), who adopted the name as a sign of his respect, and painted a series of large scrolls of the
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Analysed at Watson, 44; following
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is said to have assembled a walkway between 100 painted screens as the approach to a
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The following list is of biological members of the Kanō family and its branches.
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Paine, 197. Further comparisons can be made with numbers 12, 13 and 18 in Watson
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illustrated here. Also by Eitoku is the screen with a Cypress tree in the
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Some of the most famous examples of castle decoration can be found at the
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Agency for Cultural Affairs Tokyo / Kyoto / Nara National Museum (1967).
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that is not always obvious today; the Chinese-style ink wash scroll by
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Bridge of dreams: the Mary Griggs Burke collection of Japanese art
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Screen detail depicting arrival of a Western ship, attributed to
940:. One of six folding screens: ink on paper. Shows people playing
755:. Through this lineage, the Kanō family would descend from the
1504:
The Great Japan Exhibition: Art of the Edo Period 1600–1868
1062:, further reading on these specific pieces can be found at
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there is a pair of screens (less two sections lost in an
1394:(紙本金地著色洛中洛外図 shihonkinji chakushoku rakuchū rakugaizu),
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Pair of screens with tigers scared by a storm-dragon by
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The school began by reflecting a renewed influence from
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government, and his works evidently included landscape
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of civil war that ended with the establishment of the
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and amateur painter. Masanobu was a contemporary of
1488:
Paine, Robert Treat, in: Paine, R. T. & Soper A,
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in Japanese), and in the long horizontal handscroll (
252:(feudal lords) that emerged in the struggles of the
1017:Framed imaginary portrait of the 8th century poet
644:school, an offshoot of the Kanō school, based in
507:(illustrated above), and a six-section screen by
1481:Smithsonian, Sackler Gallery. Online exhibition
1064:List of National Treasures of Japan (paintings)
493:List of National Treasures of Japan (paintings)
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571:Working timeline and relations of Kanō artists
139:The school was founded by the very long-lived
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1531:Momoyama, Japanese Art in the Age of Grandeur
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143:(1434–1530), who was the son of Kagenobu, a
1408:Shizuoka Prefectural Museum of Art (1989).
735:The Kanō family of painters was founded by
224:in the Kuroshoin of the Ninomaru palace of
1398:, 2001, accessed 12 May 2009, in Japanese
1058:Several Kanō school artworks are deemed
112:, 17th century, each 1.78 × 3.57 metres.
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986:, late 16th century, one of a set of 10
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579:(1434–1530): founder of the Kanō school
205:, which continued the classic Japanese
553:Important Cultural Properties of Japan
499:come the Chinese-style hanging scroll
414:. When Sanraku had no son he married
35:Birds and Flowers of Spring and Summer
904:The Nakabashi House (Hideyori's side)
517:Birds and flowers of the four seasons
478:Birds and Flowers of the Four Seasons
63:is one of the most famous schools of
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1100:Paine, 177–178; Watson, 353 (quoted)
891:The Kobikicho House (Naonobu's side)
1145:Paine, 178–179 (screen illustrated)
1040:, Chinese-style ink wash scroll by
539:) showing relatively large figures
541:Merry-making under aronia blossoms
228:, showing a fully decorated hall,
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1490:The Art and Architecture of Japan
1265:Paine, 197–198; Watson, 44, 51–53
339:Eight-panel screen attributed to
1391:Scenes in and around the capital
1349:Zhou Maoshu Appreciating Lotuses
1291:Watson, 38–30; Paine, Chapter 11
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525:Scenes in and around the capital
501:Zhou Maoshu Appreciating Lotuses
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380:Height of influence and decline
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862:(1597–1623): son of Mitsunobu
275:) and sets of sliding doors (
1276:History of Japanese Painting
886:(1614–1685): son of Takanobu
880:(1607–1650): son of Takanobu
874:(1602–1674): son of Takanobu
790:(1519–1592): son of Motonobu
784:(1476–1559): son of Masanobu
585:(1476–1559): son of Masanobu
175:. Masanobu's Chinese-style
132:A hanging scroll painted by
1457:. 姓氏家系大辞典刊行会. p. 1618.
1396:Yonezawa City Uesugi Museum
1060:National Treasures of Japan
1048:, Kyoto, late 16th century.
1023:Thirty-six Poetry Immortals
56:
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1510:/Weidenfeld & Nicolson
1091:Paine, 177–178, 177 quoted
1000:Wheat, Poppies, and Bamboo
856:(1559–1635): son of Eitoku
850:(1533–1615): son of Eitoku
844:(1571–1618): son of Eitoku
838:(1565–1608): son of Eitoku
770:From Masanobu until Tan'yū
361:National Treasure of Japan
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193:Masanobu trained his sons
188:National Treasure of Japan
826:(1570–1616): son of Shōei
820:(1577–1654): son of Shōei
808:(1543–1590): son of Shōei
50:
1423:Toyoda, Takeshi (1993).
1366:, Tokyo National Museum.
934:The Four Accomplishments
495:. From the 15th century
331:Cypress screen by Eitoku
186:(illustrated left) is a
1558:Schools of Japanese art
1467:Described by Paine, 188
1412:. 開館三周年記念展. p. 39.
1379:, Tokyo National Museum
1352:, Accessed May 21, 2009
1136:Paine, 166–167, 170–173
307:. In 1588 the warlord
246:of the new families of
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683:(1643–1682), niece of
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184:Kyushu National Museum
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1508:Royal Academy of Arts
1427:. 東京堂出版. p. 293.
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27:Japanese art movement
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180:Appreciating Lotuses
129:Appreciating Lotuses
1453:Ota, Akira (1934).
1025:, Kanō Tan'yū, 1648
547:(16th century) and
349:, 1.7 x 4.61 metres
89:scholar-bureaucrats
1442:. 至文堂. p. 95.
1181:Paine, 188, quoted
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1019:Ōtomo no Yakamochi
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529:Yonezawa, Yamagata
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161:ink wash paintings
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802:: son of Motonobu
796:: son of Motonobu
681:Kiyohara Yukinobu
482:National Treasure
406:, Eitoku adopted
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1363:Maple Viewers
1358:
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1227:e-museum page
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985:
984:Kanō Motohide
981:
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968:
963:
959:
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928:
923:
920:
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910:Kanō Hideyori
908:
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898:
895:
894:
885:
884:Kanō Yasunobu
882:
879:
876:
873:
870:
867:
864:
861:
860:Kanō Sadanobu
858:
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849:
846:
843:
842:Kanō Takanobu
840:
837:
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828:
825:
822:
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818:Kanō Naganobu
816:
813:
810:
807:
804:
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800:Kanō Hideyori
798:
795:
794:Kanō Munenobu
792:
789:
786:
783:
782:Kanō Motonobu
780:
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776:Kanō Masanobu
774:
773:
767:
764:
762:
758:
757:Fujiwara clan
754:
750:
746:
742:
738:
737:Kanō Masanobu
730:
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719:
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713:
710:
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704:
702:* (1660–1728)
701:
697:
694:
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688:
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670:
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664:
663:Kanō Yasunobu
661:
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636:
632:
631:Kanō Sansetsu
629:
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608:
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601:Kanō Hideyori
599:
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583:Kanō Motonobu
581:
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577:Kanō Masanobu
575:
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569:
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558:
556:
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549:Maruyama Ōkyo
546:
542:
538:
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533:Kanō Naganobu
530:
526:
522:
518:
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513:Maple Viewers
510:
509:Kanō Hideyori
506:
505:Kanō Masanobu
502:
498:
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487:
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479:
475:
468:
466:
464:
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457:
456:Kanō Kazunobu
453:
448:
444:
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439:Kanō Takanobu
436:
432:
427:
423:
421:
417:
416:Kanō Sansetsu
413:
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405:
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394:
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379:
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368:
366:
362:
356:
355:Cypress Trees
348:
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346:Cypress Trees
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230:Tanryō Murata
227:
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195:Kanō Motonobu
191:
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141:Kanō Masanobu
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134:Kanō Masanobu
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1377:Cypress Tree
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1280:Honcho gashi
1279:
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1123:
1114:
1105:
1096:
1087:
1078:
1034:
999:
980:fan painting
972:
960:(1570–1616).
933:
897:Kanō Naonobu
878:Kanō Naonobu
854:Kanō Sanraku
830:Kanō Jinnojō
765:
759:through the
734:
690:Kanō Tanshin
657:Kanō Naonobu
619:Kanō Sanraku
562:
540:
524:
516:
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490:
477:
459:
434:
428:
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408:Kanō Sanraku
398:
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313:flower party
298:
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176:
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164:
138:
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117:Early period
110:Kanō Sanraku
92:
74:
69:Meiji period
45:
43:
34:
1553:Kanō school
1455:姓氏家系大辞典 第1巻
1327:Watson, 136
1042:Kanō Eitoku
958:Kanō Naizen
938:Kanō Eitoku
899:(1607–1650)
872:Kanō Tan'yū
848:Kaihō Yūshō
824:Kanō Naizen
806:Kanō Eitoku
778:(1434–1530)
726:(1835–1908)
720:(1828–1888)
714:(1823–1880)
708:(1730–1790)
692:(1653–1718)
685:Kanō Tan'yū
677:(1636–1713)
671:(1631–1697)
665:(1643–1682)
659:(1607–1650)
653:(1602–1674)
651:Kanō Tan'yū
638: [
627:(1570–1616)
625:Kanō Naizen
621:(1559–1635)
609:(1568–1600)
597:(1543–1590)
595:Kanō Eitoku
591:(1551–1601)
486:Kanō Eitoku
431:Kanō Tan'yū
400:Kanō Eitoku
393:Kanō Tan'yū
341:Kanō Eitoku
301:Nijō Castle
287:Kanō Eitoku
263:gold ground
233: [
226:Nijō Castle
203:Tosa school
178:Zhou Maoshu
127:Zhou Maoshu
46:Kanō school
18:Kano School
1547:Categories
1498:0140561080
1474:References
1300:Paine, 202
1217:Paine, 187
1208:Paine, 188
1199:Paine, 197
1190:Paine, 187
1127:Paine, 178
1046:Daitoku-ji
1038:and his Ox
998:Screen of
932:Detail of
866:Kanō Kōkei
812:Kanō Sōshū
788:Kanō Shōei
718:Kanō Hōgai
589:Kanō Soshu
412:Edo period
294:and his Ox
172:Daitoku-ji
761:Kudō clan
753:Kanō clan
669:Kanō Einō
615:(d. 1608)
607:Kanō Dōmi
603:(d. 1557)
447:Hiroshige
324:emakimono
267:gold leaf
166:Shinju-an
157:Muromachi
81:shogunate
39:Kanō Einō
1506:, 1981,
1410:狩野派の巨匠たち
1053:See also
973:View of
700:Kanō-ryu
635:Kyō-ganō
373:Yamato-e
318:kakemono
207:yamato-e
1044:in the
1036:Chao Fu
916:Gallery
751:of the
747:of the
745:samurai
559:Artists
445:print.
443:ukiyo-e
363:in the
292:Chao Fu
249:daimyōs
244:castles
182:in the
145:samurai
94:shōguns
57:Kanō-ha
1496:
462:Arhats
435:shōgun
420:shōgun
278:fusuma
153:Shūbun
149:Sesshū
1071:Notes
975:Kyoto
936:, by
921:Works
646:Kyoto
642:]
531:. By
305:Kyoto
272:byōbu
237:]
1494:ISBN
743:, a
480:, a
460:500
44:The
1002:by
982:by
511:of
503:by
484:by
391:by
343:of
303:in
289:of
87:by
51:狩野派
1549::
1425:家系
978:,
942:go
763:.
640:ja
555:.
235:ja
190:.
54:,
37:,
1282:)
1278:(
1066:.
944:.
698:*
60:)
48:(
20:)
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