881:. Differences of opinion among the Christian missionaries who had been in Japan for nearly a century helped to bring about the exclusionist policy which at around 1637, closed Japan to all foreign interaction. During this time, Edo Japan flourished into a very political economic and artistic center of Japan. It slowly grew to be one of the largest cities of the world, and its art in many ways showed the spirit of the new and boisterous metropolis. This is when Edo saw an emerging middle class. Fortunately the activities of each class, as long as they did not seem to conflict with the prestige of the higher-ranked military clans, were allowed to develop their own social styles and culture. Before this, the arts were usually reserved for the upper class and the more fortunate courts. Artists were not under the Kyoto courts pressure to produce work only for the higher class. In the "floating world", artists were free to select their own style and even their own target audience. With this, arose new types of art appropriate to the interests of merchants and the middle class. Art was no longer reserved for the elite class, now it belonged to whoever could afford it. The Shōgun of Edo and the Kyoto court continued to support the Tosa school as well as the other prominent school of the time, such as the Kano school.
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reinstated the Tosa school style by incorporating the space and light touch somewhat similar to the earlier Song dynasty and Yuan dynasty (AD 960–1279) Chinese court paintings. He also put greater stress on ink brushwork. Mitsuoki had a style that was decorative, refined, and precise all at the same time, and throughout his career he maintained a consistent delivery. The birds and the landscapes were soft and delicate lines formed some inspiring pieces filled with beauty. His light-hearted linework, originality of design, and excellent execution, Mitsuoki combined tones which were bright without hardness, sometimes with touches of gold forming a harmony of color that was hard to find in his era. He became one of the most renowned
Japanese exponents of bird-and-flower (kachō) painting in the Chinese court manner and is especially noted in his precise depictions of quail. His flower pieces were elegant, and given some tender sediment. Mitsuoki's sternness of his older style, never lost its dignity, but gained gentleness and tranquility. The Emperor, nobles and rich families collected and preserved his books.
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flourished during the Edo period, imploring different understandings of
Japanese customs and Chinese artistic learning. Each school's practice was a closely guarded secret traditionally passed down orally or in short written documents from master to student. Unfortunately due to a multitude of circumstances many of these documents being lost or destroyed, there exists a limited wealth of written documentation. What little scattered and incomplete documentation that still exists is in the form of personal diaries, nikki, lists, letters, and inscriptions on artworks themselves. For many art workshops, labor would be divided based on seniority and skill, with the head of the workshop acting as a quasi-middleman between the aristocratic commissioner and the various craftsmen employed by the workshop; fulfilling the role of commissioner, preservationist and restorationist, appraiser, and official channel of communications.
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courtly style of the Tosa artists, on the other hand, was usually deemed more appropriate for the decorations of the private rooms occupied by women and children and for the albums and scrolls that were often included in weddings. However, there was a clear stylistic relationship among the members of the two schools. Not just the artwork was similar between the Tosa school and the Kanō school, the family line between the two has even been crossed at one time. The daughter of Tosa
Mitsunobu married Kanō Motonobu. After the decline in popularity of the Tosa school during Mitsumochi's period (1496–1559), the Kano school overshadowed it and the Tosa school's artists usually worked under Kano school artists, sometimes helping sketch out final pieces for Kanō artists. The lack of innovation in the Tosa school style made a disconnection with the Japanese public because it did not capture the peoples hopes and dreams.
307:. The school was affected by the growing popularity of the study of Japanese history and the rise of the imperial family. Around the nineteenth century, there was a distinct revival under two artist named Tanaka Totsugen and Reizei Tamechika who specialized in repeating Mitsuoki's work. Their work reaffirmed the Japanese spirit of Yamato-e, which they made many copies. Their art reflected political philosophy and sometimes had a historical connecting because several of the artists were also faithful to the imperial cause. The two artists were revivalists, and got so caught up in painting historical figures, that they overlooked the special greatness of the early artists who specialized in movement and realism. The most successful successors invented their own artistic style but kept the predecessors tradition of painting in strong color with an intense feeling of natural beauty.
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286:(1646–1710). Many of the successors used the same techniques and style of painting as Mitsuoki, this lack of innovation by Mitsuoki's successors produced many works that could be misappropriated to Mitsuoki. This lack of adaption to the continuously evolving 17th century Japanese culture lead to the gradual disinterest in the family's work and its eventual die out in the nineteenth century. In 1690, Mitsuoki contributed to The Authoritative Summary of the Rules of Japanese Painting, Honchou gahou daiden (本朝画法大伝) a book detailing many Tosa painting techniques that had been traditionally handed down orally.
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360:(AD 1271–1368) Chinese court paintings, used cartoon-like sketch linework, innovation of historical designs, and excellent execution of decorative elements. With the great shifts to Japanese cultural and social structures over the two hundred and fifty-odd years, new art schools and practices arose that the recently popular revival of the Tosa had to contend with. The new influences such as the Kano style and Ukiyo-e, with their reimaging of birds, beasts, and the plant life of Japan can be seen influencing Tosa Mitsuoki's practice.
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319:(大和絵) style of classical Japanese painting. Yamato-e originated from interest in reproducing early Tang dynasty (AD 618–907) paintings, and was later reinvented and further refined to fit Japanese cultural perceptions in the late Heian period (794-1185). Yamato-e, sometimes referred to as wa-e or kazu-e (和絵) had become synonymous with the Tosa-ha by the
241:. When the school was settled in Sakai, Mitsunori painted for townsmen. The school was not as prolific as it once was when Mitsunobu, who painted many fine scrolls (1434–1525) ran the school. Mitsuoki moved out of Sakai with his father, in 1634 and into the city of Kyoto. There, he hoped to revive the Tosa school to gain status back into the
423:. The sparseness of objects grounding Mitsuoki's space invites the viewer to wonder among the ambiguous vastness of the space; where as Mitsunori's work does not cause this sharing of reality and treats the viewer as if they are watching through a window. Mitsuoki's clouds feel as though they could be dispersed and reveal hidden figures.
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prestige to artists of the later Kanō school, whose studies included a wider scope and bigger variety of subject matter. The paintings of the Tosa school were distinguished by the elegance and precision of its design, while their counterparts, the Kanō school, was well known for its power and freedom of design.
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as a way for
Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e (唐絵). Yamato-e incorporated various visual and literary techniques for establishing narrative. Works were not always accompanied with text and may rely on heavily on period specific visual motifs,
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period, during the years of 1600 to 1868. Tosa school works were again favored by the Kyoto elites at court. Showing influence form
Chinese paintings and echoing stylistic choices of the Kano School, Mitsuoki's painting style deviated more so from Tosa style traditions than his predecessors granting
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with their samurai in gorgeous ceremonial costumes, were painted as time went on with extreme care and patience and attention to detail. As the years went on, their style became more and more precise, almost down to a science. The Tosa painters towards the end of their popularity, lost much of their
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The Tosa school, in its own history, expressly stated that the school founded in the ninth century owed nothing to the influence of China. But the style of the Tosa school looks like it was greatly influenced by
Chinese painting. Apart from religious subjects, it occupied a special position in art
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The court and political affiliated art school practices of historical Japan are far different than their contemporary counterparts in Europe and
America, but more akin to a family craft, business, or workshop than academic institution where any person may apply and learn the trade. Many practices
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paintings. At the same time, they both served different uses within the Edo court. Kanō painters were usually commissioned to paint the screens and hanging scrolls displayed in official audience halls and other public spaces in shōgun and daimyō residences where men gathered and intermixed. The
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One of the best Yamato-e painters of the time was
Mitsuoki. His paintings reintroduced subject matter into the arts. His urbanized surroundings heavily influenced his style, with a wide angle of art ranging from "Quails and Flowers", to tree and scenery paintings on gold leaf screens. Mitsuoki
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If the past works of the Tosa school and Kanō school are closely observed, there is clear proof that both of the traditional schools have a similar way of handling their draftsmanship. Both were patronized from the
Japanese courts around the same time period, and specialized in Yamato-e and
413:. Here we are better able to see how Mitsuoki uses void between defining figures, with tonal washes of color only being broken by equally formless instances of gold leaf hinting at an obscuring fog. Here, the fog's nature acts similar to the curtain and delineates the dreamscape of
336:(花鳥絵). Many of these popular symbols and icons from mimicking Chinese practices, treating the original Chinese masterwork as a sort of prototype to improve upon. Popular formats for Mitsuoki's pictures were wall scrolls
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court. Around the time of 1654 he gained a position as court painter (edokoro azukari) that had for many years traditionally been held by the Tosa family, but was in possession of the Kano school since the late
958:
Fumiko, Cranston, “Translation of Waka Poems on Tosa
Mitsuoki's Flowing Cherry and Autumn Maple with Poem Slips,” Beyond Golden Clouds, ed. Katz, Janice. 48–57. Chicago, Illinois: The Art Institute of Chicago,
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Ueda, Makoto. Literary and Art Theories in Japan. Chapter 9: "In Search of the Lifelike: Mitsuoki on the Art of Painting". Ann Arbor: University of *Michigan Center for Japanese Studies, 1991.
877:, the city went into a long period of isolation. The third shōgun of Tokugawa, shut off Japan from the world to make his hold more secure, besides very limited contacts at the port of
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him a wider audience of appeal to the changing art tastes of the imperial court. Mitsuoki descendants succeeded him in his role as edokoro azukari, starting with his son,
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Guth, Christine. The Tokugawa as patrons and collectors, in The Japan of Shoguns: The Tokugawa Collection. Montreal, Quebec, Canada: Montreal Museum of Fine Arts, 1989.
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from the viewer's reality much more effectively than the frame-like mist of Mitsunori's interpretation. Mitsuoki's space is voluminous, much like that of Kano Tan'yu's
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It is easy to see the drastic shift of Mitsuoki's artistic practice when put in comparison with his father, Mitsunori, and fellow contemporary Kano-he artist,
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Stern, Harold. "Edo and Modern Periods." Birds, Beasts, Blossoms, and Bugs: The Nature of Japan. New York, New York: Harry N. Abrams, Inc., Publishing. 65-67.
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icons, and symbols to relay a story or theme. Tosa style by the time of Mitsuoki focused heavily on depicting themes of plants and nature, famous places,
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1654:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Tosa Mitsuoki (see index)
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Watson, Professor William. The Great Japan Exhibition: Art of The Edo Period 1600–1868. Royal Academy of Arts/Weidenfeld & Nicolson, 1981.
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The later Tosa style of the eighteenth century showed very little strength or promise due to loss of patrons and overshadowing from the
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Rosenfield, John M. (1993). "Japanese Studio Practice: The Tosa Family and the Imperial Painting Office in the Seventeenth Century".
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Rosenfield, John M. (1993). "Japanese Studio Practice: The Tosa Family and the Imperial Painting Office in the Seventeenth Century".
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that featured up to six panels. Mitsuoki's style incorporated the depth and calligraphy techniques of ink wash brushwork similar to
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Lillehoj, Elizabeth. Acquisition: Art and Ownership in Edo-Period Japan. Warren, CT: Floating World Editions Inc, 2007. 9, 172.
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Swann, Peters C. An Introduction to the Arts of Japan. 15 West 47th Street, New York, New York: Frederick A. Praeger, inc.
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specializing in the taste of the Court of Kyoto. Quails and Peacocks, cherry tree branches in flower, cocks and hens,
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Gerhart, Karen M. The Eyes of Power: Art and Early Tokugawa Authority. Honolulu: University of Hawaii Press, 1999.
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1600:"［ID:890］ 三十六歌仙画帖 ： 収蔵品情報 | 収蔵品データベース | 東京藝術大学大学美術館 The University Art Museum, Tokyo University of the Arts"
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Guth, Christine. Art of Edo Japan the Artist and the city, 1615–1868. New York: H.N. Abrams, 1996.
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In 1634, Mitsuoki relocataed from Sakai, Osaka prefecture to the capitol at the behest of
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Munsterberg, Hugo. Arts of Japan An Illustrated History. Boston: Tuttle Publishing, 1957.
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Tosa Mitsuoki - Flowering Cherry and Autumn Maples with Poem Slips - Google Art Project
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Minamoto, H. An Illustrated History of Japanese Art. Japan: Kyoto K. Hoshino, 1935.
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344:) that would be read from right to left with the accompanied story, sliding doors
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1604:東京藝術大学大学美術館 The University Art Museum, Tokyo University of the Arts - 収蔵品データベース
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Tosa Mitsuoki succeeded his father, Tosa Mitsunori (1583–1638), as head of the
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Mitsuoki Tosa - Portrait of Hojo Ujinaga - 2013.71 - Detroit Institute of Arts
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1091:吉田,友之. 桑実寺縁起. "続日本絵巻大成13 桑実寺縁起・道成寺縁起". Ed.小松茂美. 東京: 中央公論社, 1982. 122–132.
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Cunningham, Michael R. (1984). "Byōbu: The Art of the Japanese Screen".
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Cunningham, Michael R. (1984). "Byōbu: The Art of the Japanese Screen".
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1415:. University of Michigan Center for Japanese Studies. pp. 130–167.
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1535:井澤英理子 「土佐光起筆 酒折宮連歌図（日本武尊像）」『国華』第1484号、pp.23-27、ISBN 978-4-02-291484-2。
1097:千野, 香織. 南北朝・室町時代の絵巻物 東京, ブリュッケ, 星雲社, 2010. 170–177. ISBN 9784434145834
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1319:(3rd ed.). New Haven: Yale University Press. pp. 210–11.
1043:. New York, New York: Harry N. Abrams, Inc., Publishing. 30, 65–67.
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Lillehoj, Elizabeth,Screech, Timon. "Owning Edo-Period Paintings".
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Bridge of dreams: the Mary Griggs Burke collection of Japanese art
1245:. University of Michigan Center for Japanese Studies. p. 129.
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Mitsumochi (光茂) (1496 – ca.1559) 12th Generational Head of Family.
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Tosa school (Japanese painting) (Britannica Online Encyclopedia).
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Paine, Robert T. The Pelican History of Art. Penguin Books, 1975.
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Phillips, Quitman Eugene (2000). "Basic Operations and Agency".
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Phillips, Quitman Eugene (2000). "Basic Operations and Agency".
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Mitsumoto (光元) (fl. 1530–1569) 13th Generational Head of Family.
1001:. Stanford, California: Stanford University Press, 2000. 25–37.
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Kano Tan'yu - Phoenixes by Paulownia Trees - Google Art Project
1606:(in Japanese). Tokyo University of the Arts University Museum.
1413:. "In Search of the Lifelike: Mitsuoki on the Art of Painting"
1243:. "In Search of the Lifelike: Mitsuoki on the Art of Painting"
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and brought the Tosa school to Kyoto after around 50 years in
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Mitsunari (光成) (1646–1710) 17th Generational Head of Family.
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Mitsuyoshi (光吉) (1539–1613) 14th Generational Head of Family.
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Mitsunori (光則) (1583–1638) 15th Generational Head of Family.
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Mitsunobu (光信) (1434–1525) 11th Generational Head of Family.
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Mitsuoki (光起) (1617–1691) 16th Generational Head of Family.
1454:"Bonhams : Tosa Mitsuoki (1617-1691): Ono no Komachi"
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Phillips, Quitman Eugene (2000). "Documenting Practices".
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Phillips, Quitman Eugene (2000). "Documenting Practices".
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The University Art Museum - Tokyo University of the Arts
934:. Warren, CT: Floating World Editions Inc, 2007. 23–51.
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for the court. In 1654, Mitsuoki succeeded his father,
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Birds, Beasts, Blossoms, and Bugs: The Nature of Japan
895:
Fujiwara Yukihiro, Tosa Shogen (藤原 行広) (fl. 1406–1434)
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Paine, Robert Treat; Soper, Alexander Coburn (1981).
1088:守屋,正彦. すぐわかる日本の絵画. 東京: 東京美術, 2002. ISBN 4-8087-0716-0
1619:"Flowering Cherry and Autumn Maples with Poem Slips"
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51:Painting of Tosa Mitsuoki by Tosa Mitsunari in the
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932:Acquisition: Art and Ownership in Edo-Period Japan
799:Flowering Cherry and Autumn Maples with Poem Slips
1552:. Tokyo University of the Arts University Museum.
1478:. Tokyo University of the Arts University Museum.
1173:東京, ブリュッケ, 星雲社, 2010. 170-177. ISBN 9784434145834
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997:Phillips, Quitman. "Circumstances of Painting".
277:bureau". The Tosa-ha prospered throughout the
224:, November 21, 1617 – November 14, 1691)
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1342:The Practices of Painting in Japan, 1475-1500
1263:The Practices of Painting in Japan, 1475-1500
1007:The Practices of Painting in Japan, 1475-1500
999:The Practices of Painting in Japan, 1475-1500
965:The Practices of Painting in Japan, 1475-1500
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1147:新潮世界美術事典(Shincho Encyclopedia of Wordld Art)
64:edokoro azukari, Head Imperial Court Painter
1564:"hanging scroll; painting | British Museum"
1383:The Bulletin of the Cleveland Museum of Art
1049:The Bulletin of the Cleveland Museum of Art
262:. Mitsunori began painting ceremonial fans
1436:"Quail and Millet - DMA Collection Online"
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392:Kashiwagi, Genji monogatari, Tosa Mitsuoki
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1039:Stern, Harold. "Edo and Modern Periods."
660:Taigan Historical Museum, Sun Collection
1525:Taigan Historical Museum, Sun Collection
1094:宮島, 新一. 日本の美術247 土佐光信と土佐派の系譜, 至文堂. 1986.
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1227:. Japan: Tokyo University of the Arts.
382:Tosa Mitsunori Genji-Monogatari Detail
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1582:"C0077438 屋島宇治川合戦図屏風 - 東京国立博物館 画像検索"
1305:. 東京: 東京美術, 2002. ISBN 4-8087-0716-0
1472:"C0020178 十二ヶ月歌意図巻 - 東京国立博物館 画像検索"
1411:Literary and Art Theories in Japan
1241:Literary and Art Theories in Japan
893:1352–1389) Founder of the Tosa-ha.
865:Arts in Edo during Mitsuoki's life
775:Album of Thirty six Immortal Poets
25:
1546:"C0087552 源氏物語図屏風 - 東京国立博物館 画像検索"
1496:. The Metropolitan Museum of Art.
1317:The art and architecture of Japan
1118:The Art and Architecture of Japan
723:Mushrooms Skewered on Bamboo Twig
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812:Tosa sakon shogen Mitsuoki hitsu
735:Tosa sakon shogen Mitsuoki hitsu
675:Tosa sakon shogen Mitsuoki hitsu
654:Tosa sakon shogen Mitsuoki hitsu
580:Tosa sakon shogen Mitsuoki hitsu
749:Yashima Uji River Hejian screen
687:Genji Monogatari Folding Screen
803:Ink and color, Gold and Silver
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1196:Studies in the History of Art
1070:Studies in the History of Art
681:Yamanashi Prefectural Museum
476:124.14 × 69.85 × 2.54 cm
1617:Mitsuoki, Tosa (1649–1686).
1514:. Detroit Institute of Arts.
1315:Paine, Robert Treat (1981).
889:Fujiwara Yukimitsu (藤原 行光) (
421:Phoenixes by Paulownia Trees
1625:. Art Institute of Chicago.
913:Bibliography and references
851:Tosa School and Kanō School
806:2 x 6 Panel Folding screens
315:Mitsuoki reinvigorated the
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1508:"Portrait of Hojo Ujinaga"
587:Metropolitan Museum of Art
506:Tosa sakon shogen Mitsuoki
479:Tosa sakon shogen Mitsuoki
348:and folding screen panels
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1490:"Egrets and Cotton Roses"
1350:10.1515/9781503617773-008
1271:10.1515/9781503617773-006
1124:. Yale University Press.
1015:10.1515/9781503617773-008
973:10.1515/9781503617773-006
623:Detroit Institute of Arts
328:(名所絵), the four seasons,
254:Restoring the Tosa School
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1683:People from Sakai, Osaka
1588:. Tokyo National Museum.
819:Art Institute of Chicago
604:Portrait of Hojo Ujinaga
516:Ishiyama-dera engi emaki
332:(四季絵), bird-and-flower,
1442:. Dallas Museum of Art.
567:Egrets and Cotton Roses
340:(掛け物), or handscrolls (
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694:6 panel folding screen
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608:Ink and Color on paper
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1570:. The British Museum.
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727:Ink and Color on Silk
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543:Ink and color on silk
539:Song of Twelve months
497:Ink and Color on Silk
470:Ink and Color on Silk
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53:Kyoto National Museum
1648:at Wikimedia Commons
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486:Dallas Museum of Art
1145:Shinchosha (1985).
759:155.1x365.4 (panel)
697:100.7x286.0 (panel)
551:Volume 2 29.0x663.5
549:Volume 1 29.0x665.0
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1586:webarchives.tnm.jp
1568:The British Museum
1550:webarchives.tnm.jp
1476:webarchives.tnm.jp
1344:. pp. 62–92.
1265:. pp. 13–24.
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1458:www.bonhams.com
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1260:
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1250:
1237:
1236:
1232:
1221:土佐, 光起 (1690).
1220:
1219:
1215:
1193:
1192:
1177:
1168:
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1067:
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904:
902:
900:
898:
896:
894:
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871:Tokugawa Ieyasu
867:
853:
839:
837:The Tosa School
809:144x286 (panel)
550:
434:
313:
301:
292:
256:
217:
212:
189:
172:
168:Tosa Mitsuchika
144:
140:
124:
118:
116:
92:
80:
74:
69:
55:
35:
28:
23:
22:
15:
12:
11:
5:
1701:
1699:
1691:
1690:
1688:Court painters
1685:
1680:
1675:
1670:
1660:
1659:
1656:
1655:
1649:
1635:
1634:External links
1632:
1629:
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1609:
1591:
1573:
1555:
1537:
1528:
1517:
1499:
1481:
1463:
1445:
1427:
1418:
1408:Makoto, Ueda.
1400:
1389:(7): 223–232.
1373:
1358:
1332:
1325:
1307:
1294:
1279:
1248:
1238:Makoto, Ueda.
1230:
1213:
1175:
1162:
1155:
1149:. Shinchosha.
1137:
1130:
1106:
1105:
1103:
1100:
1099:
1098:
1095:
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1089:
1086:
1065:
1055:(7): 223–232.
1044:
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995:
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960:
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742:British Museum
739:
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730:Hanging scroll
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448:Dimensions(cm)
446:
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374:
373:
370:
367:
366:Tosa Mitsunori
312:
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284:Tosa Mitsunari
275:court painting
268:Tosa Mitsunori
255:
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195:
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184:Tosa Mitsunori
180:
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163:Tosa Mitsunari
159:
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153:
152:
143:(aged 73)
137:
133:
132:
114:
110:
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98:Tosa Mitsunari
95:
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1646:Tosa Mitsuoki
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779:Ink and Color
778:
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546:2 part scroll
545:
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532:Ishiyama-dera
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369:Tosa Mitsuoki
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251:
250:(1338–1573).
249:
244:
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236:
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216:
215:Tosa Mitsuoki
210:
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201:Japanese name
192:
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34:Tosa Mitsuoki
31:
19:
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1199:
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1171:南北朝・室町時代の絵巻物
1170:
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964:
931:
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868:
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790:17th Century
764:17th Century
738:17th Century
702:17th Century
678:17th Century
657:17th Century
596:MET DP700742
583:17th Century
577:118.5 × 56.3
482:17th Century
426:
420:
414:
372:Kano Tan'yu
358:Yuan dynasty
354:Song dynasty
314:
302:
293:
257:
232:
214:
213:
208:
141:(1691-11-14)
93:Succeeded by
70:
1673:1638 deaths
1668:1617 births
1512:www.dia.org
1440:www.dma.org
503:73.3 x 31.3
411:Kano Tan'yu
305:Kanō school
299:After Death
235:Tosa school
81:Preceded by
1662:Categories
1460:. Bonhams.
1303:すぐわかる日本の絵画
1202:: 78–102.
1102:References
1076:: 78–102.
614:127.2x56.4
509:17 Century
119:1617-11-21
1368:246265535
1289:246248320
1122:(preview)
1033:246265535
991:246248320
651:75.2x31.5
451:Signature
442:Technique
342:emakimono
75:1654–1681
71:In office
1395:25159871
1208:42620404
1169:千野, 香織.
1082:42620404
1061:25159871
885:Ancestry
879:Nagasaki
642:portrait
338:kakemono
326:meisho-e
317:Yamato-e
272:Imperial
209:Tosa(土佐)
199:In this
186:(father)
156:Children
18:Mitsuoki
1301:守屋,正彦.
858:ukiyo-e
844:Daimyōs
815:1654-81
782:booklet
619:1670-81
556:1664-68
528:1655-81
521:4 parts
334:kachō-e
330:shiki-e
205:surname
1393:
1366:
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1323:
1287:
1277:
1224:本朝画法大伝
1206:
1153:
1128:
1080:
1059:
1031:
1021:
989:
979:
869:After
670:Scroll
460:image
445:Format
346:fusuma
226:was a
203:, the
177:Parent
1623:Artic
1391:JSTOR
1364:S2CID
1285:S2CID
1204:JSTOR
1078:JSTOR
1057:JSTOR
1029:S2CID
987:S2CID
959:2009.
439:Title
432:Works
350:byobu
311:Style
264:sensu
243:Kyoto
239:Sakai
221:土佐 光起
150:Japan
146:Kyoto
130:Izumi
126:Sakai
1354:ISBN
1321:ISBN
1275:ISBN
1151:ISBN
1126:ISBN
1019:ISBN
977:ISBN
454:Year
136:Died
113:Born
40:土佐光起
1346:doi
1267:doi
1011:doi
969:doi
891:fl.
875:Edo
279:Edo
207:is
1664::
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1602:.
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1510:.
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1474:.
1456:.
1438:.
1387:71
1385:.
1362:.
1352:.
1283:.
1273:.
1251:^
1200:38
1198:.
1178:^
1074:38
1072:.
1053:71
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230:.
148:,
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1159:.
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1013::
993:.
971::
218:(
211:.
121:)
117:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
