are essential for incorporating realism into a painting. Such sketches were the basis for both koshitazu and oshitazu and would often come to form portions of an oshitazu and, in turn, a finished painting. It was common fo r artists to compile albums containing a wide range of these sketches which would serve as visual records of sources for the production of finished paintings. This was especia lly useful when an artist wished to depict flowers or other natural objects th at were not in season at that particular time. Next, let us consider a differe nt type of drawing termed utsushi. An utsushi is a copy-record of a finished painting that i executed the same size as the painting itself or in a reduced format. Smaller, reduced-size copies are ca lled shukuzu. In many cases copies of both types include notations regarding the title of the finished painting, the artist's name, as well as the names of colors employed in the painting. A third type of drawing is what is known as e-dehon. E-dehon are sketch-models or samples that display the idea l form and means of representation of particular objects or subj ects which are to be learned by a student. All three types of non-finished paintings described above are generally lumped under the term funpon. Because of the large number of survi ving Kano school e-dehon, the term funpon has come to indicate the former. Furthermore, all three types were employed within both the Kano and Maruyama-Shijo schools. The quantity and precision of each, however, varied significantly depending on the school. Within the Kano school, e-dehon were predominant and are generally referred to today as funp on. Shitazu, in contrast, were not as common. The situation
within the Maruyama-Shijo school was the reverse. While large numbers of individual shitazu were produced within the school, the ole examples of e-dehon were the samples of tsuketate brush methods (rapid brush methods used for the rea listic descriptions of objects} compiled by Matsumura Keibun (1799-1843) (fig. 5). This distinction between the Kano and Maruyama-Shijo schools is the key to understanding their different systems of instruction. One can exa mine in greater detail the uses of e-dehonlfunpon and shitazu within the Kano and Maruyama-Shijo schools. Within the Kano school, a student would employ a funpon in the folJowing manner: first, the student would place a model (funpon) executed by a senior artist next to a sheet of paper; the student would then precisely transcribe by eye the model onto the paper. Through countless repetitions the student would reach the point where he could reproduce the model without looking at it. This process enabled the student to paint that particu lar subject even without the use of an accurate preparatory sketch, shitazu. The use of models as a means for students to develop painting ski lls and memorize specific compositions necessitated the production of a large number of funpon for each student. The Kano school also produced and carefully stored large numbers of utsushi and shukuzu in order to perpetuate traditional methods and compositions (fig. 2). 7 Within the Kano school, all artists therefore studied the same compositions and brush methods in order to preserve the school's tradition. The Kano school funpon training system may be compared to a child today copying ca lligraphy characters written by an adult. Through countless repetitions, the child will come to 56
5 M atsumura Keibun (1779-1843 ), M aruyamaShij6 school, instructional handscroll of rapid brush methods for rea listic descriptions of o bjects (tsuketate by6h6 e-dehon), handscroll, ink on paper, Kyoto, Rakut6 lh6kan.