Kano Artists - Volume 2 3rd edition

The Art of the Kano School – Volume 2 A Collection of Japanese Scrolls from the Early 1500’s to the Late 1800’s

By John P. Westfall 3rd Edition

Introduction It is true that the greatest of all Japanese two dimensional ancient art sprang forth in the form of the full screen, whether a “fusuma” (sliding door) or a “byobu” (folding screen). Countless great works adorned the halls of the ancient castles of Osaka, Nijo, Himeji, Nara, Nagoya and more. But most of those pieces have been spirited away, either into private collections and museums, or destroyed over time by Mother Nature or in the many wars that fell upon their walls. Many of these works were painted by great artists such as Motanobu, Tanyu, Naganob, Eitoku or others, each of whom started their studies on a much smaller scale, on either paper or silk, which were then mounted into the more readily available or affordable form of the Japanese scroll called “kakemono” or “kakejiku”. Each of these artists spent years in their respective schools as young apprentices, studying the collections of paintings done in house by their mentors or by the works of Chinese masters generations before. Each element that was to find its way into a larger fasuma or byobu, was studied, painted and repainted until it was deemed worthy by their masters. Painting after painting was produced in the smaller and sometimes more intimate form of the “makuri” or “honshi” (unmounted painting). Finally, with a trove of smaller paintings left behind, these students were allowed to participate in the larger commissions of the halls of the great palaces under the watchful eyes of their masters.* Is it possible that this process may have left behind paintings available not to just the elite, but to the general population as well?

The Rise of the Kano School Beginning with Kano Motanobu, a family of artists sprang up in Kyoto that dominated the art scene in Japan for over a dozen generations, spanning from the mid-16th century until its last great master, Kano Hogai died in the late 1800’s. Earlier in the Muromachi period, Zen scholars from China brought their collections of paintings and beliefs to Japan, influencing artists such as Tenson Shubun, Sesshu Toyo, Sesson Shukei and others. Their designs were influenced by these early Chinese paintings, synthesizing monochrome traditions and styles from the Sung and Yuan dynasties and concepts from the Che school of the Ching dynasty. Motanobu followed the footsteps of his father, Kano Masonobu, therein creating a vernacular that was admired and sought after by the Tokagowa Empire. Subsequently, each generation found the talent to satisfy its patrons and maintain a legacy that endured. Over the centuries, several major “schools” developed, each deriving its name from the various streets or neighborhoods within the confines of Kyoto and Tokyo (Edo). These included the Nakabashi, Kobikicho, Hamamachi, Kajibashi, Surugadashi and Kyoto/Kano lines.* It is with the collection contained in this exhibit that one will find the early works by these artists that have been largely ignored by these larger institutions. It has been my good fortune to have been able to collect a number of these scrolls and to be able to display them for the enjoyment of others.** *Excerpt from Wikipedia ** It is my hope that these paintings are original, but without continuous provenance, it is impossible to know.

John P. Westfall

Comments? Please contact me at johnpwestfall@gmail.com

The Japanese Scroll The construction of the Japanese scroll has been refined over the centuries to a work of art unto itself. Many scrolls are accompanied by a wooden box or “tomobako”, made of paulownia wood, native to Japan and similar in resistance to vermin and decay as cedar. On occasion a lacquered outer box called a “nijubaku” may contain the inner box.

To start, a painting or “honshi” is mounted to a cloth or “washi” (Japanese paper) and is the base onto which the artwork is attached. The "Maruhyousou" style of kakejiku has four distinct named sections. The top section is called the "ten" heaven. The bottom is the "chi" earth with the "hashira" pillars supporting the heaven and earth on the sides. Across the top and bottom are the borders or “ichimoji” which are often of fine brocade with the upper border usually being twice the depth as the lower one. This is due to the fact that in the past, Kakemono were viewed from a kneeling (seiza) position and provided perspective to the honshi main work. This tradition carries on to modern times.

Hassou (Cloth rod) Futai Ten (Heaven) Ichimonji

Hashira (Pillars) Honshi

At the bottom of the scroll, a crosspiece referred to as the” jiku” around which the scroll is rolled. Weights or “fuchin” may be attached on either side to assist the scroll from blowing in the wind or simply for decoration. It is often times capped at either end with wood, bone, pottery or tusks of elephant. The top piece is referred to as the “hyoumoku” which allows the scroll to be hung from a cord.

Finally, many scrolls will also have two narrow silk brocade strips, known as “futai,” hanging down vertically from their top edge.

In the Japanese home, often a series of hanging scrolls would be rotated one-by-one in their honored, central display alcove area known as the home’s “tokonoma.” Many such scrolls were considered to be “seasonal,” while others might relate to specific holidays or special occasions. When not on display, they would then be carefully rolled, placed inside their protective paulownia storage boxes, and then typically stored in a drawer of a nearby “tansu” (wooden dresser).

Chi (Earth) Jiku (End knobs)

Kano School of Japanese Painting Muromachi Period 1392

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Ikkyu Sojin (1394-1481) Tensho Shubun (1416-1460) l l ----------Sesshu Toyo (Pupil 1420-1506) Sesson Shukei (Influenced by Shubun and Sesshu 1504-1589) l ---------------------------Kano Masanobu (1434-1530) l l -----------------------------Kano Motonobu (1476-1559) I l ------------------------------------Kaiho Yushi (Pupil 1533-1615) l l -----------------------------Kano Hideyori (?-1557) l l -----------------------------Kano Munenobu (1514-1562) l l -----------------------------Kano Shoei (1519-1592) l l ----------------Kano Eitoku (1543-1590) l l l -----------------------Kano Soshu (1551-1601) l l Kano Naganobu (1577-1654) mei Kyuhaku l -----------------------------------l l l -----------------------------------Kano Naizen (1570-1616) I l ---Hasegowa Tohaku (Pupil 1539-1610) l l ---------Kano Sanraku (Pupil 1559-1635) (Kyo Kano Line) l l l ----------------Kano Mitsunobu (1561-1608) l l l -----------------------Kano Takanobu (1571-1618) l l l l ----------------------Kano Tanyu Morinobu (1602-1674) (Founder of Kajibashi Line) l l l l l ----------------------Kano Naonobu (1607-1650) (Founder of Kobikicho Line) l l l l l l -----------------------------Kano Eishin Yasunobu (1613-1685) (Founder of Nakabashi Line) l l l I l l l l ----------------------Kano Toun Masanobu (Pupil of Kano Tanyu) l l l I l l l l ----------------------Kano Tsunenobu (1636-1713) (2nd generation Kobikicho head) l l l l l l l l ----------------------Kano Chikenobu (1660-1728) (3rd generation Kobikicho head) l l l l l l l l l ----------------------Kano Zuisen Minenobu (1662-1708) (Founder of Hamamachi Line) l l l l l l l l------------------------------------Kano Eisen'in Furunobu (1696-1731) (4th generation Kobikicho head) l l l l l l l l -----------------------------Kano Eisen'in Michinobu (1730-1790) (5th generation Kobikicho head) l l l l l l l l -----------------------------Kano Yosen'in Korenobu (1753-1808) (6th generation Kobikicho head) Plate No. 8 l l l l l l l l ----------Kano Isen'in Naganobu (1775-1828) (7th generation Kobikicho head) Plate No. 15 l l l l l l l l -----------------------Kano Seisen'in Osanobu (1796-1846) (8th gen. Kobikicho head) Plate Nos. 16, 17 & 18 l l l l l l l l l -----------------------------Kano Eitoku (Tsunenobu, Tachinobu 1814-1891) Plate Nos. 20, 21 & 22 l l l l l l l l -----------------------Kano Shosen'in Masanobu (Tadanobu 1823-1880) (9th generation l l l l Kobikicho head) l l l l -----------------------Kano Enshin Hogai (Pupil 1828-1888 ) (Disc.by Fenollosa) Pl. No. 24 l l l l l l l l -----------------------Hashimoto Gaho (Pupil 1835-1908) Plate Nos. 26 & 27 l l l l l l ------------------------------------------Kano Tansetsu (1655-1714) l l l l l l ------------------------------------------Kano Tanshin Morimasa (1653-1718) (2nd generation Kajibashi head) l l l l l l -----------------------Kano Tansen Akinobu (1686-1728) (3rd generation Kajibashi head) l l l l l l ------------------------------------Kano Tanjo Moritomi (1706-1756) Plate No. 6 (4th generation Kajibashi head) l l l l l l -----------------------Kano Tanrin Morimi (1732-1777) (5th generation Kajibashi head) l l l l l l -----------------------Kano Tamboku Morikuni (1760-1832) (6th generation Kajibashi head) l l l l l l ----------------Kano Tanshin Morimichi (1785-1835) (7th generation Kajibashi head) l l l l l l ----------------Kano Tan'en Morizane (1805-1853) Plate No. 19 (8th generation Kajibashi head) l l l l l l ----------------Kano Tansen Moritsune (1829-1866) (9th generation Kajibashi head) l l -----------------------------Kano Tambi Moritaka (1840-1893) l l -----------------------------Kano Tanrei (Pupil 1857-1931)

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Kano School of Japanese Painting Muromachi Period 1392

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l l l l ----------------------------Kano Eishin Yasunobu (1613-1685) (Founder of Nakabashi Line) l l l l l I----------Kano Tokinobu (1642-1678) (2nd generation Nakabashi head) l l l l l l l -----------------------------------Kano Joshin (Pupil (?-1697)) l l l l l l l -----------------------------------Hanabusa Itcho (Pupil 1652-1724) l l l l l l ------------------------------------Kano Eishuku Morinobu (1675-1724) (3rd generation Nakabashi head) Plate Nos. 2, 3, 4 & 5 l l l l l l -------------------------------------------------------------------Kano Norinobu (1692-1731) (4th generation Nakabashi head) l l l l l l -------------------------------------------------------------------Kano Terunobu (Hidenobu) (1716-1767) (5th generation Nakabashi head) Plate No. 7 l l l l l l -----------------------Kano Eitoku Takanobu (1740-1794) (6th generation Nakabashi head) l l l l l ----------Kano Yasunobu (1767-1798) (7th generation Nakabashi head) Plate No. 11 l l l l l l----------Kano Kuninobu (Tanshu, Yusei) (Pupil -second son of Kano Morikuni 1787-1840) l l l l l l ----- Kano Sanraku (Pupil 1559-1635) (Founder of Kyo Kano (Kyoto) Line) l l -----------------------------Kano Sansetsu (Son in Law 1589-1651) (2nd generation Kyo Kano head) l l l l -----------------------------------Kano Eino (Yoshinobu) (1631-1697) (3rd generation Kyo Kano head) l l l l ----------------------Kano Eikei (Nagataka) (1662-1702) (4th generation Kyo Kano head) Plate No. 1 l l l l ----------------Kano Eihaku (Kiyonobu) (1687-1764) (5th generation Kyo Kano head) l l l l -----------------------Kano Eiryo (Nagayoshi) (1710-1770) l l l l ----------------Kano Eijo (Nagatsune) (1731-1787) l l l l ------------------------------Kano Eishun (1769-1816) l l l l -----------------Kano Eigaku (Pupil 1790-1867) l l l l -----------------------Kano Tanyu Morinobu (1602-1674) l l ----------------------Kano Toun (Doun) Masanobu (Pupil 1625-1694) (Founder of Surugadai Line) l l ----------------------Kano (Fukonobu) Toshun (Doshun) (?-1724) (2nd generation Surugadai head) l l -----------------------------------Kano Gensen (1695-1751) (3rd generation Surugadai head) l l -------------------------------------------Kano Toshun Yoshinobu (1747-1797) (4th generation Surugadai head) Plate No. 9 l l -----------------------Kano (Chikanobu) Tohaku (1771-1821) (5th generation Surugadai head) Plate No. 12 l l -----------------Kano Toeki (Harunobu) (Pupil ?-1841) (6th generation Surugadai head)

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The Plates Plate No. 1 Plate No. 2 Plate No. 3 Plate No. 4 Plate No. 5 Plate No. 6 Plate No. 7 Plate No. 8 Plate No. 9 Plate No. 10 Plate No. 11 Plate No. 12 Plate No. 13 Plate No. 14 Plate No. 15 Plate No. 16 Plate No. 17 Plate No. 18 Plate No. 19 Plate No. 20 Plate No. 21 Plate No. 22 Plate No. 23 Plate No. 24 Plate No. 25 Plate No. 26 Plate No. 27

Artist: Kano Eikei (1662-1702) Artist: Kano Eishuku Morinobu (1675-1724) Artist: Kano Eishuku Morinobu (1675-1724) Artist: Kano Eishuku Morinobu (1675-1724) Artist: Kano Eishuku Morinobu (1675-1724) Artist: Kano Tanjo (1706-1756) Artist: Kano Eishin Hidenobu (1717-1763) Artist: Kano Yosenin Korenobu (1753-1808) Artist: Kano Doshun Yoshinobu (1747-1797) Artist: Kano Chikanobu (Mid-1700’s) Artist: Kano Yuho Yasunobu (1767-1798) Artist: Kano Chikanobu Tohaku (1771-1821) Artist: Kano Ryoku Tani (Late 1700’s) Artist: Kano Yuseki (1700’s) Artist: Kano Isen'in Naganobu (1775-1828) Artist: Kano Seisen'in Osanobu (1796-1846) Artist: Kano Seisen'in Osanobu (1796-1846) Artist: Kano Seisen'in Osanobu (1796-1846) Artist: Kano Tan'en Morizane (1805-1853) Artist: Kano Eitoku Tachinobu (1814-1891) Artist: Kano Eitoku Tachinobu (1814-1891) Artist: Kano Eitoku Tachinobu (1814-1891) Artist: Kano Tangen Moriaki (fl. mid 19th cent.)

Artist: Kano Hogai (1828-1888) Artist: Kano Tomozone (1850-1899) Artist: Hashimoto Gaho (Pupil) 1835-1908)) Artist: Hashimoto Gaho (Pupil) 1835-1908))

Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works:

“Waterside Scenery” (Cat. No. 109) “Flowers and Bird” (Cat. No. 136) “Cherry Tree” (Cat. No. 91) “Sansui” (Cat. No. 114) “Tigers and Shishi” (Cat. No. 130) “Crane, Bamboo and Ume” (Cat. No. 116) “Four Seasons” (Cat. No. 51) “Dragons and Waves” (Cat. No. 149) “Koi Climbing Waterfall” (Cat. No. 75); “Sansui” (Cat. No. 104) “Kikudoji” (Cat. No. 122) “Flower and Bird” (Cat. No. 13) “Crane and Pine Tree” (Cat. No. 24) “Dragon and Tiger” (Cat. No. 138) “Tigers and Dragon” (Cat. No. 147) “Sansui” (Cat. No. 58); “Flower and Bird” (Cat. No. 110) “Waterfall” (Cat. No. 26) “Koi and Flower / Koi and Waterfall” (Cat. Nos. 105 and 106) “Scenery” (Cat. No. 124) “Flowers and Bird” (Cat. No. 84) “Cranes, Pine Tree and Ume” (Cat. No. 56) “Two Dragons” (Cat. No. 115) “Moon and Ume Tree” (Cat. No. 113) “Crane and Turtle” (Cat. No. 267) “Glaring Tiger” (Cat. No. 206) “Dragon in the Clouds” (Cat. No. 22) “Waterfall” (Cat. No. 153) “Dragon and Raging Waves” (Cat. No. 99)

Note: I wish to acknowledge that the description of each artist contained herein has been taken from the Website “Wikipedia”, each with its own various contributors or from the seller of the scroll themselves.

Kano Eikei Son of Kano Eino (Yoshinobu) (1631-1697) and 4th generation Kyo Kano head

Kano Eikei (1662-1702) “Sansui” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 28.1” x 51.9” Plate No. 1, Cat. No. 109

Kano Eishuku Morinobu

Born in

1675, Morinobu was the son of Kano Tokinobu, with whom he studied and who he succeeded as the ninth head of the Nakabash Kano family continuing the tradition of painting of his grandfather, Kano Yasunobu.

Kano Eishuku Morinobu (1674-1724) “Flowers and Bird” Honshi Hand painted on Silk Size: 16.2” x 40.1” Plate No. 2 Cat. No. 136

Kano Eishuku Morinobu

Born

in 1675, Morinobu was the son of Kano Tokinobu, with whom he studied and whom he succeeded as the ninth head of the Nakabash Kano family continuing the tradition of painting of his grandfather, Kano Yasunobu.

Kano Eishuku Morinobu (1675-1724) “Cherry Tree” (w/ box) Hand painted on Silk Roller ends: Bone Size: 21.6” x 71.4” Plate No. 3, Cat. No. 91

Kano Eishuku Morinobu

Born in

1675, Morinobu was the son of Kano Tokinobu, with whom he studied and who he succeeded as the ninth head of the Nakabash Kano family continuing the tradition of painting of his grandfather, Kano Yasunobu.

Kano Eishuku Morinobu (1675-1724) “Sansui” (w/ box) Hand painted on Silk Roller ends: Bone Size: 17.7” x 71.8” Plate No. 4, Cat. No. 114

Kano Eishuku Morinobu Born in 1675, Morinobu was the son of Kano Tokinobu, with whom he studied and whom he succeeded as the ninth head of the Nakabash Kano family continuing the tradition of painting of his grandfather, Kano Yasunobu.

Kano Eishuku Morinobu (1675-1724) “Tiger and Shishi” Hand painted on Silk Roller ends: Wood Size: 26.7” x 75.5” Plate No. 5, Cat. No. 130

Kano Tanjo Second son and pupil of Kano Tanshin. After the death of his brother Tansen, succeeded him as head of the family, becoming the fourth generation head of the Kajibashi Kano School.

Kano Tanjo (1706-1756) “Crane, Bamboo and Ume” Hand painted on Silk Honshi Size: 12.7" x 37.9" Plate No. 6, Cat. No. 116

Kano Eishin Hidenobu Kano Eishin (Kano Hidenobu), given name Genshichiro. G o Eishin/Hidenobu, Jotekisai and later Y u sei. Eishin was appointed the 11th master of the Nakahashi Branch of the Kan School. He gained the status of Hogen in 1746, and later, in 1762, he was given the title of Hoin. He was the second son of Kano Ujinob (1675-1724) and his elder brother was Kano Norinobu. Eishin became one of the coveted Kano painters for the Tokugawa governor under the patronage of Tokugawa Ieharu (1737-1786) the 10th Tokugawa Shogun who reigned from 1760-1786. Kano Eishin is buried at the Joshi-ji Temple, Tokyo. Works by the artist can be found in the collections of: Tohoku University Library: Portrait of Akita Sadasue, Ryukoku University, Kyoto, and an eight-fold screen of cranes and pine trees. The screen is displayed in the V.I.P. room on the first floor and was specially displayed for the visit of the Jeiji Emperor

Kano Eishin (1717-1763) “Shun Ka Slu To/ Four Seasons” Hand painted on silk Roller Ends: Bone Size: 30.7” x 49.2” Plate No. 7, Cat. No. 51

Kano Yosenin Korenobu

狩野 養川院 惟信 (1753~1808)：

Yosenin Korenobu was the son of Eisenin Michinobu, 7th of the Kobiki-cho Kano family. Korenobu learned painting from his father.

His son Isenin Naganobu and the grand son Seisenin Osanobu are very talented painter. His great grandson Shousenin Masanobu has great pupils such as Kano Hogai or Hashimoto Gaho. His pseudonyms are Genshisai, Yosenin, etc...

Kano Yesenin Korenobu (1743-1808) “Dragons and Waves” Hand painted on Silk Roller ends: Wood Size: 14.4” x 73.8” Plate No. 8, Cat. No. 149

Kano Doshun Yosinobu

was born as the first son of Kano

Gensen. He succeeded Surugadai-Kano Family from Gensen. In 1785 he was ranked Hogen and he worked for the Korea presentation folding screen

Kano Doshun (1747-1797) “Koi Climbing Waterfall” (w/ box) Hand painted on Silk Roller ends: Wood Size: 20.8" x 68.8" Plate No. 9, Cat. No. 75

Kano Doshun (1747-1797) “Sansui” (w/ box) Hand painted on Silk Roller ends: Bone Size: 20.7” x 71.9” Plate No. 9, Cat. No. 104

Kano Chikanobu “Shuyo” Son and pupil of Kano Shusen

Kano “Shuyo” Chikanobu (mid-1700’s) “Kikudoji” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 23.7" x 69.9" Plate No. 10, Cat. No. 122

Kano Yuho Yasunobu Born in 1767, Yosunobu was the son of Kano Eitoku Takanobu (1740-1794), with whom he studied and whom he succeeded as the seventh head of the Nakabash Kano family continuing the tradition of painting of his great (x4) grandfather, Kano Yasunobu.

Kano Yuho Yasunobu (1767-1798) “Flowers and Bird” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 29.5" x 48.7" Plate No. 11, Cat. No. 13

Kano Tohaku

(1771-1821) was the

son of Kano Toshun Yoshinobu (1747-1797). He was a Kano school painter in Edo later period. His real name is Chikanobu. He was given a rank as Hogen.

Kano Tohaku (1771-1821) “Crane and Pine Tree” (w/ box) Hand painted on Silk Roller ends: Bone Size: 23.8” x 85.4” Plate No. 12, Cat. No. 24

Kano Ryoko Tani Kano Tan'i 狩野探意 (painter/draughtsman; Japanese; 18thC (late) 19thC (early); active)

Kano Ryoko Tani (late 18th cent.-early 19th) “Dragon and Tiger” (w/ box) Hand painted on Silk Roller ends: Bone Size: 29” x 76” Plate No. 13, Cat. No. 138

Kano Yuseki Painter of the Edo period.

Kano Yuseki (18th Century) “Tigers and Dragon” Hand painted on Silk Roller ends: Bone Size: 28.7” x 49.5” Plate No. 14, Cat. No. 147

Kano I’senin Naganobu a painter, son and pupil of Kano Yosen'in Korenobu, whom he succeeded as seventh-generation head of the Kobikicho branch of the Edo Kano school that had been founded by Kano Naonobu (16071650). As such he would have had privileged access to study antique Chinese and Japanese paintings in the collections of the Shogunate and feudal lords. Naganobu was granted the title 'hogen' ('Eye of the Law') in 1802, and was subsequently further elevated to the highest 'hoin' ('Seal of the Law') rank in 1816.

Kano I’senin Naganobu (1775-1828) “Flowers and Birds” Hand painted on Silk Size: 28.5” x 80.7” Plate No. 15, Cat. No. 110

Kano I’senin Naganobu (1775-1828) “Sansui” (w/ orig. box) Hand painted on Silk Roller ends: Bone Size: 20.9” x 71.6” Plate No.15, Cat. No. 58

Kano Seisen Osanobu was a painter of late Edo period. He is a child of Kano Isen'In Naganobu and 9th generation of Kobikicho Kano family. Through reproducing old picture scrolls, he studied the style of Yamato-e, or classical Japan decorative paintings, and he provided a breath of fresh air in Kano school. As a result, he became a major player of it in Bakumatsu period.

Kano Osanobu was one of the last significant painters of the famous Kano school. The sign “Hoin” in his signature stands for a title that has been awarded since 1834 From a German collection.

The Tokyo National Museum alone holds copies of 150 picture scrolls and 500 paintings by Osanobu in its collection.

Kano Seisen Osanobu (1796-1846) “Waterfall” Hand painted on Silk Roller ends: Wood Size: 22.5" x 78.9" Plate No. 16 Cat. No. 26

Kano Seisen Osanobu was a painter of late Edo period. He is a child of Kano Isen'In Naganobu and 9th generation of Kobikicho Kano family. Through reproducing old picture scrolls, he studied the style of Yamato-e, or classical Japan decorative paintings, and he provided a breath of fresh air in Kano school. As a result, he became a major player of it in Bakumatsu period.

Kano Osanobu was one of the last significant painters of the famous Kano school. The sign “Hoin” in his signature stands for a title that has been awarded since 1834 From a German collection.

The Tokyo National Museum alone holds copies of 150 picture scrolls and 500 paintings by Osanobu in its collection.

Kano Seisen Osanobu (1796-1846) “Koi” Hand painted on Silk Roller ends: Bone Size: 22.5" x 78.9" Plate No. 17 Cat. No. 105, 106

Kano Seisen Osanobu was a painter of late Edo period. He is a child of Kano Isen'In Naganobu and 9th generation of Kobikicho Kano family. Through reproducing old picture scrolls, he studied the style of Yamato-e, or classical Japan decorative paintings, and he provided a breath of fresh air in Kano school. As a result, he became a major player of it in Bakumatsu period.

Kano Osanobu was one of the last significant painters of the famous Kano school. The sign “Hoin” in his signature stands for a title that has been awarded since 1834 From a German collection.

The Tokyo National Museum alone holds copies of 150 picture scrolls and 500 paintings by Osanobu in its collection.

Kano Seisen Osanobu (1796-1846) “Scenery” Hand painted on Silk Roller ends: None Size: Honshi Plate No. 18, Cat. No. 124

Kano Tanen (1805~1853)： Kano Tanen was a Kano school painter in Edo later period. He was a son of Kano Tanshin Morimichi. He was given a rank as Hogen. Another name is Tanbun.

Kano Tanen (1805-1853) “Flowers and Bird” (w/ box) Hand painted on Silk Roller Ends: Bone Box: Yes Size: 23.6” x 74.5” Plate No. 19, Cat. No. 84

Kano Eitoku “Tachinobu”

(1814-1891) Son of

Seisen’in Osanobu (1796-1846)

Kano Eitoku (1814-1891) “Cranes, Pines and Ume Tree” (w/ box) Hand painted on Silk Roller ends: Bone Size: 19.6" x 71.4" Plate No. 20, Cat. No. 56

Kano Eitoku “Tachinobu” (1814-1891) Son of Seisen’in Osanobu (1796-1846)

Kano Eitoku (1814-1891) “Two Dragons” Hand painted on Silk Roller ends: Wood Size: 20.1" x 69" Plate No. 21, Cat. No. 115

Kano Eitoku “Tachinobu”

(1814-1891) Son of

Seisen’in Osanobu (1796-1846)

Kano Eitoku (1814-1891) “Moon and Ume Tree” (w/ box) Hand painted on Silk Roller ends: Bone Size: 23.3" x 78.3" Plate No. 22, Cat. No. 113

Kano Tangen Moriaki Kano painter. Son of Kano Sokuyo Moriaki. Seventh generation head of Shiba Atagoshita Kano line.

Kano Tangen Moriaki (fl. Mid. 19th cent.)

“Crane and Turtle” (w/ original signed box) Hand painted on Silk Roller ends: Bone Size: 23.6" x 75.1" Plate No. 23 Cat. No. 267

Kano Hogai

狩野 芳崖 (1828~1888) ：

Hogai was born in Chofu-cho, Yamaguchi as a son of Kano Seiko. His talent was obvious when he was little. In 1846 when he was 19 years old, Hogai became the pupil of Kano family of Kobiki-cho and learned the way of painting from Kano Shosen’in Tadanobu and was given the name "Shokai Gado".

On the same day Hogai became a pupil, Hashimoto Gaho became a pupil as well. They became best friends for the rest of their lives. Both Gaho and Hogai made conspicuous figures in youth, each in the way of painting, being called "Shosenin no Nishinzoku / God's legs of Shosenin". Meeting with Ernest Fenollosa in 1884 greatly influenced his painting. His last painting "HIBO KANNON" is an Important Cultural Property of Japan. His pseudonym Hogai, Shorin, Korin, etc...

Kano Hogai (1828-1888) “Glaring Tiger” Hand painted on Silk Roller ends: Bone Size: 28.7” x 86.2” Plate No. 24, Cat. No. 206

Kano Tomozane

Kano Tomozane (1850-1899) “Dragon in the Clouds” Hand painted on Silk Roller ends: Wood Size: 35.7" x 83.1" Plate No. 25, Cat. No. 22

Hashimoto Gaho (橋本 雅邦, August 21, 1835 – January 13, 1908) was a Japanese painter, one of the last to paint in the style of the Kanō school.

Born in Edo, he studied painting under Kanō Shōsen'in, and was influenced as well by the work of Kanō Hōgai. He created many works in the traditional style of the Kanō school, using color & gold, or otherwise monochrome black ink. But while his paintings are very much the works of a traditionalist, using traditional methods and depicting traditional subjects, Gahō, like Kanō Hōgai, incorporated elements of Western art as well. Brush-strokes, various types of detailing, and in particular, attempts at the proper depiction of perspective are evident in Gahō's paintings and in many others of this period.

He opened his own studio in 1860, but the political and economic upheavals surrounding the Meiji Restoration forced Gahō to seek income in other ways than by selling fine art. He produced maps for the Naval Academy, painted on fans, and used his skills in a number of other ways to earn a living.

Gahō was invited in 1884, by Okakura Kakuzō, to become the chief professor of painting at the Tōkyō Bijutsu Gakkō (東京美術学校, now the Tokyo National University of Fine Arts and Music) which would open five years later. In 1898, Gahō joined Okakura in leaving the Bijutsu Gakkō, and founding the Japan Fine Arts Academy (日本美術 院, Nihon Bijutsuin). He would teach there until his death in 1908. As a result of his position as chief painting professor, Gahō had a number of important pupils, including Yokoyama Taikan and Kawai Gyokudō.

Hashimoto Gaho (1835-1908) “Waterfall” Hand painted on Silk (w/ original box) Size: 18.3” x 73.3” Plate No. 25, Cat. No. 153

Hashimoto Gaho (橋本 雅邦, August 21, 1835 – January 13, 1908) was a Japanese painter, one of the last to paint in the style of the Kanō school.

Born in Edo, he studied painting under Kanō Shōsen'in, and was influenced as well by the work of Kanō Hōgai. He created many works in the traditional style of the Kanō school, using color & gold, or otherwise monochrome black ink. But while his paintings are very much the works of a traditionalist, using traditional methods and depicting traditional subjects, Gahō, like Kanō Hōgai, incorporated elements of Western art as well. Brush-strokes, various types of detailing, and in particular, attempts at the proper depiction of perspective are evident in Gahō's paintings and in many others of this period.

He opened his own studio in 1860, but the political and economic upheavals surrounding the Meiji Restoration forced Gahō to seek income in other ways than by selling fine art. He produced maps for the Naval Academy, painted on fans, and used his skills in a number of other ways to earn a living.

Gahō was invited in 1884, by Okakura Kakuzō, to become the chief professor of painting at the Tōkyō Bijutsu Gakkō (東京美術学校, now the Tokyo National University of Fine Arts and Music) which would open five years later. In 1898, Gahō joined Okakura in leaving the Bijutsu Gakkō, and founding the Japan Fine Arts Academy (日本美術 院, Nihon Bijutsuin). He would teach there until his death in 1908.

As a result of his position as chief painting professor, Gahō had a number of important pupils, including Yokoyama Taikan and Kawai Gyokudō.

Hashimoto Gaho (1835-1908) “Dragon and Raging Wave” Hand painted on Silk Roller ends: Wood Size: 41.8” x 85.4” Plate No. 27 Cat. No. 99

Conclusion As one looks through this catalogue, no doubt they will find threads of common themes throughout. These themes include gibbons gazing at the reflection of the moon in languishing pools of water, leaping tigers, lions pushing their cubs off nearby cliffs to test their courage, pairing of cranes to represent longevity and devotion, dragons ascending and descending, a hawk perched in a tree or on a stand, portraying strength and power, a scholar contemplating a waterfall and its surrounds or a lone peasant walking up a trail to a homestead, just to name a few.

Many of these themes were adapted from earlier Chinese paintings, previously collected and handed down through the various artists of the Kano school. Over time, each artist added his/her own personality, thus creating within the strict vernacular of the school, their own interpretations.

As one sees in the various other schools rising around the Kano School, artists were experimenting with many other styles and mediums, some even influenced by the art coming out of the European continent. But the Kano School endured for nearly three centuries more after its rise in the late 16th century, closing with the works of Kano Hogai and others.

These paintings represent a timeless portraiture of a culture rich in beauty, refinement, diversity and wonder. I hope you will enjoy them as much as I. John P. Westfall

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