Kano Artists - Volume 5 1st Edition

The Art of the Kano School – Volume 5 A Collection of Japanese Scrolls and Screens from the Early 1400’s to the Late 1800’s - Lost Treasures Part 2 (Including Artists from the Nanga, Rinpa, Kishi, Nagasaki Schools and more)

By John P. Westfall 1st 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) Shugetsu Tokan (1440-1529) Sesson Shukei (Influenced by Shubun and Sesshu 1504-1589) l ---------------------------Kano Masanobu (1434-1530) Plate No. 2 l l -----------------------------Kano Motonobu (1476-1559) Plate No. 3 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 l -----------------------------------Kano Naganobu (1577-1654) mei Kyuhaku 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) Plate No. 6 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 (1743-1808) (6th generation Kobikicho head) Plate No. 13 l l l l l l l l ----------Kano Isen'in Naganobu (1775-1828) (7th generation Kobikicho head) Plate Nos. 22, 23 & 24 l l l l l l l l -----------------------Kano Seisen'in Osanobu (1796-1846) (8th generation Kobikicho head) l l l l l l l l l -----------------------------Kano Eitoku (Tsunenobu, Tatsunobu 1814-1891) 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 ) (Discovered by Fenollosa) l l l l l l l l -----------------------Hashimoto Gaho (Pupil 1835-1908) Plate No. 30 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) (4th generation Kajibashi head) Plate No. 9 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) Plate Nos. 28 l l l l l l ----------------Kano Tan'en Morizane (1805-1853) (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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Tosa School of Japanese Painting With various other Artists of the Momoyama and Edo Periods (including the Rimpa and Kishi Schools)

Muromachi Period 1392

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Meiji period 1868

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l ------ Tosa Mitsunobu (1434-1525) (Father in law of Kano Motonobu) l l ----------------------------------------------------------------Tosa Mitsushige (1496-1559) l l ------------------------------------------ Tosa Mitsumoto (1530-1569) l l ------------------------------------------------------Tosa Mitsuyoshi (1539-1613) l l---------------------------------------------Tosa Mitsunori (1583-1638) l l ---------------------------------------------Tosa Mitsuoki (1617-1691) l l --------------------------Tosa Mitsunari (1646-1710) l l ---------------------------------- Tosa Mitsusuke (1675-1710) l l ---------------------------------- Tosa Mitsuyoshi (1700-1771) l l ------------------------------------Tosa Mitsuatsu (1734-1764) l l ---------------------------------------------Tosa Mitsusada (1738-1806) l l ---------------------------------------------Tosa Mitsuzane (1780-1852) l l --------------------------Tosa Mitsukiyo (?-1862) l l ------------------------------------Tosa Mitsubumi (1812-1879) Honami Koetsu (1558-1637)

(Rimpa School)

Tawaraya Sotatsu (1570-1640)

(Rimpa School) Ogata Korin (1658-1716)

(Rimpa School) Sakai Hoitsu (1761-1829)

(Rimpa School)

Plate No. 18

Maruyama Okyo (1733-1795) Katsukawa Shunsho (1726-1793) Katsushika Hokusai (1760-1849) Utagowa Hiroshige (1797-1858) l ----- Kishi Ganku (1756-1848) l l -----------------Kishi Gantai (1782-1865) l -----------------------l l -----------------------

(Kishi School)

Plate Nos. 14 & 15 (Kishi School)

Kishi Gankei (1811-1848)

(Kishi School)

Kishi Ganrei (1816-1883)

(Kishi School)

Mori Sosen (1747-1821) Mori Kansai (1814-1889) Soga Cholkuan (active 1560-1615) Soga Shohaku (1730-1781) Itaya Hironaga (1760-1814)

(Itaya Family)

Tani Buncho (1763-1840)

Plate Nos. 20 & 21

Shen Quan (1682-1760) So Shiseki (1715-1786)

Plate No. 11

Yanagisawa Kien (1704-1758) Sengai Gibon (1750-1837)

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The Plates Japanese Scrolls: 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: Oguri Sotan (1413-1481) Artist: Kano Masanobu (1434-1530) (See Japanese Screens below) Artist: Pupil of Kano Tanyu Artist: Kusumi Morikage (1620-1690)) Artist: Kano Sushen Chikenobu (1660-1728) Artist: Kano Eisen’in Furonobu (1696-1731) Artist: Anonymous (18th cent.)

Artist: Kano Tanjo (1706-1756) Artist: Kano Mantani Eigen (?-1725) Artist: So Shiseki (1715-1786) Artist: Kano Eishin Hidenobu (1717-1763) Artist: Kano Yosenin Korenobu (1743-1808) Artist: Kishi Ganku (1749-1839) Artist: Kishi Ganku (1749-1839) Artist: Kano School (Mid-Edo) Artist: Ishida Yusei (1756-1815) Artist: Sakai Hoitsu (1761-1829) Artist: Anonymous (Mid Edo) Artist: Tani Buncho (1763-1840) Artist: Tani Buncho (1763-1840) Artist: Kano I’senin Naganobu (1775-1828) Artist: Kano I’senin Naganobu (1775-1828) Artist: Kano I’senin Naganobu (1775-1828) Artist: Kumashiro Yuhi (Nagasaki School) (1712-1773) Artist: Kumashiro Yuhi (Nagasaki School) (1712-1773) Artist: Nakabayashi Chikuto (1776-1853)

Works: “Hawk” (Cat. No. 322) Works: “Sansui” (Cat. No. 330) Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works:

“Hawks” (Cat. No. 338) “Tiger and Dragon” (Cat. No. 347) “Sansui” (Cat. No. 321) “Carp and Figure Painting” (Cat. No. 315) “Waterfall and Hawk” (Cat. No. 305) “Mount Horai” (Cat. No. 326) “Zhong Kui” (Cat. No. 320) “Flowers and Birds” (Cat. No. 316) “Two Monkeys and Waterfall” (Cat. No. 307) “Hawks on Pine” (Cat. No. 327) “Tiger and Cubs” (Cat. No. 346) “Sansui Landscape and People” (Cat. No. 331) “Mount Horai” (Cat. No. 350) “White Hawk” (Cat. No. 309) “Cranes, Pines & Plum Trees” (Cat. No. 324) “Orian” (Cat. No. 356) “Sansui” (Cat. No. 335) “Enoshina Island and Mt Fuji” (Cat. No. 336) “Crane and Bamboo” (Cat. No. 324) “Ducks in the Snow” (Cat. No. 339) “Monkey on a River Bank” (Cat. No. 355)

Works: “Carp in Waterfall” (Cat. No. 353) Works: “Tiger” (Cat. No. 354) Works: “Monkey Reaching for the Moon” (Cat. No. 317)

The Plates cont…

Plate No. 28 Plate No. 29 Plate No. 30

Artist: Kano Tanshin Morimichi (1785-1836) Artist: Kano Ansen Takinobu (1808-1892) Artist: Kano Hogai (1828-1888)

Works: “Tiger and Dragon” (Cat. No. 306) Works: “Monkeys” (Cat. No. 333) Works: “Sansui” (Cat. No. 312)

Japanese Screens (Byobu): Plate No. 3

Artist: Kano Motonobu (1476-1559)

Works: “Flowers and Birds” (Cat. No. 319)

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.

Oguri Sotan Oguri Sotan (1413-1481) was an artist-monk in the Middle Muromachi Period. He studied painting with Shubun, an artist-monk of the Shokoku-ji Temple. He became the official painter of the shogun family and served the eighth shogun, Ashikaga Yoshimasa as the successor of Shubun.

Oguri Sotan (1413-1481) “Hawk” Hand painted on paper (w/ box) Roller ends: Bone Size: 20.0” x 21.8” x 80.0” Plate No. 1, Cat. No. 332

Kano Masanobu Kano Masanobu (1434?-1530?) was a Japanese-style painter born in Kyoto. He was the chief painter of the Ashikaga shogunate and is generally considered the founder of the Kano school of painting. He specialized in Zen paintings as well as elaborate paintings of Buddhist deities and Bodhisattvas.

Kano Matanobu (1435-1530) “Sansui” Hand painted on Paper w/ box Roller Ends: Bone Size: 28.5” x 82.5” Plate No. 2, Cat. No. 330

Kano Motonobu (1476-1559) The 2nd head of the Kano school, born in Kyoto as the son of Masanobu, and founder of the Kano style. Motonobu's given name is Shirojiro. At the time of the parent and child, the Tosa School was in full flourish, and Tosa Mitsunobu was designated as the official court painter. The Tosa School was good at Yamato-e (Japanese style) painting. On the other hand, Kano Masanobu, Motonobu's father, was good at Kara-e (Chinese style) painting.

Masanobu wanted to innovate the Tosa's style to the Kano so Motonobu married Chiyo, the daughter of Tosa Mitsunobu. Motonobu absorbed Yamato-e painting methods from the Tosa School, and he accreted the Yamato-e style and Kara-e style. As a result, Motonobu created new Kano style, and the Kano school prospered for about 400 years. Motonobu was ordained as Hogen rank.

Kano Motonobu (1476-1559) “Flowers and Birds” Hand painted on paper Size: 68.9” x 155.0” Plate No. 3, Cat. No. 319

Pupil of Kano Tanyu 松井幽古（守宗）was a pupil of Kano Tanyu (1602-1674).

UnknownPupil of Kano Tanyu (1602-1674) “Hawks” w/ Box Hand painted on Paper Roller ends: Ivory Size: 28.3” x 81.1” Plate No. 4, Cat. No. 338

Kusumi Morikage Kusumi Morikage (久隅 守景, c. 1620–1690) was a Japanese painter of the Edo period. He came from Kaga Province, the centre of the lands of the Maeda clan. He fell afoul of his teacher, Kanō Tan'yū, and became the Maeda clan's official painter. His sympathy for farmers and the poor people of the Edo period is reflected in his works. His daughter, Kiyohara Yukinobu (1643–1682), was also an artist, one of the few female painters of the Edo period.

Kusumi Morikage c. 1620– 1690) “Tiger and Dragon” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 20.5" x 73.6" Plate No. 5, Cat. No. 347

Kano “Shushin” Chikanobu Kano painter. Born in Musashi Province. Eldest son of Kano Tsunenobu, elder brother of Kano Minenobu; his mother a daugter of Kano Yasunobu. In 1678, entered the service of the shogunate. In 1681, worked with his father at Edo Castle. In 1713, succeeded his father as third-generation head of the Kobiki-chobranch of Kanoschool. In 1719, received honorary title of Hogan; in the same year, on command of the shogun, painted a screen to given to a Korean emissary. Is said to have painted another screen presented to the king of the RyukyuIslands. One of his pupils was Toriyama Sekien, teacher of Kitagawa Utamaro

Kano “Shushin” Chikanobu (1660-1728) “Sansui” (w/ box) Hand painted on Silk Roller Ends: Ivory Size: 34.0" x 55.0" Plate No. 6, Cat. No 321

Kano Eisen’in Furunobu 狩野永川院古 (Japanese, 1696–1731) Son and pupil of Kano Chikanobu; he became head of the forth generation of the Kano family at Kobikicho. In 1711, he was appointed as artist to the shogun’s court. By order of the emperor, he copied the old paintings in the imperial collection and painted byobu for the emperor. He received the title of Hogan and he adopted Jusen, son of Kano Zuisen

Kano Eisen’in Furunobu (1696-1731) “Carp and Figure Painting” Hand painted on Silk Size: 19.3” x 73.5” Plate No. 7, Cat No. 315

Anonymous

Anonymous 18thcent.

“Waterfall and Hawk” (w/ box) Hand painted on Paper Roller Ends: Pottery Size: 24.4" x 78.7" Plate No. 8, Cat No. 305

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) “Mount Horai” Hand painted on Silk Roller Ends: Bone Size: 54.9" x 68.2” Plate No. 9, Cat. No. 326

Mitani Eigen

(?-1725)

Was a Japanese style painter of the middle Edo period.

He was the second son of Mitani Toetsu (?-1675). He studied painting under Kano Eishen Yasunobu (16131685). He became a goyo-eshi of Kurume Domain (a purveying painter to the Tokagowa shoganate)

Zhong Kui is a deity in Chinese mythology, traditionally regarded as a vanquisher of ghosts and evil beings.

A wonderfully very large scroll with a dynamic Zhong Kui riding a tiger from the late 1600’s!

Mitani Eigen (?-1725) “Zhoung Kui” Hand painted on Silk Roller ends: Wood Size: 65.9" x 80.3" Plate No. 10, Cat. No. 320

So Shiseki Sō Shiseki (宋 紫石, 1715 – 9 April 1786) was a Japanese painter of the Nagasaki and Nanpin schools.

Originally from Edo, he spent some time in Nagasaki, where he studied under the Chinese painter Song Ziyan, who was known as Sō Shigan in Japanese. The name Sō Shiseki is an art-name, derived from an imitation of his master's name.

Shiseki's bird and flower paintings and other works display the use of a combination of broad calligraphic brushstrokes for branches, tree trunks and rocks, ink wash and color for flower petals and leaves, and much finer brushstrokes for the fine details of feathers and flowers to produce a very detailed and lifelike, realistic depiction. Returning to Edo, Shiseki became a prominent representative and teacher of the Nagasaki school in that city, teaching Shiba Kōkan among others. He was close with such rangaku scholars as Hiraga Gennai and Sugita Genpaku, and expressed an interest in Western painting. Rather than his stylistic choice coming straight from European painting, however, scholar Meccarelli thinks Shiseki matured Nanpin school’s “flora and fauna decorative painting”. His style is indeed more focused on details, also lending credence to the legacy left by botanic manuals and scientific treatises. He composed a number of books, and woodblock printed volumes of his artworks were produced as well.

So Shiseki (signature) Kateishiseki (seal) 1715-1786 “Flowers and Birds” (w/ box) Hand painted on Silk Roller ends: Bone Size: 21.3” x 81.2” Plate No. 11, Cat. No. 316

Kano Eishin Hidenobu Kano Eishin (Kano Hidenobu), given name Genshichiro. Go Eishin/Hidenobu, Jotekisai and later Yusei. Eishin was appointed the 11th master of the Nakahashi Branch of the Kano 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 Hidenobu (1717-1763) “Two Monkeys and Waterfall” Hand painted on Silk w/ box Roller Ends: Bone Size: 25.2” x 78” Plate No. 12, Cat. No. 307

Kano Yosenin Korenobu

狩野 養川院 惟信

(1743-1808) was a painter of the mid to late Edo period. He was the first son of Kano Michinobu (1730-1790) and became the 7th generation head of the Kobikicho line of the Kano school. Like his father, he became Goyo-eshi (a purveying painter to the Tokugawa shogunate). He received the honorary title of Hoin.

Kano Yesenin Korenobu (1743-1808) “Hawks on Pine” Hand painted on Silk w/ Double box Roller ends: Bone Size: 28.5” x 87.4” Plate No. 13, Cat. No. 327

Kishi Gan Ku Gan Ku 岸駒 (1749-1839), or more formally known as Kishi Ganku, was a noted Japanese painter of the late Edo period and founder of the Kishi School of painting. He is perhaps best known for his paintings of tigers Ganku was born in Kanazawa as Kishi Saeki, studied painting styles including those of Chinese painter Shen Nanpin (沈南蘋) and the Maruyama school, and arrived in Kyoto around 1780.

By the late 18th century, Ganku's paintings were appreciated by patrons that included the imperial family, leading to a position under Prince Arisugawa. His students included his son, Gantai 岸岱 (1782–1865), son-in-law Ganryou 岸良 (1797–1852), adopted son Renzan 連山 (1804–59), Yokoyama Kazan 横山華山 (1784–1837), Shirai Kayou 白井華陽 (fl. ca 1840-60), and Kawamura Bumpou 河村文鳳 (1779–1821). He was made honorary governor of Echizen (Echizen no kami, 越前守) toward the end of his life.

Ganku died on January 19, 1839, in Kyoto.

Kishi Gan Ku (1749-1839) “Tiger Parents and Cubs” Hand painted on Silk Roller ends: Wood Size: 37.4" x 40.5" x 80.0" Plate No. 14, Cat. No. 346

Kishi Gan Ku Gan Ku 岸駒 (1749-1839), or more formally known as Kishi Ganku, was a noted Japanese painter of the late Edo period and founder of the Kishi School of painting. He is perhaps best known for his paintings of tigers Ganku was born in Kanazawa as Kishi Saeki, studied painting styles including those of Chinese painter Shen Nanpin (沈南蘋) and the Maruyama school, and arrived in Kyoto around 1780.

By the late 18th century, Ganku's paintings were appreciated by patrons that included the imperial family, leading to a position under Prince Arisugawa. His students included his son, Gantai 岸岱 (1782–1865), son-in-law Ganryou 岸良 (1797–1852), adopted son Renzan 連山 (1804–59), Yokoyama Kazan 横山華山 (1784–1837), Shirai Kayou 白井華陽 (fl. ca 1840-60), and Kawamura Bumpou 河村文鳳 (1779–1821). He was made honorary governor of Echizen (Echizen no kami, 越前 守) toward the end of his life.

Ganku died on January 19, 1839, in Kyoto.

Kishi Gan Ku (1749-1839) “Sansui Landscape and People” Hand painted on Silk w/ Double box Roller ends: Bone Size: 23.0” x 73.2” Plate No. 15, Cat. No. 331

法橋幽玄斎

Kano School

法橋幽玄斎 (Kano School) (Middle to Late Edo (1701-1868)) “Mt. Horai” w/ Double Box Hand painted on Silk Roller Ends: Bone Size: 20.2" x 71.6" Plate No. 16, Cat. No. 350

Ishida Yusei (1756-1815) was a Kano-school painter born in Kyoto. He was the son of Ishida Yusei (1721-1786). He studied painting under his father.

Ishida Yusei (1756-1815) “White Hawk” (w/ Original Box) Hand painted on Silk Roller Ends: Wood Size: 22.6" x 80.7" Plate No. 17, Cat. No. 309

Sakai Hoitsu 酒井 抱一 (1761~1829) ： Hoitsu was born in Tokyo as a son of the Himeji feudal lord. His older brother was famous for Japanese tea ceremonies. Hoitsu also became familiar with the tea ceremony, haiku, and kyoka influenced by his brother, and his talent was good enough to become known. Hoitsu learned painting from Kano Koshin and Soshiseki. Three years later his brother died, and he became a priest and a pupil of Ogata Korin (Rin-pa). And he used the way and technique of painting from Maruyamashijo-ha, Tosa-ha, Nanpin-ha, and from Ito Jakuchu. And finally he made his own school as Edorin-pa. He was close to Tani Buncho, Ota Nanbo and so many cultural people. In 1783, he became a pupil of Utagawa Toyoharu and he learned the way of painting Ukiyoe.

His pseudonyms are Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi, Meimeii, etc...

Sakai Hoitsu (1761-1829) “Cranes, Pines & Plum Trees” (w/ box) Hand painted on Silk Roller Ends: Ivory Size: 26.4” x 78.3" Plate No. 18, Cat. No. 323

Anonymous

Anonymous Mid-Edo “Orian” (w/ box) Hand painted on Silk Roller Ends: Wood Size: 17.6” x 25.0" x 72.1" Plate No. 19, Cat No. 356

Tani Buncho (谷 文晁, October 15, 1763 - January 6, 1841) A painter of the Edo era latter period. He was the person who accomplished Edo Nanga, the achievement was praised as "Three major painter of the Tokugawa era" with Maruyama Okyo (1733-1795) and Kano Tanyu (1602-1674).

He learned painting from Kato Bunrei (1706-1782) of Kano School and Watanabe Gentai (17491822) of Nagasaki School at an early age, acquired Hokuga from Kitayama Kangan (17671801).1788, on the way to Nagasaki to study painting, he learned the techinique of the Nanga from Kushiro Unzen (1759-1811) under Kenkado Kimura (1736-1802) who affected many cultured people in those days in Osaka, he deepened Nanga from Chinese painter Cho Shun Koku in even Nagasaki. He got popularity by opening new style of painting that blended Nanga to subject with Hokuga. He also took in the perspective drawing of the Western painting over the countries. He had many disciples, Watanabe Kaza (1793-1841), Tachihara Kyosho (17861840), and so on. He always preached importance of sketch and copying of old painting for his pupil, and he died at 79 years old. His pseudonyms are Gagakusai, Munianshujin, Shasanro, Choou, Mui, etc...

Tani Buncho (1763-1840) “Scenery” (w/ Box) Hand painted on Silk Roller ends: Wood Size: 35.0” x 79.7” Plate No. 20, Cat. No. 335

Tani Buncho (谷 文晁, October 15, 1763 - January 6, 1841) A painter of the Edo era latter period. He was the person who accomplished Edo Nanga, the achievement was praised as "Three major painter of the Tokugawa era" with Maruyama Okyo (1733-1795) and Kano Tanyu (1602-1674). He learned painting from Kato Bunrei (1706-1782) of Kano School and Watanabe Gentai (1749-1822) of Nagasaki School at an early age, acquired Hokuga from Kitayama Kangan (1767-1801).1788, on the way to Nagasaki to study painting, he learned the techinique of the Nanga from Kushiro Unzen (1759-1811) under Kenkado Kimura (1736-1802) who affected many cultured people in those days in Osaka, he deepened Nanga from Chinese painter Cho Shun Koku in even Nagasaki. He got popularity by opening new style of painting that blended Nanga to subject with Hokuga. He also took in the perspective drawing of the Western painting over the countries. He had many disciples, Watanabe Kaza (1793-1841), Tachihara Kyosho (1786-1840), and so on. He always preached importance of sketch and copying of old painting for his pupil, and he died at 79 years old. His pseudonyms are Gagakusai, Munianshujin, Shasanro, Choou, Mui, etc...

Tani Buncho (1763-1840) “Enoshina Island and Mt. Fuji” (w/ Box) Hand painted on Silk Roller ends: Wood Size: 30.0” x 46.8” Plate No. 21, Cat. No. 336

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) “Crane and Bamboo” Hand painted on Silk Roller ends: Wood Size: 20.3” x 69.4” Plate No. 22, Cat. No. 324

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) “Ducks in the Snow” Hand painted on Silk w/ box Roller ends: Bone Size: 20.2” x 76.0” Plate No. 23, Cat. No. 339

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 (1607-1650). 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) “Monkey on River Bank” Hand painted on Silk Roller ends: Bone Size: 20.5” x 27.5 x 82.0” Plate No. 24, Cat. No. 355

Kumashiro Yuhi Kumashiro Yûhi (1712-1773)： was born in Nagasaki, the son of an official interpreter of Chinese. He studied under Shen Nan-p'in, a Chinese artist from Wu Hsing, who had come to Nagasaki in 1731, stayed for two years and exerted a great influence on artists in Nagasaki. Subsequently he made a name for himself as the most important of Shen Nanp'in's pupils, and the leading figure of the Nagasaki school, which introduced Chinese and Western painting techniques to Kyoto and Edo. So Shiseki, Mori Kansai, Kakutei were pupils of Yuhi.

Kumshiro Yuhi (1712-1773) “Carp in Waterfall” (w/ box) Hand Painted on Silk Roller ends: Bone Size: 24.4" x 26.6" x 78.4" Plate No. 25, Cat. No. 353

Kumashiro Yuhi Kumashiro Yûhi (1712-1773)： was born in Nagasaki, the son of an official interpreter of Chinese. He studied under Shen Nan-p'in, a Chinese artist from Wu Hsing, who had come to Nagasaki in 1731, stayed for two years and exerted a great influence on artists in Nagasaki. Subsequently he made a name for himself as the most important of Shen Nanp'in's pupils, and the leading figure of the Nagasaki school, which introduced Chinese and Western painting techniques to Kyoto and Edo. So Shiseki, Mori Kansai, Kakutei were pupils of Yuhi.

Kumshiro Yuhi (1712-1773) “Tiger” (w/ box) Hand Painted on Silk Roller ends: Pottery Size: 26.3" x 29.2" x 75.7" Plate No. 26, Cat. No. 354

Nakabayashi Chikuto 中林 竹洞 Painter. Born in Nagoya as a son of a doctor. At 20 established his own studio, living in a small temple. Interested in classical literature and moved to Kyoto in 1803 with Yamamoto Baiitsu to join Rai San'yo's circle. Studied painting under Yamada Kyujo, collaborated with Uragami Shunkin. As author of Chinese-style treatises on paintings, is regarded as the theorist of the Nanga school. Also well known for his many illustrated books.

Nakabayashi Chikuto (1776-1853) “Gibbon Reaching for the Moon” w/ box Hand painted on Paper Roller ends: Bone Size: 19.4” x 72.0” Plate No. 27, Cat. No. 317

Kano Tanshin Morimichi Tanshinsai "探信斎" Kano Tanshin Morimichi "狩野探信守道" (ca.1785-1836) was a Kano school painter active in late Edo period.

Kano Tanshin Morimichi (1785-1836) “Tiger and Dragon” Hand painted on Silk Roller Ends: Bone Size: 19.8” x 16.2” Plate No. 28, Cat. No. 306

Kano Ansen Takinobu (1808-1892) was a Kano-school painter and adopted son of Kano Yoshinobu (1848-1919?). He studied painting under Kano Isen'in Naganobu (1775-1828) and Japanese literature and culture under Maeda Natsukage (1793-1864).

Kano Ansen Takinobu (1808-1892) “Monkeys” (w/ Box) Hand painted on Paper Roller ends: Wood Size: 17.3” x 58.8” Plate No. 29, Cat. No. 333

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... *Purchased from Christies 2021

Kano Hogai (1828-1888) “Sansui” w/ Orig. Double Box Hand painted on Paper Roller ends: Wood Size: 28.5” x 90.2” Plate No. 30, Cat. No. 312

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

Notes:

Notes: