Kanō Mitsunobu (狩野 光信, 1565–1608) was a son of Kanō Eitoku and an influential artist of the Kanō school of Japanese painting.
Scholars disagree on the year of Mitsunobu's birth, placing it in either 1561 or 1565. The earliest record of his involvement on any major project was in conjunction with his father's commission to paint elements of Oda Nobunaga's Azuchi Castle. He also worked with his father on a number of other major castles and palaces, including Osaka Castle, Kyoto Gosho, and Toyotomi Hideyoshi's Jurakudai palace.
He received a commission from Toyotomi Hideyori to paint the ceiling of the main hall of Shōkoku-ji in Kyoto with dragons. [1]
After his father's death in 1590, Mitsunobu became the head of the family and of the school. He took over the Kyoto Imperial Palace project, and continued to receive many illustrious commissions. However, in part due to his poor leadership skills and political ability, he lost many commissions and patrons to the rival Hasegawa school of painting and siblings within the Kanō school. Notably, his adopted brother, Kanō Sanraku, and his son, Kanō Sansetsu, saw a surge of new commissions and helped cement their place within Kanō school history.
While a master of the fundamental Kanō school style, and that of his father, Mitsunobu expressed elements of his own preferences and skills in his paintings. The emergence of his own style was not truly observed until after his father's death in 1590 and he had more independent commissions. [2] His color paintings of flowers, trees and similar subjects made extensive use of gold-leaf as most Kanō paintings did, but also displayed a delicate, elegant, and gentle lightness.
Kanō Eitoku was a Japanese painter who lived during the Azuchi–Momoyama period of Japanese history and one of the most prominent patriarchs of the Kanō school of Japanese painting.
Hasegawa Tōhaku was a Japanese painter and founder of the Hasegawa school.
The Kanō school is one of the most famous schools of Japanese painting. The Kanō school of painting was the dominant style of painting from the late 15th century until the Meiji period which began in 1868, by which time the school had divided into many different branches. The Kanō family itself produced a string of major artists over several generations, to which large numbers of unrelated artists who trained in workshops of the school can be added. Some artists married into the family and changed their names, and others were adopted. According to the historian of Japanese art Robert Treat Paine, "another family which in direct blood line produced so many men of genius ... would be hard to find".
Iwasa Matabei was a Japanese artist of the early Tokugawa period, who specialized in genre scenes of historical events and illustrations of classical Japanese and Chinese literature, as well as portraits. He was the son of Araki Murashige, a prominent daimyō of the Sengoku period who had been made to commit suicide, leaving Matabei to be raised with his mother's family name, Iwasa.
Kanō Motonobu was a Japanese painter and calligrapher. He was a member of the Kanō school of painting. Through his political connections, patronage, organization, and influence he was able to make the Kanō school into what it is today. The system was responsible for the training of a great majority of painters throughout the Edo period (1603–1868). After his death, he was referred to as Kohōgen (古法眼).
Tosa Mitsuoki was a Japanese painter.
The Tosa school of Japanese painting was founded in the early Muromachi period, and was devoted to yamato-e, paintings specializing in subject matter and techniques derived from ancient Japanese art, as opposed to schools influenced by Chinese art, notably the Kanō school (狩野派). Tosa school paintings are characterised by "areas of flat opaque colour enclosed by simple outlines, where drawing is precise and conventional", with many narrative subjects from Japanese literature and history. However, by the 17th century both Tosa and Kanō artists broadened their range, and the distinction between these and other schools became less clear.
Rinpa is one of the major historical schools of Japanese painting. It was created in 17th century Kyoto by Hon'ami Kōetsu (1558–1637) and Tawaraya Sōtatsu. Roughly fifty years later, the style was consolidated by brothers Ogata Kōrin (1658–1716) and Ogata Kenzan (1663–1743).
Japanese painting is one of the oldest and most highly refined of the Japanese visual arts, encompassing a wide variety of genres and styles. As with the history of Japanese arts in general, the long history of Japanese painting exhibits synthesis and competition between native Japanese aesthetics and the adaptation of imported ideas, mainly from Chinese painting, which was especially influential at a number of points; significant Western influence only comes from the 19th century onwards, beginning at the same time as Japanese art was influencing that of the West.
Maruyama Ōkyo, born Maruyama Masataka, was a Japanese artist active in the late 18th century. He moved to Kyoto, during which he studied artworks from Chinese, Japanese and Western sources. A personal style of Western naturalism mixed with Eastern decorative design emerged, and Ōkyo founded the Maruyama school of painting. Although many of his fellow artists criticized his work as too slavishly devoted to natural representation, it proved a success with laypeople.
Kaihō Yūshō; real name: Kaiho Shōeki, "brush name": Yusho, was a Japanese painter of the Azuchi–Momoyama period. He was born in Ōmi province, the fifth son of Kaihō Tsunachika, who was a vassal of Azai Nagamasa.
Hon'ami Kōetsu was a Japanese calligrapher, craftsman, lacquerer, potter, landscape gardener, connoisseur of swords and a devotee of the tea ceremony. His works are generally considered to have inspired the founding of the Rinpa school of painting.
Kanō Tan'yū was a Japanese painter of the Kanō school. One of the foremost Kanō painters of the Tokugawa period, many of the best known Kanō works today are by Tan'yū.
Kanō Naizen was a part of the Japanese family of painters, the Kanō school. He was the middle son of school's head Kanō Eitoku, younger brother to the Kano school heir Kanō Mitsunobu, older brother to Kanō Takanobu, and adopted brother to the famed Kanō school painter Kanō Sanraku. Naizen primarily worked with his fathers and brothers in the head Kanō workshop in Kyoto to restore many imperial buildings, Buddhist temples, and Shinto shrines that were destroyed during the Kamakura period and the Genpei Wars. In 1610–15 Naizen moved to Edo, the new administration capital, at the behest of the recently ascendent Tokugawa shogunate, Tokugawa Ieyasu.
Shōkoku-ji (相国寺), formally identified as Mannen-zan Shōkoku Shōten Zenji (萬年山相國承天禅寺), is a Buddhist temple in northern Kyoto, first founded in 1382 by Ashikaga Yoshimitsu, with the existing temple complex having undergone several periods of extensive reconstruction and rebuilding in the succeeding eras.
Kanō Sanraku was a Japanese painter also known as Kimura Heizō, Shūri, Mitsuyori, and Sanraku. He was the sixth-generation member of the famous Kanō family of painters that served the Japanese shoguns. Sanraku's works combine the forceful quality of Momoyama work with the tranquil depiction of nature, and they have a more refined use of color typical of the Edo period.
Kanō Sansetsu was a Japanese painter also known as Kanō Heishiro. He was born in Hizen Province, Kyūshū, and died in Kyoto.
Buddhism played an important role in the development of Japanese art between the 6th and the 16th centuries. Buddhist art and Buddhist religious thought came to Japan from China through Korea. Buddhist art was encouraged by Crown Prince Shōtoku in the Suiko period in the sixth century, and by Emperor Shōmu in the Nara period in the eighth century. In the early Heian period, Buddhist art and architecture greatly influenced the traditional Shinto arts, and Buddhist painting became fashionable among wealthy Japanese. The Kamakura period saw a flowering of Japanese Buddhist sculpture, whose origins are in the works of Heian period sculptor Jōchō. During this period, outstanding busshi appeared one after another in the Kei school, and Unkei, Kaikei, and Tankei were especially famous. The Amida sect of Buddhism provided the basis for many popular artworks. Buddhist art became popular among the masses via scroll paintings, paintings used in worship and paintings of Buddhas, saint's lives, hells and other religious themes. Under the Zen sect of Buddhism, portraiture of priests such as Bodhidharma became popular as well as scroll calligraphy and sumi-e brush painting.
The Hara School was a Kyoto-based Japanese painting atelier established in the late Edo era, which continued as a family-controlled enterprise through the early 20th century. The Hara artists were imperial court painters and exerted great influence within Kyoto art circles. They contributed paintings to various temples and shrines, as well as to the Kyoto Imperial Palace.
Kanō Takanobu was a Japanese painter of the Kanō school of painting during the Azuchi–Momoyama period (1573–1615). He was the father of Kanō Tan'yū, one of the most prominent painters of the school.
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