Kanō Eitoku (狩野 永徳, February 16, 1543 – October 12, 1590) was a Japanese painter who lived during the Azuchi–Momoyama period of Japanese history. He is one of the most prominent patriarchs representative painter of the Kano school (school which was in the center of the Japanese painter from the Muromachi era to the Edo era) and is one of the most prominent painters of Japanese art history. Existing masterpieces include “Karate Lion Screen Painted Screen”, “Long Nak Raku Excursion Folding Screen”, “Shukokoin Barrier Painting” and others.
Kanō Eitoku is the son of Kano Katsuei and it is the grandchild of Motonobu Kano. Eiken is a legal name, Genjiro is the name, Shinzo is a state newsman (Kuninobu).
As a masterpiece of the Kano school, he created barrier paintings such as Nobunaga Oda, Toyotomi Hideyoshi serving the celestial person, Azuchi castle, Juraku shi, Osaka castle. Many of these representative accomplishments that Eikdo wielded are destroyed together with the building, and there are relatively few existing works that are regarded as truth. Speaking of Eikden is a magnificent work of magnificent scale (big picture) such as “Karate lion figure” and “Hinoki figure” well known, but it is said that well “fine picture” depicting precisely detailed details (” Picture history of this morning “). Uesugumoto “Raku Nakoraku Figure”, one of the masterpieces that are still present, shows that he excelled in fine detail depiction.
Born in Kyoto as Astronomy 12 (1543), the eldest son of Shogei. First of all, records of Eiken appear in the record in the article of January 29 (February 23, 1552) of the astronomical astronomy in the diary of Yamashinai telling ” ) Gathered their grandchildren to the general Shogun Yoshiteru Ashikaga, and this “grandchild” was presumed to be a 10-year-old (county) elders at the time.
In addition, it is deeply related to the Kokomo family who is the leader of the Five Parents House, and it draws a barrier painting of the House of Sakihisa in the period of Eiroku 10 – 11 (1567 – 1568) (” Record”). In the invitation of Otomo Sorin at the invitation of Otomo Sorin, he went down to Bungoi through Tosa country together with Masayoshi Kuma, Mutsuyi Goto, Tokuyama Goto and Michiri Yoshida (“Nakae Sae Munezonjo Letter”), I drew a barrier picture of Usuki Nijima Castle (“Otomo Koho”).
In Tensho 4 – 7 (1576 – 1579), after giving away his house to Munehide Kano in his brother, he painted a barrier painting in Azuchi Castle (“Nobunaga Public”), in the Tensho 11 year (1583) Osaka Castle, heavily used for power persons including Oda Nobunaga and Toyotomi Hideyoshi etc. in charge of the barrier painting of Juraku in the 14th year of Tensho (1586).
In the 17th year of Tensho (1589) he was responsible for the barrier painting of the inner back of Emperor Yosemi, and in 1890 (1590) he painted the barrier drawing of Hachijyo Palace. In September of the same year, Yongdeok was sick during the dragon drawing of the ceiling painting of Tofukuji Temple, died soon. Age of 48 (full death 47 years old). The graveyard is Taekoji temple in Kyoto. It is said that the cause of death is death from overwork in contemporary style. In addition, the ceiling painting of Tofukuji Legend Hall was completed by the disciple Kano’s Yamakura based on the elegant undergrowth, but it does not exist.
His signal contribution to the Kanō repertoire was the so-called “monumental style” (taiga), characterized by bold, rapid brushwork, an emphasis on foreground, and motifs that are large relative to the pictorial space. The traditional account for this style, codified by Eitoku’s great-grandson Einō (1631–97) in his History of Japanese Painting (Honcho gashi), is that it resulted partly from the exigencies of Eitoku’s busy schedule, and that it embodied the martial and political bravura of the warlords, Nobunaga and Hideyoshi.
Unfortunately, most of his works were destroyed in the turmoil of the Sengoku period. However, those that do still exist provide testimony to his talent, to the power and wealth of his patrons Nobunaga and Hideyoshi, and to the magnificence of Azuchi-Momoyama culture. Symbolic representations, like pheasants, phoenixes and trees are often depicted in the works. The pheasant, for example is the national symbol of Japan, are mythological messengers of the sun goddess Amaterasu.
Shukokoin Barrier Pain (National Treasure) – Kyoto City, Shukoin
Shukokuin is the tower head of Daitokuji, Eikuto painted a barrier picture of Katajo with his father Matsui. Eitoku was in charge of “Flower bird diagram” 16 faces and “Koto handwritten drawing” 8 faces. Regarding the age of production, it was regarded as a work of 24 years old young writers of Nagoro 9th year (1566 years), which is the year of the establishment of Shokoin in the past, but from consideration of the style of painting and review of the age of construction itself, after a long time There is also the theory that it is Tensho 11 year (1583). Copies were produced sequentially from 2006 (2006), and the original is deposited at the Kyoto National Museum.
Rakuchu Rakugo figure (national treasure) – Uesugi Museum
Oda Nobunaga gave to Kenshin Uesugi in Nobunaga 2 (1574), which is a masterpiece of the Raku Naka Rukugaki drawing that depicts the center of Kyoto (Rakunaka) and the suburbs (Rukuoka) in a bird’s-eye view. It is valuable as a historical material, and the number of figures drawn on this screen is about 2,500. About this screen, various aspects of production age have been discussed from the urban landscape drawn. There are various theories about the landscape age, such as Meiya Akira who regards the landscape age drawn on the screen by Astronomy 16 (1547), but also the fact that the cape plantation of Miyoshi Yoshiho House built in 1561 is drawn Have been pointed out.
Karate lion screen folding screen – Imperial Household Agency Sannaru Takanzokan
Hideyoshi listened to Honnoji’s death in 1510 (10th year of Tensho), so in order to return to Kaiuchi, there is a tradition with Jinya folding screen that I gave to Terumoto Mori as a proof that it was quickly concluded at Takamatsu Castle. But there is no historical material to support it. In recent years, 224.2 × 453.3 cm and Honma folding screen is unusual in size, because it seems that the original was a bigger work from a plurality of cutouts seen on the screen, originally the Osaka Castle Honmaru table and the Juraku, Hideyoshi There is also a theory that it was a barrier painting decorating the hall of the relation castle tower. It was presented to the Imperial family in the Meiji era. In the lower right corner of the screen there is a paper in the paper with “Kano Kannon Branchi Brush” by Kano Ink (a grandson of Echo). Kano Kano confronting the greatest grandchildren of Eik is supplementing the left wing.
“Special Exhibition Kano Kojin” (2007, Kyoto National Museum), the following works are regarded as Eikaku works.
Nanzenji Ozakura Barrier Painting (Important Cultural Properties) – Kyoto City · Nanzenji
Co-made by Kano school. Around Tensho 14 – 19 (1586 – 1591). Inside, it is said that the group sengumi is Einchakyo.
Hinoki figure folding screen (national treasure) – Tokyo National Museum
Toshinaga Tokushi. Tensho 18 years (1590)? Old Kuriya House. Originally it was reported that it was a barrier picture of the Hachijyo palace, it was transferred to Katsuragi which is the back of the Hachiojo Miya House, after the abolition of the Miyae in 1881, it was transferred to the Imperial Household Agency and further from the main building dormitory to the Tokyo National Museum Was transferred to. In order to eliminate the discontinuity of drawings between each fan caused by refurbishment of the paint due to aged deterioration or the crack expansion of the sliding screen on the folding screen, from October 2012 to March 2014 full repair It was given. Until repair was one of eight songs, was renewed to four songs.
Daughter’s father figure (Yuusuzou Housu) (important cultural property) – Tokyo National Museum
Toshinaga Tokushi. A paper book made of 2 width ink painting.