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36 Cards in this Set
- Front
- Back
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Tosa Mitsunori. Illustration of Chapter Twenty from the Tale of Genji, early 17th century. Ink, red pigment, and gold on paper. Importance: Uses hakubyo style (line painting in ink) and yamato-e (Native Japanese painting style featuring gilded clouds, birds-eye views, expressionless faces, rich mineral pigments) techniques; appropriate for women and children |
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Tosa Mitsuoki. Quail and Heads of Millet, latter half of 17th century. 8-panel folding screens. Tosa School. Importance: Yamato-e style, incorporating SouthernSong style – paintings focused on smaller, visually closer, more intimatescenes; background often a “realm without substance” or concern, bereft ofdetail |
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Tosa Mitsuoki. Flowering Cherries and Autumn Maples with Poem Slips, ca. 1654-1681. Ink, color, gold and silver on silk. 6-panel screen. Tosa School. Commissioned by/given to Princess Tofukumon'in. Importance: Painted for Princess Tofukumon-in, wife of retired Emperor Gominzuno-o;displayed artistic, literary, and intellectual elements of Japanese courtculture. |
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Kano Eitoku. Scenes Inside and Outside the capital, 1574. Ink and color on gold-leafed paper. 6-panel screens. For Oda Nobunaga and Uesugi Kenshin. Kano School. Importance: |
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Kano Eitoku. Chinese Lions, 1582. Pair of 6-panel screens. Color and gold on paper. Kano School. Importance: May represent Emperor and Shogun. |
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Kano Eitoku. Cypress, 1590. Pair of 4-panel screens. Ink on paper covered with gold leaves. Kano School. Importance: Used Chinese ideology to buttress Shogun's political legitimacy. |
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Nijo Castle: Ohiroma building. Has four chambers + the Great Audience Hall (pictured). The Shogun would receive visitors here. |
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Kano Tan’yû. Great Avatar Illuminating the East, 1648. Ink, pigment, gold on silk. Hanging scroll. Kano School. Importance: Tokugawa Ieyasu death portrait (posthumous name -- Tôshô Daigongen) |
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Nikkô TôshôguShrine: Worship Hall (Shintô) Importance: Ieyasu’sspirit is enshrined here |
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Kano Tan'yu. Origins of the Tôshôgu, early 17th century. Ink, pigment, gold on paper. Handscroll. Kano School. Importance: To commemorate Tokugawa Ieyasu, painted in the yamato-e style. |
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Kano Tan'yu, Dragons, 1662. Ink on paper. Standing screens. Kano School. Importance: Kano Tan'yu worked for Ieyasu since he was 14 years old; used Chinese Southern Song imagery to show power. |
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Sôtatsu and Hon’ami Koetsu Crane Scroll, 17th century. Ink and color on paper. Handscroll. Rinpa. Importance: Rinpa is a native (Kyoto) renaissance style; artists of this school lived in a community on Mt. Takagamine. |
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Tawayara Sôtatsu. Wind and Thunder Gods, after 1621. Pair of two-fold standing screens. Ink and color on gold-foiled paper. Rinpa. Importance: depicts the tension of a thunderstorm; numerous variations |
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Tawaraya Sôtatsu. Matsushima Screens (Pine Islands), 17th century. Pair of 6-panel screens. Ink, color, gold, and silver on paper. Rinpa. Importance: Mayrepresent meisho (famous place) and apsychological state |
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Ogata Korin. Iris Screen, ca. 1701. Gold and color on paper. Pair of 6-panel standing screens. Rinpa. Importance: Frequently reproduced; irises represent rebirth in spring |
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Ogata Korin. Plum Blossom Screens, ca. 1704-1709. Color and gold leaf on paper. Pair of 2-fold screens. Importance: Painter blurredthe boundary between painting and textiles through composition and pattern |
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Kita Genki. Portrait of Yinyuan Longqi at Eighty, 1671. Ink and colors on paper. Hanging scroll. Importance: life-size, half-length image depicting Chinese priest in Buddhist ceremonial robes. |
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Gion Nankai. Ink Plum, 1740s. Ink on paper. Hanging scroll. Bunjinga. Importance: 1 of the Four Gentlemen - The plum blossom, the orchid, the bamboo, and the chrysanthemum; painted in the Nanga/Bunjinga style |
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Ike Taige Mt. Asama, ca. 1760. Ink and color on paper. Hanging scroll. Obaku Bunjin -- Obaku = school of Zen in Japanese Buddhism, Bunjin = literati painting Importance:Combinesshinkei-zu (“true views”) with Meisho (“famous places”), Chinese Literati, andWestern perspective |
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Uragami Gyokudo. Crossing a Bridge and Carrying a Qin, 1814. Ink on paper. Hanging scroll. Obaku Bunjin. Importance: Artist led a Bohemian lifestyle, and wandered for years with his Qin |
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Kato Bunrei. Three Patriarchs, Late 18th century. Three hanging scrolls. Ink on paper. Edo Bunjinga. Importance: Three semilegendary patriarchs of Zen Buddhism -- Bodhidharma, Linqi, and Deshan |
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Kazan Watanabe Portrait of Ozora Buzaemon, 1827. Ink and color on paper. Hanging scroll. Ozura Buzaemon. Importance: Kazan Watanabe painted hyper-realistic portraits with profound insight into his models' characters. He liked Rangaku, combining scientific curiosity with compassion. |
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Tani Buncho. Portrait of Kimura Kenkado, 1802. Color on silk. Edo Rinpa and Bunjinga. Importance: |
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Okada Beisanjin. Men Enjoying a Game of Kyokusai at Ran-tei Pavilion. Edo Rinpa and Bunjinga. |
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Mori Sosen. Monkeys in a Plum, early 19th century. Edo Rinpa and Bunjinga. |
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Sô Shiseki Rooster and Hen Under a Willow Tree, 1770. Ink and color on silk. Hanging scroll. Rangaku. Importance: Artist followed ShenQuan, used a variety of techniques including stippling and mokkotsu |
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Odano Naotake. View of Shinobazu Pond, late 1770s-1780. Ink and color on silk, hanging scroll. Rangaku School. Importance: A famous Edo landmark using Western perspective and Chinese painting styles. |
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Shiba Kôkan. Seven-league Beach (Shichirigahama), 1796. Oil on paper, two-panel standing screen. Rangaku. Importance: Shiba Kôkan was famous for his Western-style yōga paintings that imitate Dutch oil painting styles, methods, and themes |
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Shiba Kôkan. The Serpentine, 1781-88. Etching, ink with color. On paper. Importance: A vedutta-style scene of Stower, England, for a vue d'optique. |
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Maruyama Ôkyo. Pine Trees in the Snow, 1780. Pair of 6-fold screens. Ink on gold background. Patron: Mitsui family. Okyo school. Importance: |
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Maruyama Ôkyo. Carp Ascending Falls, . Ink and color on paper. Hanging scroll. Okyo school. Importance: More realistic - shows carp actually in the water rather than jumping above |
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Matsumura Goshun. Heron and Flowers, 1782. Ink and color on paper. Hanging scroll. Goshun school. Importance: eccentric painter |
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Itô Jakuchû.
Vegetable Parinirvana, 1780. Ink on paper. Hanging scroll. Jakuchu school. Importance: represents death of a Buddha who has attained Nirvana in vegetable form - all followers gather, the Buddha's mother comes down from the heavens |
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Nagasawa Rosetsu. Bull and Elephant, 1790s. Pair of 6-panel folding screens. Ink on paper. Okyo school. Importance: Eccentric Rosetsu created compositions around dualities such as familiar or exotic, big or small, dark or light. |
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Soga Shohaku. Four Sages of Mt. Shang, ca. 1768. Pair of six-panel folding screens. Ink and gold on paper. Soga Monk School. Importance: Artist painted while intoxicated like Chinese artists; powerful brush strokes. |
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Ukita Ikkei. Tale of a Strange Marriage, 1858. Ink and color on paper. Handscroll. Importance: Yamato-e style, considered to be a satirical/whimsical narrative. |
