Title: A Monumental Emakimono Handscroll of Preliminary Sketches and Paintings by Various Kano School Members, With Examples Transposed and Compiled into Handscroll Format, Circa 1650-1840. 17 Meters With Hundreds of Different Figures
Author: Attributed to Kano Eishin (Isen'in); Kano Seisen'in Osanobu, Stated Attribution to Kano Tan’yu
Condition: Very Good
A monumental emakimono handscroll of preliminary sketches and paintings, attributed to various Kano School Members of the Early to Late Edo Period, Circa 1650-1840, with the examples likely transposed and compiled into handscroll format sometime during the Late Edo Period.
The scroll displays a litany of numerous scenes and art styles, from various battles and figures in warfare, to numerous, well painted portraits of seated lords, poets, and other presumably notable figures. There are also some landscape figures, animals, several sumo scenes in full color, and a trapped yokai. I have not counted the exact number of sheets total that were attached together, but there are clearly several hundred different figures displayed throughout, including those from the battle scenes.
The many paintings and sketches are attributed to at least three different members of the Kano school, indicated by their signatures or artist seals, or both. Many of the sketches and paintings are unsigned, which could indicate other artist contributions not yet identified. The artists are as followed:
Kano Tan'yū (1602-1674) was a painter from the Early Edo Period. The founder of the Kajibashi Kano School, and a native of Kyoto, his given name was Morinobu. He was Kano Takanobu's eldest son and Kano Eitoku's grandson. At a young age he went to Edo and very quickly became an official painter for the shogunate. In contrast to the grand and extravagant style of the Momoyama period, he created a style of painting that was simple and elegant, and built the foundation for the prosperity of the Edo Kano School. In 1662, he was appointed Hoin, the highest rank for a painter. Four years later, he was involved in the creation of a longevity portrait of Emperor Mizuo and was bestowed the seal of "Fudemine Daikoji" by the Emperor.
Kano Eishin, or Isen'in (1775-1828) was a painter from the late Edo period. Son of Yokawa-in Korenobu. His name was Eishin and his pen name was Genshosai. He learned painting from his father, his father having once stated, "I cannot match you." A master of the Early Modern Kano School, He was known for his technique of applying gold paint to ink paintings. He was also skilled in the tea ceremony and was favored by Matsudaira Fumai. In 1813, he was appointed a priest named Ikawa-in. He passed away in 1828, at the age of 54.
Kano Seisen'in Osanobu (1796-1846) was a painter from the late Edo period. He was known by the pen names Seisen-in, Kaishinsai, Keishinsai, and Tamagawa. He was the son of Kano Ikawa-in Eishin, and the ninth head of the Kobiki-cho Kano family. In 1819, he was awarded the title of Hokan, and in 1834, he was awarded the title of Ho-A. He studied classical Yamato-e painting through the copying of old picture scrolls and brought a breath of fresh air to the Kano school, becoming a leading figure in the school at the end of the Edo period. His representative work is the "Tale of Genji, Ko no Nizu byobu" (a folding screen, now owned by Toyama Memorial Museum). The details of the painting of the partitions of Edo Castle, which he led twice (1839 in the Nishinomaru and 1845 in the Honmaru), can be known in considerable detail from the sketches and "Official Diary" (both owned by Tokyo National Museum). There was a period when he called himself Kano Sangai, but the details are unknown.
One extraordinarily long handscroll manuscript on washi paper, roughly 29.2 x 1718 cm
This manuscript is in very good shape, with some wear and a bit of fraying noted to the edges of the paper, and the odd bit of staining throughout. The beginning and end of the scroll are more heavily frayed and worn, but despite the thin and delicate washi paper, the scroll is remarkably well preserved.