Title: An Illuminated Painting Album of Poets and Calligraphy, Circa 1634-1691. A Beautiful Album in the Style of the Sanjurokkasen, or 36 Immortal Poets
Author: Attributed to Tosa Mitsuoki
Condition: Very Good
An Early Edo Period, 17th century painting album of 18 pairs of illuminated calligraphy, and paintings of various poets, very much in the fashion of the Sanjurokkasen, or 36 Immortal Poets.
Each painting has been produced on fine paper (possibly torinoko) and sumptuously produced with profuse usage of gold leaf, gold inks and gold sprays to decorate the background. Each poet has been very finely painted, with significant attention to detail on the vestments and kimono patterns, and illumination highlights to each figure, making them more distinctive. Considerable effort has been placed onto the facial details as well, from face lines and wrinkles, unique expressions, and more.
The calligraphy is no less lacking in detail as well, with each shikishi format leaf being brilliantly illuminated against different hues of paper, golden trees, landscapes, and more being added to accentuate the calligraphy.
The paintings have been attributed to Tosa Mitsuoki (1617-1691), all bearing his artist seals. Born the son of Tosa Mitsunori, much of Mitsuoki’s early life is not heavily detailed, but in 1634, he relocated from Sakai, Osaka prefecture to the capitol at the behest of Emperor Go-Mizunoo. From there, he was appointed as a court painter and began producing ceremonial fans sensu for the court. By 1654, he succeeded his father as head of the Imperial Court painting bureau and effectively brought about a revival and restoration of the Tosa School’s status and prosperity. The Tosa-ha became immensely popular throughout the Edo Period, and works of the Tosa School were favored by the elites and nobles of Kyoto. Mitsuoki's painting style was unique in that it embraced more influence from Chinese artistry, and stylistic choices of the Kano School as well, creating a new Tosa School style of painting. Many of his later successors used those very same techniques and style of painting as well, and it was this very stagnation which led to eventual disinterest in the family’s work and their subsequent decline.
The paintings and shikishi format calligraphy have been finely bound in album format with green brocade covers, decorated with large crest designs and more. There is a doubled set of wooden boxes to accompany the album, preserving the contents.
One painting album in orihon format (22.4 x 17.8 cm album size, 14 x 12.5 cm per painting and shikishi size), 18 paintings and 18 sheets of illuminated calligraphy
The paintings and calligraphy are in very good shape, with minor wear and slight worm tracks to the album covers, the wear mostly to the corners and edges. Some of the album boards are starting to loosen from the bottom but are holding. About 6 of the examples of illuminated calligraphy have been affected by old staining in places, and 3 of the paintings have minor staining as well, with one showing a very small worm track.