Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques
Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques

Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, in Bold Ink Wash Techniques

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Title: Kano Utsunenobu Shōshōhakkei (Kano Tsunenobu's Eight Views of Xiaoxiang), Circa 1700-1750. A Monumental Silk Landscape of the Eight Views of the Xiao and Xiang Rivers, after one of the Kano School Heads, in Bold Ink Wash Techniques
Author: After Kano Tsunenobu; Kano School Artist
Condition: Very Good

A Mid Edo Period, early to mid 18th century emakimono handscroll on silk, being roughly entitled Kano Utsunenobu Shōshōhakkei, or Kano Tsunenobu's Eight Views of Xiaoxiang. As the title entails, the handscroll is a tremendous series of landscapes, based off the famous scenes of the Xiaoxiang region and rivers, with beautiful mountains and prickly trees, with numerous villages and figures dotting the landscape, and bodies of water weaving throughout it all, produced using ink wash techniques.

The front cover has an inscription attributing this work to Kano Tsunenobu (1636–1713), one of the Kano School heads of the late 17th to early 18th century. While the landscape is unmistakably in the style of the Kano School, and by an experienced artist, the linework of borders is bolder, and the hillscapes more defined, as opposed to Tsunenobu’s softer compositions. The lack of any artist seal or signature is also another factor. I would attribute this to another Kano School artist, possibly one who studied under Tsunenobu, or perhaps one who studied his examples.

The paintings have been laid down and bound in a scroll format for preservation, with a beautiful brocade decorated cover of gold with notched decorations, and there are small jikusaki (knobs).

One brocade bound emakimono (picture scroll) on silk, roughly 32.7 x 680 cm main paper. The knobs are not included as part of the measurement.

This handscroll is in very good shape, with minimal rubbing and wear to the brocade fabric. There are a very tiny spots of soiling and only a couple of tiny silk splits.