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Shijō School
The , also known as the ''Maruyama–Shijō'' school, was a Japanese school of painting. History It was an offshoot school of the Maruyama school of Japanese painting founded by Maruyama Ōkyo, and his former student Matsumura Goshun in the late 18th century. This school was one of several that made up the larger Kyoto school. The school is named after the Shijō Street ("Fourth Avenue") in Kyoto where many major artists were based. Its primary patrons were rich merchants in and around Kyoto/Osaka and also appealed to the ''kamigata'' who were of the established aristocrat and artisan families of the Imperial capital during the late 18th/19th centuries. Style Stylistically, the Shijō style can best be described as a synthesis of two rival styles of the time. Maruyama Ōkyo was an experienced and expert painter of '' sumi-e'' ink paintings, and accomplished a great degree of realism in his creations, emphasizing direct observation of depicted subjects which was a direct con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanō School
The is one of the most famous schools of Japanese painting. The Kanō school of painting was the dominant style of painting from the late 15th century until the Meiji period which began in 1868, by which time the school had divided into many different branches. The Kanō family itself produced a string of major artists over several generations, to which large numbers of unrelated artists trained in workshops of the school can be added. Some artists married into the family and changed their names, and others were adopted. According to the historian of Japanese art Robert Treat Paine, "another family which in direct blood line produced so many men of genius ... would be hard to find". The school began by reflecting a renewed influence from Chinese painting, but developed a brightly coloured and firmly outlined style for large panels decorating the castles of the nobility which reflected distinctively Japanese traditions, while continuing to produce monochrome brush paintin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ohara Koson
was a Japanese Painting, painter and Woodblock printing in Japan, woodblock print designer of the late 19th and early 20th centuries, part of the ''shin-hanga'' ("new prints") movement. Ohara Koson was famous as a master of kachō-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hōson (小原豊邨), Ohara Shōson (小原祥邨) and Ohara Koson.Ohara Koson (Shōson) (1877-1945) The Lavenberg Collection of Japanese Prints Biography He was born Ohara Matao; it is thought that he started training in painting and design at the Ishikawa Prefecture Technical School in 1889–1893. He also studied painting with Suzuki Kason (1860–1919), although accounts differ on whether this happened ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kikuchi Yōsai
, also known as Kikuchi Takeyasu and Kawahara Ryōhei, was a Japanese painter most famous for his monochrome portraits of historical figures. Biography The son of a samurai named Kawahara of Edo, he was adopted by a family named Kikuchi. When eighteen, he became a pupil of Takata Enjō; but, after studying the principles of the Kanō, Shijō, and Maruyama schools, perhaps, under Ozui, a son of Ōkyo, he developed an independent style, having some affinities with that of Tani Bunchō. His illustrated history of Japanese heroes, the '' Zenken Kojitsu'', is a remarkable specimen of his skill as a draughtsman in monochrome ink. In order to produce this work, and his many other portraits of historical figures, he performed extensive historical, and even archaeological, research. ''Zenken Kojitsu'' features over 500 major figures in Japanese history, and was originally printed as a series of ten woodblock printed books, in 1878. Style Nakane Kōtei (中根 香亭) point ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Matsumura Keibun
(1779, Kyōto - 25 May 1843, Kyōto) was a Japanese painter. Life and work His father died when he was two years old. He was younger half-brother to Matsumura Goshun, founder of the Shijō school, and received his first art lessons from him. He exhibited his works as early as 1796, under the auspices of , a showing which included calligraphy. Keibun inherited Goshun's studio when he died in 1811. By 1813, he was listed in a directory of Kyōto's most notable citizens. In 1818, for the seventh anniversary of his half-brother's death, he staged an exhibition of his works. In 1829, he painted a group of birds on the ceiling inside of the "Naginata-Hoko" (長刀鉾; roughly, Long Sword Halberd), one of the floats for the Gion Matsuri (festival), which is still in use today. In 1830, he published an illustrated book; "" (呉景文画譜, Keibun's Art of Painting), which was a significant contribution to establishing Goshun's style. He also served as Chief Priest at the , a Tendai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shibata Zeshin
was a Japanese lacquer painter and print artist of the late Edo period and early Meiji era. He has been called "Japan's greatest lacquerer", but his reputation as painter and print artist is more complex: In Japan, he is known as both too modern, a panderer to the Westernization movement, and also an overly conservative traditionalist who did nothing to stand out from his contemporaries. Despite holding this complicated reputation in Japan, Zeshin has come to be well regarded and much studied among the art world of the West, in Britain and the United States in particular. Biography Zeshin was born and raised in Edo (modern-day Tokyo). His grandfather Izumi Chobei and his father Ichigoro were shrine carpenters (''miyadaiku'') and skilled wood carvers. His father, who had taken his wife's family name of Shibata, was also an experienced ukiyo-e painter, having studied under Katsukawa Shunshō. This, of course, gave him an excellent start on the road to being an artist an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mori Sosen
was a Japanese painter of the Shijō school during the Edo period. Mori Sosen is famous for his many paintings depicting monkeys. He also painted other animals, such as deer, boars, and peafowl. Robert van Gulik called him "an undisputed master" of the painting of the Japanese macaque. When a gibbon was brought in Japan by the Dutch in 1809, creating somewhat of a sensation (gibbons had long been depicted by Japanese artists, based on Chinese paintings of the animal, but no one in Japan had seen a live gibbon for centuries), it was Mori who had created a graphic record of this event as well. It is unknown whether he was born in Osaka, Nagasaki, or Nishinomiya 270px, Nishinomiya City Hall 270px, Aerial view of Nishinomiya city center 270px, Hirota Shrine is a city located in Hyōgo Prefecture, Japan. , the city had an estimated population of 484,368 in 218948 households and a population density of 48 ..., but he lived in Osaka for most of his life. Gallery Mori Sosen Baik ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Painting
Chinese painting () is one of the oldest continuous artistic traditions in the world. Painting in the traditional style is known today in Chinese as ''guó huà'' (), meaning "national painting" or "native painting", as opposed to Western styles of art which became popular in China in the 20th century. It is also called ''danqing'' (). Traditional painting involves essentially the same techniques as calligraphy and is done with a brush dipped in black ink or coloured pigments; oils are not used. As with calligraphy, the most popular materials on which paintings are made are paper and silk. The finished work can be mounted on scrolls, such as hanging scrolls or handscrolls. Traditional painting can also be done on album sheets, walls, lacquerware, folding screens, and other media. The two main techniques in Chinese painting are: * Gongbi (工筆), meaning "meticulous", uses highly detailed brushstrokes that delimit details very precisely. It is often highly colored and usual ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Southern School
The Southern School () of Chinese painting, often called " literati painting" (), is a term used to denote art and artists which stand in opposition to the formal Northern School () of painting. The distinction is not geographic, but relates to the style and contents of the works, and to some extent to the position of the artist. Typically, where professional, formal painters were classified as Northern School, scholar-bureaucrats who had either retired from the professional world or who were never a part of it constituted the Southern School. According to William Watson, while the Northern School contains "the painters who favour clear, emphatic structure in their compositions, with the use of explicit perspective devices", the Southern School "cultivate a more intimate style of landscape bathed in cloud and mist, in which pleasing calligraphic forms tend to take the place of conventions established for the representation of rocks, trees, etc. The painter of the Southern School ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nanga (art)
, also known as , was a school of Japanese painting which flourished in the late Edo period among artists who considered themselves literati, or intellectuals. While each of these artists was, almost by definition, unique and independent, they all shared an admiration for traditional Chinese culture. Their paintings, usually in monochrome black ink, sometimes with light color, and nearly always depicting Chinese landscapes or similar subjects, were patterned after Chinese literati painting, called ''wenrenhua'' () in Chinese. Etymology The name ''nanga'' is an abbreviation of ''nanshūga'', referring to the Southern School () of Chinese painting, which is also called " literati painting" (). History Chinese literati painting focused on expressing the rhythm of nature, rather than the technical realistic depiction of it. At the same time, however, the artist was encouraged to display a cold lack of affection for the painting, as if he, as an intellectual, was above caring d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tosa School
of Japanese painting was founded in the early Muromachi period (14th–15th centuries),,p.988 and was devoted to ''yamato-e'', paintings specializing in subject matter and techniques derived from ancient Japanese art, as opposed to schools influenced by Chinese art, notably the Kanō school (狩野派). Tosa school paintings are characterised by "areas of flat opaque colour enclosed by simple outlines, where drawing is precise and conventional", with many narrative subjects from Japanese literature and history. However, by the 17th century both Tosa and Kanō artists broadened their range, and the distinction between these and other schools became less clear. The origins of this school of painting can be traced to (fl. first half 15th century), ''Encyclopedia of World Art"", pp. 1032–3 who first used the professional name of Tosa, though unverified claims to earlier origins were made later by Mitsunobu (1434?–?1525) who formally founded the school. Mitsunobu served as the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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