This page is copyright to Craig Coussins

Scroll Artists
 This page and content is copyrighted to Craig Coussins. Material can be used by asking Craig Coussins 2011

Scroll Restoration Service-click

As you are no doubt aware, this is a huge work in progress and I will be adding to this as I am able. Please be patient if you are unable to find the artist that you want to know about. Please note that this page is copyright and all the material on this page is copyright and can not be used other than for your own personal research. I can not guarantee that the information given here is 100% accurate but after a great deal of research I will assume that it it is fairly correct and, like my translations of individual scrolls that the descriptions are accurate as far as I can determine.

The very best book on Japanese and the movement from Chinese art into Japanese Art  is encapsulated in the quite wonderful book called: ON THE LAWS OF JAPANESE PAINTING AN INTRODUCTION TO THE STUDY OF THE ART OF JAPAN BY HENRY P  BOWIE WITH PREFATORY REMARKS BY IWAYA SAZANAMI AND HIRAI KINZA -Paul Elder and Co 1911.

Please note that original 'first editions' are available from Tokonomascrolls.com. We have devoted some considerable effort in locating and buying these extremely rare books for the pleasure of our readers and customers. Later copies do not have the depth of quality in the beautiful illustrations in this book. The nuances of the shading are lost in later editions and the awful reprints made some 50 years later until the present day. Once you have in your hands a book from that first edition run in 1911 that is indeed a delightful experience.

The information from the original Paul Eldar Publishing company as follows: On the Laws of Japanese Painting, by Henry P. Bowie. Preface by Iwaya Sazanami and Hirai Kinza. Drawings by Shimada Sekko. Authors autograph edition, 100 copies, 1911. Trade edition 1911. Reprinted 1916.

The various styles of Japanese painting include:

Haiga  Many scrolls have a descriptive text which can be a poem. Poetry painting. This , sometimes, abbreviated playful painting, can also have abbreviated haiku poems. Often written by amateurs.
Kan This was the official government painting style in the Edo period in Tokyo and in Kyoto. Based on the Chinese styles from the Muromachi period. Painting in the broken-ink technique (hoboku) and adding colour to traditional subjects.

Kano-ha (the Kano school) :

The Kano school is one of the most famous schools of Japanese painting. It was founded by Kano Masanobu (1434-1530), a contemporary of Sesshu and student of Shubun. Some scholars write that though Masanobu mastered elements of Chinese painting and of Shubun's style, he was overall mediocre and lacked the originality and creativity of his teacher. Nevertheless, Masanobu became an official painter in the Shogun's court, and it was this lofty position which granted the Kano school influence and fame. The artists who followed him improved upon his style and methods, and within a generation the school flourished.

The school's works are the paragons of Momoyama period art, and while most schools specialize in one style, medium, or form, the Kano school excels at two. Kano painters often worked on a large scale, painting nature scenes of birds, plants, water, or other animals on sliding doors or screens, covering the background with gold leaf. Some of the most famous examples of these can be found at the Nijo Castle in Kyoto.

The school is equally renowned, however, for its monochrome ink-on-silk landscapes. Kano ink painters composed very flat pictures but they balanced impeccably detailed realistic depictions of animals and other subjects in the foreground with abstract, often entirely blank, clouds and other background elements. The use of negative space to indicate distance, and to imply mist, clouds, sky or sea is drawn from traditional Chinese modes and is used beautifully by the Kano artists. It is interesting, perhaps, to note the very bold brush strokes and thus bold images that are obtained in what is often a very subtle and soft medium. It is also interesting to note the contrast between these expertly painted monochrome ink paintings and the almost gaudy but no less beautiful gold-on-paper forms these artists created for walls and screens.

Kishi A mix of Nagasaki, Kan and Maruyama-Shij painting styles. It is recognised by the unique style of brush stroke.
Maruyama Maruyama kyo, emphasizes the artists study of and response to nature.(Shaseiga). Okyo Maruyama
(1733 - 1795)
was the founder. His grandson,
Maruyama Oshin (1790-1838) continued in the school Famous exponents included
Nakajima Raisho, Oda Kaisen and their student Kawabata Gyokusho
Muromachi This originated under the influence of the Chinese Sung and Yang dynasty paintings brought to Japan by Zen monks in the 14th century. Became a school of art in its own style.
Nagasaki-e Painting style influenced by the Chinese (and the Dutch) at Nagasaki for export to the west.
Nanga Or Bunjinga, a literati painting style that used the Chinese style of art as its base and also includes painting and poetry.  Yanagisawa Kien(1706-1758).
a painter and calligrapher along with Gion Nankai and Sakaki Hyakusen were the pioneers of Japanese literati painting
Nihonga A 'native' Japanese style developed in the Meiji period by teachers at the newly established academies. Mixed traditional Japanese styles mixed with Western techniques. Marked differences apparent between the Tokyo and Kyoto based Nihonga artists and no more so in work from the late 19th to mid 20th century.
Rimpa A decorative painting style.
Shij More closely related to the style of Maruyama painting, but incorporates a slightly more poetic, less restricted brush stroke and with more dynamism-
The Shijō school (四条派, Shijō-ha?), also known as the Maruyama-Shijō school, 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 street in Kyoto where many major artists were based; Shijō literally translates to "fourth avenue." 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.
 
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, emphasising direct observation of depicted subjects which was a direct contravention of the officially sponsored schools of the time, Kanō and Tosa, which emphasised decorativeness with highly formalised and stylised figures taught to its students via copying paintings of past masters. The Kanō and Tosa schools had become bywords for rigid formalism by this time. Meanwhile, a number of artists, rebelling against Ōkyo's realism, formed the nanga (southern pictures) school, basing their style largely on the Southern school of Chinese painting. The artists of the Shijō school sought to reconcile the differences between these two styles, creating works that synthesised the best elements of both.
 
The Shijo school's style focuses on a Western-influenced objective realism, but achieved with traditional Japanese painting techniques. It concentrates less on the exact depiction of its subject, but rather on expressing the 'inner spirit' and usually has an element of playfulness and humour compared to the Maruyama school. Popular motifs include tranquil landscapes, kachō (bird and flower), animals, and traditional subjects from Chinese poetic and Confucian lore, but there is generally little
or no interest in legends, history, or classical literature.
 
One of the better known Shijō artists in the West is Mori Sosen, who is known for his great number of paintings of monkeys. Shibata Zeshin is also closely associated with the Shijō school, though he worked in many other styles and mediums, most notably lacquer objects and lacquer painting.
 
Shijō artists of note
Matsumura Goshun
Matsumura Keibun
Maruyama Ōkyo
Mori Sosen
Kikuchi Yōsai
Ohara Shoson (Koson)
Shibata Zeshin
Onishi Chinnen
Tosa Or Yamato-e style. The official court painting style that specialized in Japanese subjects. Colourful miniature or very detailed brushwork with a long tradition of panting hand scrolls (emaki). It had a revival of style at the beginning of the 19th century.
Ukiyo-e More popular as woodblock prints , these paintings of the urban life, with a particular emphasis on the pleasures of the 'floating world': prostitution, fashion, kabuki, sumo and other recreations.
Zenga This can include paintings, but is more often to be calligraphies by Zen priests and academic laymen
Japanese drawings
In the course of the 17th century Japanese drawing released itself from the Chinese inspiration which had dominated it in earlier periods. It developed into a independent medium with many exquisite examples by artists such as Utamaro, Hokusai, Buncho and Itcho.
Japanese drawings range from preparatory drawings for woodblock prints and sketches to paintings of various dimensions on pieces of paper, silk or cardboard (tanzaku and shikishi). Some drawings were done for practise purposes and others to be mounted on sliding doors (fusuma), screens (byobu) or scrolls (kakemono or kakejigu).
Fan paintings form a special group. They were intended to be mounted on the bambooframe of a fan. They have a distinctive shape and size. In some cases they were later mounted on screens or sliding doors.
Sometimes Japanese drawings were collected in special collectors albums (shuga-jo).

 

 

This page is copyright to Craig Coussins

 

Themes of Japanese and Chinese Scrolls -The Four friends:

SHIKUNSHI

A Chinese flower-painting theme that features depictions of plum (ume), wild orchids (ran), bamboo (take) and chrysanthemums (kiku) and makes the implicit comparison
between qualities attributed to the plants and men of virtue.
The paintings usually have seasonal associations:
Plum with winter;
Orchids with spring;
Bamboo with summer;
Chrysanthemums with autumn.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Four Friends (四君子),

Traditional Chinese painting is based on the Four Friends - or the Four Gentlemen as they are sometimes called because the scholars who founded the literary style respected and identified with their characteristics.

Plum (梅, mi)

The hardy winter flower and the first to come into bloom, year after year, symbolising constancy in love. The contortions of the wild plum resemble a fierce dragon and when it is cultivated, the Chinese often prune it to accentuate this image.

 

 

 

 

Orchid (蘭, ln)

The fragrant wild orchid that grows beside water deep in the woodland is the epitome of femininity and serene beauty in the shadows of obscurity. It was seen as the scholar's sweetheart, the curving spikes of flowers symbolising a modest maiden washing her hair.

 

 

 

 

Chrysanthemum (菊, j)

The emblem of China that goes on flowering in a blaze of colour long after summer flowers have faded, defying the onset of winter. Its strong bright blooms are seen as a triumph of hope over adversity

 

 

 

 

Bamboo (竹, zh)

Sturdy, upright and vigorous, but with humility. The Chinese symbol often used to represent the joints of the bamboo also means living a virtuous life, and its hollow stems are a reminder that there is always room to acquire more knowledge.

 

 

 

 


 

The Four Gentlemen, also called the Four Noble Ones, in Chinese art refers to four plants: the orchid, the bamboo, the chrysanthemum, and the plum blossom. The term compares the four plants to Confucian Junzi, or "gentlemen". They are most typically depicted in traditional ink and wash painting and they belong to the category of bird-and-flower painting in Chinese art.

The Four Gentlemen have been used in Chinese painting since the time of the Chinese Song Dynasty (9601279) because of their refined beauty, and were later adopted by artists in Korea, Japan, and Vietnam. As they represent the four different seasons (the plum blossom for winter, the orchid for spring, the chrysanthemum for autumn, and the bamboo for summer), the four are used to depict the unfolding of the seasons through the year.

The Four Gentlemen are an important subject matter in learning to paint in the aforementioned Asian traditions, as they embody all the basic brush styles. They are also depicted in Mah-jong tiles.

In Korea the Four Gentlemen were also known as the Four Gracious Plants. Rules differed from the Chinese in certain ways. In particular, the orchid needed to imitate the shape of the eye of a bird or the legs of a mantis. One can find the hidden figure of mantis legs and the eyes of an eagle in the flower.

Related to the Four Gentlemen are the Flowers of the Four Seasons, which consist of the orchid (spring), the lotus (summer), the chrysanthemum (autumn) and the plum blossom (winter). They contain three of the elements of the Four Gentlemen

 

四君子 Chinese

四君子 J. Kanji
しくんし J. Hiragana

사군자 Korean
Hangul
四君子 K.Hanja

Tứ Qun Tử Vietnamese
四君子-Hn tự



Chinese and Japanese Painting Restoration Labs -these are specialist labs where the prices are very high and the details of restoration are museum standard.
(This is a link to our own restoration pages-click line)

http://www.asianartrestoration.com / specialises in the care and conservation of Asian scroll paintings.
http://www.umma.umich.edu/collections/conservation_lab/eastasian.html  The Asian Painting Conservation Lab is among the great resources at UMMA, one of the best restoration facilities in the United States.
http://www.thebritishmuseum.ac.uk/the_museum/departments/conservation,_doc_science.aspx . The British Museum has an extensive and highly proficient conservation department, primarily concerned with conservation of Asian art antiquities.
http://www.clevelandart.org/exhibcef/consexhib/html_kiosk/a2staff.html  The Cleveland Museum of Art offers professional conservation services. Treatments are undertaken to stabilize objects and to recover aesthetic integrity as much as possible.
http://www.nationalmuseum.cn/en/survey/introduction/index.jsp  The National Museum of China has a professional team and first-class equipment for conservation and repair of antiquities.
http://www.artgallery.nsw.gov.au/aboutus/conservation  The Art Gallery of New South Wales employs one dozen people specialising in different areas of art conservation. It is recognized as a centre of excellence.
http://www.getty.edu/conservation / The Museum's four conservation departments - Antiquities, Paintings, Decorative Arts and Sculpture, and Paper - play a vital role in its efforts to exhibit and interpret its collections.

Books:

Henry Pike Bowie, On the Laws of Japanese Painting First published in 1911. The most outstanding work on understanding Scroll painting and scroll painting techniques. We have some original first editions for sale here-click this section

Japanese Scroll Paintings: A Handbook of Mounting Techniques Massako Koyana 1979
Publisher: Amer Inst Conservation of (June 1979)
Language: English
ISBN-10: 0933098014
ISBN-13: 978-0933098015

Japanese Art Signatures: A Handbook and Practical Guide [Paperback]
$45.46 through Amazon.com
James Self
Book Description
Publication Date: July 18, 2006
The most comprehensive, authoritative, and easy-to-use tool for reading Japanese art signatures is again available, in a limited-edition reprint. Designed for both layman and scholar, its simplified approach allows users to find and identify over 11,000 names of Japanese artists and craftspeople, from all periods and in all media. Includes a sections on reading dates, a list of 300 modified and debased characters, and an index of provinces and place names, plus reproductions of date and censor seals on woodblock prints, publishers' trademarks and seals, and actors' and Genji mon. Indispensable for the scholar or collector of Japanese art.
About the Author
James Self has been involved with Japanese art for many years, both as a collector of swords and as a director and consultant to one of Britains largest companies specializing in the valuation of antiques. Nobuko Hirose holds an ma in Japanese Art History from soas, University of London, and is author of Immovable Wisdom, on the teachings of Zen Master Takuan Soho.
Product Details
Paperback: 400 pages
Publisher: Floating World Editions (July 18, 2006)
Language: English
ISBN-10: 1891640097
ISBN-13: 978-1891640094
Product Dimensions: 9.9 x 7.1 x 1 inches

Japanese Names & How to Read Them: A Manual for Art Collectors and Students [Paperback]
Albert J. Koop (Author), Hogitaro Inada (Author) $67.68 through Amazon.com
Book Description
ISBN-10: 1891640135 | ISBN-13: 978-1891640131 | Publication Date: August 1, 2006
Long out of print, the pioneering work of Koop and Inada remains an important and fundamental reference for those wishing to master the pronunciation of Japanese names. The central feature of the 572-page work is a dictionary of kanji used in writing Japanese names, categorized by stroke count, with a complete index cross-referencing characters by pronunciation Also are included are useful auxiliary references such as the Genji symbols, reign periods and dates, personal names and titles, and typical signatures. With copies of the original 1923 edition commanding from $200 to $800, this essential tool for students, scholars, connoisseurs, and collectors is now available in a reasonably priced, soft-cover format.
About the Author
Albert J. Koop was Keeper in the Department of Metalwork in the Victoria and Albert Museum, honorary editor of the journal Transactions, of the Japan Society, London, and author of the seminal Early Chinese Bronzes. Sword scholar and translator Hogitaro Inada was co-author, with Henri Joly, of The Sword and Sam.
Product Details
Paperback: 572 pages
Publisher: Floating World Editions (August 1, 2006)
Language: English
ISBN-10: 1891640135
ISBN-13: 978-1891640131
Product Dimensions: 10 x 6.9 x 1.4 inches
Excellent, authoritative & easier to understand reference guide to this very difficult subject. Have to re-read a few times to understand, but guide is only one I found to be understandable. Very in depth research went into this reference & guide. I highly recommend for amateurs & professionals.
http://www.asianstudiesbooks.com/va.htm for a more comprehensive list


Click to enlarge
Solid Ebony Artists Ruler Tool, No: 119 by J M PAILLARD
Measures approx. 400mm long; with 8.5mm square section.
Legible maker's name and number on the piece. Lovely soft sheen patina.
Paillards were a French Artists supplies firm who sold their paints to Van Gogh, among others!
Jaques Michel Paillard (1808-between 1878-1884).
Seller of artist's materials and owner of a paint factory in Paris.
Letter #307 from Vincent Van Gogh to Theo. 29 and 30 July 1883.This mentioned that Vincent needed to buy his paints from J.M.Paillard.
Paillard's were the paints of Van Gogh!
Paillard was a supreme paint supplier that was loved by Japanese Painters in the Western Style and they would visit the shop or even send for these paints. This is a unique and wonderful artefact from this period
. 50 / $80 including post
Exhibitions in Japan: Bunten, Teiten, Inten and Nitten

Bunten and Teiten were official, state-controlled, juried art exhibitions. Nitten replaced them after the war.

The meaning of these official exhibition societies for the world of Japanese arts was pretty comparable to the French Salon in the second half of the nineteenth century. The conservative Salon was the institution most hated by the French impressionists - their works were regularly rejected by the jury. And without a representation by the Salon, an artist had hardly any chance to sell anything to private collectors.

Bunten
At the beginning of the twentieth century the Japanese administration decided that something should be done to preserve the long tradition of Japanese art by promoting contemporary, traditional artists. The result was the founding of an art organization by the Ministry of Education with annual, juried art exhibitions.

The new organization was called the Bunten. It had three shows, one for Japanese style painting, one for Western style painting and one for sculpture. Woodblock prints were regarded at that time as the product of some kind of ancient Xerox Copy process - unimportant and not worth to be exhibited in an important art show. Therefore prints were not represented at Bunten.


Before Hiroshi Yoshida became a printmaker, he was an active painter. He was among the lucky ones, whose works were approved by the jury. And more than that, Hiroshi Yoshida became a juror at Bunten. And many of his paintings were purchased by the Ministry of Education.

Teiten
In 1919 Bunten was renamed to Teiten and it was now controlled by another organization of the Japanese state, the Imperial Art Academy. Finally in 1927 Teiten accepted prints for their exhibitions. After a reorganization of the Imperial Art Academy in 1935 and 1937 the Teiten was again renamed to Bunten or Shin Bunten.

Inten
Another important art exhibition organization was Saiko Nihon Bijutsuin, also called Inten. It was established in 1914 as successor to an artists association founded in 1898. Inten did not accept any inclusions of art prints either.

After the War: Nitten
After the end of the Pacific war the attribute Imperial was no longer trendy. Everything was reorganized and renamed. In 1946 the Imperial Art Academy became The Japan Fine Arts Exhibition, abbreviated as Nitten.

The Nitten has developed into a large organization. Today the Nitten has six art/design faculties, Japanese Style Painting (Nihonga) , Western Style Painting (Yōga), Sculpture, Craft as Art, Calligraphy and more recently Architecture

Japan Art Academy

The Japan Fine Arts Exhibition (日展 Nitten (Nihon bijutsu tenrankai))' claims to be the largest combined art exhibition of its kind in the world, attracting a great number of fans and art critics. The exhibition consists five art categories: Nihonga and Western Style Painting, Sculpture, Crafts and Calligraphy. During each exhibition, works of the great masters are shown alongside works of the new but talented artists.

 

Literature source used for this information on the Exhibitions in Japan:

  • Dieter Wanczura-Artlelino
  • Helen Merritt, "Modern Japanese Woodblock Prints - The early years", published by University of Hawaii Press, Honolulu, 1990, ISBN 0-8248-1200-X

Ancient Japan and Asuka period (until 710)

The origins of painting in Japan date well back into Japan's prehistoric period. Simple figural representations, as well as botanical, architectural, and geometric designs are found on Jōmon period pottery and Yayoi period (300 BC 300 AD) dotaku bronze bells. Mural paintings with both geometric and figural designs have been found in numerous tumuli dating to the Kofun period and Asuka period (300-700 AD).

Along with the introduction of the Chinese writing system (kanji), Chinese modes of governmental administration, and Buddhism in the Asuka period, many art works were imported into Japan from China and local copies in similar styles began to be produced.


Nara period (710-794)
Heian period (794-1185)
Kamakura period (1185-1333)
Muromachi period (1333-1573)

Important artists in the Muromachi period Japan include:
Mokkei (circa 1250)
Mokuan Reien (d.1345)
Kao Ninga (e.14th century)
Mincho (1352-1431)
Josetsu (1405-1423)
Tenshō Shūbun(d.1460)
Sesshū Tōyō (1420-1506)
Kano Masanobu (1434-1530)
Kano Motonobu (1476-1559)

Azuchi-Momoyama period (1573-1603)
Important artists in the Azuchi-Momoyama period include:
Kano Eitoku (1543-1590)
Kano Sanraku (1559-1663)
Kano Tanyu (1602-1674)
Hasegawa Tohaku (1539-1610)
Kaiho Yusho (1533-1615)
 

Most of the scrolls offered on Tokonoma Scrolls
date from the Edo and period to the mid 20th century. However, I sometimes locate earlier scrolls and most of these need to undergo full restoration with new backing and silk mounts.

 

Edo period (1603-1868)
Important artists in the Edo period include:
Tawaraya Sōtatsu (d.1643)
Ogata Korin (16581716)
Gion Nankai (16771751)
Sakaki Hyakusen (16971752)
Yanagisawa Kien (17041758)
Yosa Buson (17161783)
Ito Jakuchu (17161800)
Ike no Taiga (17231776)
Maruyama Okyo (17331795)
Okada Beisanjin (17441820)
Uragami Gyokudo (17451820)
Matsumura Goshun (17521811)
Katsushika Hokusai (17601849)
Tani Buncho (17631840)
Tanomura Chikuden (17771835)
Okada Hanko (17821846)
Yamamoto Baiitsu (17831856)
Watanabe Kazan (17931841)
Utagawa Hiroshige (17971858)
Shibata Zeshin (18071891)
Tomioka Tessai (18361924)

Prewar period (1868-1945)
Important artists in the prewar period include:
Harada Naojiro (1863-1899)
Yamamoto Hosui (1850-1906)
Asai Chu (1856-1907)
Kano Hogai (1828-1888)
Hashimoto Gaho (1835-1908)
Kuroda Seiki (1866-1924)
Wada Eisaku (1874-1959)
Okada Saburosuke (1869-1939)
Sakamoto Hanjiro (1882-1962)
Aoki Shigeru (1882-1911)
Fujishima Takeji (1867-1943)
Yokoyama Taikan 1868-1958
Hishida Shunso 1874-1911
Kawai Gyokudo 1873-1957
Uemura Shōen (1875-1949)
Maeda Seison 1885-1977
Shimomura Kanzan 1873-1930
Takeuchi Seiho 1864-1942
Tomioka Tessai 1837-1924
Uemura Shoen 1875-1949
Shimomura Kanzan (1873-1930)
Hishida Shunso (1874-1911)
Imamura Shiro (1880-1916)
Tomita Keisen (1879-1936)
Koide Narashige (1887-1931)
Kishida Ryusei (1891-1929)
Yorozu Tetsugoro (1885-1927)
Hayami Gyoshu (1894-1935)
Kawabata Ryushi (1885-1966)
Tsuchida Hakusen (1887-1936)
Murakami Kagaku (1888-1939)
Yasui Sotaro (1881-1955)
Sanzo Wada (1883-1967)
Umehara Ryuzaburo (1888-1986)
Yasuda Yukihiko (1884-1978)
Kobayashi Kokei (1883-1957)
Leonard Foujita (1886-1968)
Yuzo Saeki (1898-1928)
Itō Shinsui 1898-1972
Kaburaki Kiyokata 1878-1972
Takehisa Yumeji 1884-1934
 

Postwar period (1945-present)
Important artists in the postwar period include:
Ogura Yuki (1895-2000)
Uemura Shoko 1902-2001
Koiso Ryouhei (1903-1988)
Kaii Higashiyama (1908-1999)
 

What is a genuine signature?

Definition and translations of what the type of scroll is: In Japanese art, there are three major categories to define the authenticity of a painting and also to deter any errors. The three are: Shinpitsu, Nikuhitsu, and Kougei.
Shinpitsu: If directly translated, it would be the true hand.This means that the painting is an authentic piece done by the artist and is backed up with documentation either on paper or on the box. Many tend to forget to keep the box since the artist may sign the box to add value or even a appraiser, causing a lot of trouble to actually authenticate items and to keep the integrity of the piece (unless a major war or natural disaster might be another reason). Documentation can vary within the various time periods, but is helpful and adds evidence to the painting. However, as a discretion, just rarely even with the inscriptions and paper there may be a good hand copied piece or produced by another artist claiming to be another even (yes sometimes it happens) a reproduced painting, and please understand this as a part of the history of the art in a unique and interesting aspect.
Nikuhitsu: In English it would be close to saying attributed, but the word has a deeper meaning. The painting may have been rendered by hand, but since Japanese paintings (not all but at least most) can be done very well making it a difficult task to know whether it was done by the artist or not. Sometimes checking the style of the signature or the seals may work, but even those cannot be relied upon easily. Nikuhitsu is also used for works done by anonymous artists or those who have a name, but no art records or catalogues will show their name. Some of the works may be found in collections for the purpose of the historical or anthropological significance either in the subject of the art or the person who owned it.
Kougei: A more polite sense of saying the work was reproduced using machinery or contemporary methods to make several copies (copper plate, silk screen, lithography, woodblock, etc.). Not all reproductions are to be taken lightly. Some reproductions can be done by woodblock and have some value while others will use 19th- early 20th century Western methods for the purposes of museum sales or even to give as gifts to large donors. Kougei has been a way for many collectors to enjoy the art in a more casual manner.


From the website of Ryosuke Ueda scroll researcher and translations of scrolls undertaken. shippodoscroll@gmail.com  

Tokonoma scrolls will restore scrolls for you and Ueda san will research the signature and seals
 

To conclude;
In most cases I have tried to ascertain the artist as best I can but sometimes that can be difficult as most scrolls are bought by me from people may know little or indeed do not know anything about the scroll or these have been purchased in auction in various countries including Japan and China and the auction seller has been unable to determine the artist.. However, to determine the artist and date I also use the services of a scroll researcher who has access to many references on scroll artists but despite that some artists may not be listed. Most scrolls that Tokonoma Scrolls sell date from between the early 19th to the mid 20th century. We do try our best to get the artist right but despite quite intensive research and sometimes considerable investigation, we can only offer our opinions and sometimes the opinions of the auctions from which we buy the works.. Apart from one or two examples of a screen printed scroll, all scrolls are hand painted original scrolls . Tokonoma scrolls also restores and remounts old scrolls or scroll paintings to give new life to a work and that is also mentioned in the listings.

Artists in research include the following:

Fukada Chokujo (1861-1947)
Fukada Chokujo was a painter from Meiji to early Showa era.Fukdada Chokujo learned painting from Morikawa Sobun.
His pseudonym is Shugetsu

Watanabe Ikuharu (1895~1975):
Watanabe Ikuharu was a painter who was born in Nagoya city,he learned painting from Mizutani Honen in his young age,and next he learned painting from Yamamoto Shunkyo.Watanabe Ikuharu created Chukyo Art Academy.He was good at Flowers and Birds painting,Sansui painting.

Yanagisawa Kien (1704-1758)
Kien was born in Edo, and raised with a special education and martial arts. He's already knew the way of painting from Kano-ha when he was 8 years old. And he learned the way of chinese painting when he was 12. He was famous for multi talented and he was the master of at least 16 kinds such as Tea ceremony, playing koto, medicine, fencing, javelin, horse riding, etc... which make people to call him genius. He found painting talent of Ikeno Taiga and tought him the way of chinese painting. His pseudonyms are Chikukei, Gyokukei, Kienshujin, Kien, Ryurikyo, Ryushikobi, etc...

Otake Chikuha (1878-1936)
He was born in Niigata. He learned painting from Sasada Unseki of Nanshu-ha he was given the pseudonym Chikuha. In 1891, he moved to Toyama with his older brother and he made money by painting illustration for newspapers or advertisement. His younger brother got a prize of the book named Shokokumin, he started to send illustration to this book. After he moved to Tokyo and learned under Kawabata Gyokusho, he got prizes that made his painting very popular.
His pseudonym is Seppou.

Tani Buncho (1763-1840) The painter of the Edo era latter period. He was the person who accomplished Edo Nanga, the achievement was praised as "Three major painter of the Tokugawa era" with Maruyama Okyo (1733-1795) and Kano Tanyu (1602-1674). He learned painting from Kato Bunrei (1706-1782) of Kano School and Watanabe Gentai (1749-1822) of Nagasaki School at an early age, acquired Hokuga from Kitayama Kangan (1767-1801).1788,on the way to Nagasaki to study painting, he learned the technique of the Nanga from Kushiro Unzen (1759-1811) under Kenkado Kimura (1736-1802) who affected many cultured people in those days in Osaka, he deepened Nanga from Chinese painter Cho Shun Koku in even Nagasaki. He got popularity by opening new style of painting that blended Nanga to subject with Hokuga. He also took in the perspective drawing of the Western painting over the countries. He had many disciples, Watanabe Kaza (1793-1841), Tachihara Kyosho (1786-1840) ,and so on. He always preached importance of sketch and copying of old painting for his pupil, and he died at 79 years old.
His pseudonyms are Gagakusai,Munianshujin,Shasanro,Choou,Mui,etc

Shiokawa Bunrin (1801-1877)
Shiokawa Bunrin was a shijo-ha school painter, he learned painting from Okamoto Toyohiko (1773~1845),he took in Western painting style taking over from traditional Shijo style.He was good at Flower & Bird painting but he painted various kinds of painting style well

Tosa Mitsuyoshi (1700-1772)
Tosa Mitsuyoshi was the son of Tosa Mitsusuke. In 1738, he painted Daijoebyobu (paint for Folding screen) for Emperor Sakuramchi.

Tosa Mitsuzane (1780-1852)
Mitsuzane was the first son of Tosa Mitsusada. He became Edokoro-Azukari (Chief of Edo Shognate Atelier) as a successor of his father and worked togather.
His pseudonym is Kakusui.

Tosa Mitsusada (1738-1806)
Mitsusada is the second son of Tosa Mitsuyoshi. The first son of Mitsuyoshi is Tosa Mitsuatsu. He became Edokoro-Azukari (Chief of Edo Shognate Atelier) with his brother.
His pseudonym is Enran.

Ganryo (1798-1852):
Ganryo was a Kishi school painter in Edo later period. Ganryo learned painting from Ganku, he became a husband to Ganku's daughter.Ganyo was good at Figure painting, Flowers and Birds painting.
His pseudonyms are Sihiryo,Gaun etc...

Nukina Kaioku (1778~1863) :
Nukina Kaioku was a Confucian,calligraper & painter in Edo later period. He was a one of the three calligrapher in Bakubatsu / Edo later.Kaioku learned calligraphy from Nishi Nobuyuki and learned painting from Kano school painter-Yano Norihiro.His pseudonym are Kaisen,Kaikyaku,shoou,hochikusanjin etc...

A Akamatsu Unrei (1892-1958)

赤松雲嶺 写真
赤松 雲嶺 

Unrei, Akamatsu 雲嶺 赤松 (1892 - 1958)

Akamatsu Unrei was born in Osaka in 1892. His real name was Yoshisuke.
He studied painting with Unsen Koyama and Tikugai Fujii and later with the famous nanga painter Himejima Chikugai (1840-1928).
At a relatively young age he already proved a true master of nanga, surpassing the talents of his teachers and finding a new, personal way of looking at nanga. His paintings were often exhibited with the Bunten, Teiten and Nitten and he was a member of the Nihon Nanga-in.
He died in 1958 at the age of 65.
B Kaburagi Baikei (1750~1803)"
 

Chūwa [Baikei] (17581835),
 

 
  Baiitsu Yamamoto
(1783 - 1856)

Painter at the latter part of the Edo period. Born in Owari. He has several pen names except Baiitsu such as Shunen or Gyokuzen or Baika. Moved to Kyoto with Chikudo Nakabayashi and established his fame. He made friends with Sanyo Rai and Seigan Yanagawa. Late in his life, he came back home and became an official painter for the domain of Owari.
 
  Bakusen Tsuchida
(1887 - 1936)
Born in Sado, Niigata Pref. His given name is Kinji. Entered the Kyoto Municipal College of Painting, where he studied Japanese classical painting and the Western contemporary philosophy of painting. His style developed an inner neo-classicism.
  Hirai Baisen
1889
1969


 
  Buncho Tani
(1763 - 1840)
Painter at the latter part of the Edo period. Born in Edo. Created new painting style that several painting idioms such as Chinese and the Kano school's and the Tosa school's and even Western were adopted. Then, became a prominent figure of the Edo painting circle. Kazan Watanabe is his pupil.
  Kōno Bairei
(幸野 楳嶺, March 3, 1844 - February 20, 1895)
Kōno Bairei (幸野 楳嶺, March 3, 1844 - February 20, 1895) was Japanese painter, book illustrator and art teacher. He was born (as Yasuda Bairei) and lived in Kyoto. He was a member of the Ukiyo-e school, and was a master of kacho-e painting (depictions of birds and flowers) in the Meiji period of Japan[3].

In 1852, he went to study with the Maruyama-school painter, Nakajima Raisho (1796-1871) and Raisho's death, Bairei studied with the Shijo-school master Shiokawa Bunrin (1808-77)[4].

His work included flower and bird prints and landscapes with a touch of western realism. Bairei's Album of One Hundred Birds was published in 1881.

He opened an art school in 1880, and his students included Takeuchi Seihō, Kawai Gyokudō, Torei Nishigawa and Uemura Shōen


 
  Bunrei Maekawa
(1837 - 1917)
Born in Kyoto. Learned painting technique from his father Gorei Maekawa. 
Good at painting flowers and birds.
  Aizu Katsumi (1903 - 1991) Araki Jippo (1872 - 1944) Araki Kanpo (1831 - 1915) Ashizu Jitsuzen (1850 - 1921)

 
C
Chikanobu Kano
(1660 - 1728)
Painter at the middle part of the Edo period. Son of Tsunenobu. The 3rd head of the Kobikicho Kano family. Took over his father's former position as an official painter for the Tokugawa Shogunate.
   

 
  Chikatoshi Enomoto
(1898 - 1973)
Pupil of Kiyokata Tsuburaki. Graduated from the Tokyo School of Fine Art. Won a special prize for the Imperial Art Academy Exhibition.
Good at painting women figures.
   

 
 
Chikuden Tanomura
 
(1777 - 1835)
Painter at the latter part of the Edo period. Born in Bungo. Learned painting technique from Buncho Tani. And studied Chinese painting techniques.
He was a person of multiple talents and also good at making poems, writing letters and characters, tea ceremony and others. Chokunyu Tanomura is his pupil.
  CHOKUNYU TANOMURA


March 31, 1814- January 21, 1907

The Old Crane Fishing 1850

Tanomura Chokunyu (1814-1907) was born in 1814 as the third son of the Oka han clansmen, Sanomiya Denuemon. His uncle, Watanabe Houtou knew Tanomura Chikuden during his youth and was introduced to him around age 9 and enters Chikuden's school of art around the 5th year of Bunsei (1822) and was recognized for his talent and was soon adpoted into the Tanomura family. His elder disciples were Takahashi Sohei and Hoashi Kyou.

In other genres, he learned Confucianism from Sumida Kyuka, Chinese poetry from Hirose Kyousho, in addition he learns Omote senke tea ceremony, Kodo (incense ceremony), and Tougun syle Kendo.

During the 5th year of Tenpo (1834) Chokunyu follows Chikuden to Osaka and enters Oshio Heihachiro's  school, Senshindo and learns Yomeigaku (Neo-Confucianism) and meets Fujisawa Togai, Shinozaki Shochiku, Goto Shoin,and Okada Hanko. Plus he receives a certificate of the Satake riryu style of Sojutsu (martial arts using the spear). After his master, Chikuden's death on the sixth year of Tenpo (1835) Chokunyu for a while takes a vacation between Kyoto and Osaka and when he turned 27 he settles in Sakai and opens a poetry group called the Kousaiginsha and had 300 members.

At age 35, he attends a zazen class held by the Obaku monk, Tenchu Shinichi and receives the dharma name, Inka and  when the Teno temple in Osaka was being restored, he donated a 500 Luohan (arhat) painting to the temple. On the first year of Manreki (1860) he moves to Osaka city, Kouraibashi and conducts a memorial service for his late master. On the second year of Bunkyu (1862) Chokunyu takes the effort to spread loose leaf tea ceremony throughout Osaka and holds a tea event in honoring the 100th memorial of the Obaku monk Baisao on the Seiwan banks of the Yodo River, and the event was called the "Seiwan Chakai".

During this time, the lord of his home in Oka, Nakagawa Hisanari requested that he come home and to serve him as a clansmen and was thought to have been a recommendation from his second master, the bunjin artist, Haruki Nanmei. The lord of the Tosa clan, Yamauchi Yodo and the Ise-tsu clan, Todou Takayuki also favored Chokunyu's talents.

After the Meiji restoration, on the 10th year of Meiji (1877) at the age of 63, Chokunyu assists in the Kyoto Exhibition and sends his paintings to the event which all won awards. The following year, when Emperor Meiji was taking a tour, Chokunyu was requested to meet the emperor and his fame grew. In 1880 (13th year of Meiji) Chokunyu, Kouno Bairei, and Makimura Masanao establish the Kyoto Prefecture school of the arts and Chokunyu serves the school's first president. However when the school's various style started to compete and fight with each other, he resigned his post in 1884 (17th year of Meiji).

After this mess, he created his own small school known as the Nanshu Gagakko (The Nanga school of the arts). In 1896 (the 23rd year of Meiji), Chokunyu, Tomioka Tessai, and Taniguchi Aizan establish the Nihon Nanga Kyokai (The Japan Nanga Association) and merges the association with his school. In 1899 (23rd year of Meiji) at the age of 86, he becomes the abbot of the Obaku sub-temple of Shishirin. Even during this time he never stopped his activities of both powder and loose leaf green tea ceremonies, exhibitions of his works and antiquities.

In 1907 (40th year of Meiji) Chokunyu removes his title of monk due to an issue he did not agree with the previous abbot of Manpukuji and its assistant. He died the same year on January at the age of 95. His disciples were Kodama Katei and Tanaka Hakuin.
 

Chokunyu was known to have been drinking and painting and composing poems so while he is a wonderful painter , his dedications may occasionally be slightly rambling. So here goes:
The first character  looks like the character ten, which is a type of writing that was used during the Qin dynasty and from the artists period until today is used for seal script, so Chokunyu might be creatively using it to refer to character or ji. (or maybe the word is archaic character to refer personality or form)

 
Translation:
 
Character clearly as the brave willows in the waving winds, removing itself and slowly ascends in four different ways, your skill is respected by your wife and children, the rains leaving whirlpool like marks on the land where the single elderly (specifically 77 years old) are. 
 
This is a very interesting poem, the second line has some patch translation, the last two characters in the first line, but had to make an assumption to fill in the lines. So  this gives you an idea of what he might be writing, in a way celebrating someone's 77 year old birthday or offering something to recollect in memory or the past.

The translation could therefore read this way:

''Your character,  flexible as the willow, your wisdom, an  inspiration to your family, your soul,  like the whirlpools of ancient landscape and, having reached a venerable age, you still do things your own way'


 

  Chikuho Mizuta
(1884 - 1958)
Nanga style Painter. Born in Osaka.
His given name is Chuji.
His younger brothers are Kenzan Mizuta and Juhei Kaname.
Studied painting under Chukugai Himeshima.
Good at painting Sansui landscape view pictures.
Established the Japan Nanga Institute with Shuson Kohno, Chikuson Tajika and Kaido Yamada.
Judge of both the Teiten Exhibition and the Shin-Bunten Exhibition.


 
  Chosei Miwa
(1902 - 1983)
Born in Niigata Prefecture. His given name is Nobuo.
Graduated from the Kyoto Art School. Pupil of Insho Domoto.
Later, Chosei married with Mitsu, younger sister of Insho.
Member of the Japan Art Academy, Adjudicator of the Nitten Exhibition.
  Chikuha Otake (1878-1936): Chikuha Otake (1878-1936)
He was born in Niigata. He learned painting from Sasada Unseki of Nanshu-ha he was given the pseudonym Chikuha. In 1891, he moved to Toyama with his older brother and he made money by painting illustration for newspapers or advertisement. His younger brother got a prize of the book named Shokokumin, he started to send illustration to this book. After he moved to Tokyo and learned under Kawabata Gyokusho, he got prizes that made his painting very popular.
His pseudonym is Seppou.

 
D
Doshun Kano
(1747 - 1797)
Painter at the latter part of the Edo period. The 4th head of the Surugadai Kano school. Painted the folding screen for the king of Korea by order of Tokugawa Shogunate. He was conferred the "Shikibu-Kyo Hogen" rank.
  Doi Kinkoku Born in 1901 (34th year of Meiji)

Tan inscription found on one of his scrolls says  Suiu, - Shouchu its means the estate or a place that was owned by someone.

The distinctness that made me find the artist is the signature, he signed his painting as nai i itsujin saku and that means the recluse who is similar to his father and the artist name is Doi Kinkoku Born in 1901 (34th year of Meiji) and is trained under Mori Kinseki and Himejima Chikugai and was known to have painted Nanga style paintings frequently. However Doi Kinkoku is not as well known as his teachers and his work is hard to find.



 
  Ohara Donshu (大原呑舟

(17911857)

Ohara Donshu was born in Awa Province (Modern Tokushima Prefecture).
He was the adopted son of Ohara Donkyo (大原呑響), and he studied
painting under Shibata Gito (柴田義董).
He was good at painting landscapes and figures
This is a late Edo period Shijo school artist Ohara Donshu Ohara Donshu (Ohara Kon)
was most active between the years 1811 and 1836. He died on the 29th of
December 1857. He was born in and resided in Kyoto. He was a student of
the prominent Shijo school artist Shibata Gito (1780-1819). He also studied
under his father Ohara Donkyo (died 1810) who was a self taught painter in
the Nanga tradition. Donshu's works are held in the
British Museum and the Cleveland Museum of Art.
  Gito Daishin 1657-1730 Daishin was a monk at the Daitoku-ji Temple
E
Eitoku Kano
(1543 - 1590)
Painter at the latter part of the Muromachi period and at the Azuchi-Momoyama period. Born in Yamashiro (Kyoto) area. The 5th head of the Kano family. Served Oda Nobunaga and Toyotomi Hideyoshi. Decorated Nobunaga's Azuchi castle and Hideyoshi's Osaka castle.
  Enomoto Chikatoshi
(1898 - 1973)
 
F
Fuko Matsumoto
(1840 - 1923)
Japanese painter. His given name is Takatada. Fuko is his pen name. Another pen name is Angado. Learned painting technique from Yosai Kikuchi and others, then became a leading figure of historical paintings. Educated Shiko Imamura and Seiju Omoda and others.
  Hori Fumiko

1918-

1918 Hori Fumiko was born in Tokyo.
1939 was first accepted into the 2nd "Shin-Bijutsujin Kyokai" exhibition during she was in "Joshi Bijutsu Senmongakko (existing Joshibi University of Art and Design)".
1940 graduated from "Joshi Bijutsu Senmongakko". She was appointed to a member of the Shin-Bijutsujin Kyokai.
1952 was awarded with the 2nd Uemura Shoen prize.
1989 She exhibited at the Euro Paria '89 Japan/Contemporary Japanese Painter in Belgium.

 
  Hanko Fukuda 1804-1864 

 

Fukuda Hanko :

Born in Shizuoka prefecture, Mitsuke. In the beginning Hanko was trained under the Kakegawa clan resident artist, Muramatsu Ikou and later with Magata Dairyo. Around 1830-1844 he is trained under Watanabe Kazan. During the Nansha purge of 1839 when Kazan was arrested, Hanko traveled to tawara in Aichi pref. where Kazan was detained. In the beginning, Hanko painted flower and bird subjects, but with his fellow, Tsubaki Chinzan gaining popularity in the theme, Hanko changed his specialty to landscapes.

 

     
G
Gaho Hashimoto
(1835 - 1908)
Gaho was born in Edo, he was a son of Hashimoto Ohara who was the painter retained by the Kawagoe clan. Infancy name; Taro later 長卿. Different pen name;克己斎・酔月画生 Yotsuki . He became a disciple of Kano Shosen. On the same date, Kano Hogai, Gaho's lifelong friend, also became a disciple of Tadanobu . In 1897 he worked with Ernest Fenollosa and Okamura Tenshin and became the first professor of Tokyo National University of Fine Arts and Music. the former name of Tokyo University of the Arts (Tokyo Geijutu Daigaku)). He also established "Nihon Bijutsu In"(The Japan Art Institute- the art organization established by Okakura Tenshin and Hashimoto Gaho in 1898)

He was teacher to many fine artists including Hishida Shunso, Yokoyama Taikan, Shimomura Kanzan, Saigo Kogetsu, Kawai Gyokudo etc. Later Gaho organised "Futaba kai" with Gyokudo and formed "Gaho kai". a member of "Teishitsu gigein"(an artist who created arts and crafts only for the Imperial Household in the Empire era.)

 

   

 
  Ganku Saeki
(1749 - 1839)
Painter at the latter part of the Edo period. Patriarch of the Kishi school. Born in Kanazawa. Went to Kyoto and attended on Prince Arisugawa. Became an official painter for the Imperial Court. Good at painting sansui and animals and flowers. Especially good at painting tigers.
  Ganku
(1756-1839)
A painter of the Edo middle the latter period. He was born in Kanazawa.He took service with a dyer,and engaged in work of Kaga dyeing.It is said that he was so poor that recognized a character by looking a signboard of merchant's family and studied a painting independently. He moved to Kyoto in 1780,began full-scale picture activity, he learned independently the styles of painting such as "Minshin-Ga","Nanpin School","Maruyama School" at random, he built the style of painting of the self. He drew the paintings on paper sliding doors and screens of Kanazawa castle by a invitation of " Maeda Narinaga (1782-1824)" in 1809,he blended the style of painting of various schools, and fused expression characteristics and decorativeness, completed an original style of painting. He also formed a Kishi school and educated a lot of disciples, "Kishi Chikudo (1826-1897)" who played an active part from Meiji era,"Shirai Kayo" who wrote "Gajo Ryoryaku","Kawamura Bumpo",his son "Gantai (1785-1865)are known. His popularity was divided into two with "Gosyun (1752-1811)" after "Maruyama Okyo (1733-1799) was died, it is said that the strength of the exhibitionism was frowned upon by people. It was famousness that painting price in particular was high, and he was good at the picture of the tiger.
His pseudonyms are
Doukoken,Doko,Kayo,Kakando,Kotokan,Tenkaio,etc
 

Shibata Gito
柴田義董 Japan, 1780 1819

 

Notes on other artists that painted winter scenes with animals and birds

Gito Shibata, 白川芝山.

Pupil of Go Shun 1752-1811 the founder of the Shijō school of Kyoto

Shibata Git was born in Bizen and moved to Kyoto, where he became a student of Matsumura Goshun (1752-1811), the founder of the Shij school of painting. Soon he became an important member of this school, specializing in landscapes and kachga. His early death prevented him from becoming more widely known and from becoming as famous as Matsumura Keibun and Okamoto Toyohiko, the other two most prominent members of the Shij school.
He also painted
in the style of the Maruyama-Shijō school, whose founder Maruyama ōkyo (1737-95) had developed a new, naturalistic style to depict, among many other subjects, genre scenes of the urban life of Kyoto. Shibata Gitō (1780-1819) was a pupil of ōkyo's contemporary Go Shun (1752-1811). He died young and his works, characterized by fine brushwork and a light-hearted charm, are relatively rare.

The signature reads 'Gitō sha' ('Painted by Gitō')
References:
Araki, Tsune (ed), Dai Nihon shga meika taikan, Tokyo 1975 (1934), p. 2210
Roberts, Laurance P., A Dictionary of Japanese artists, New York, 1976, p. 32
Notes: from a British Museum scroll:

Pictures of Flowers and Birds (Kachoga) took as its main subjects birds, grasses, and flowers. Some focused only on grasses and flowers, while in others insects such as cicadas, bees, and butterflies appeared in place of birds. There were in fact a large number of sub-types, including some that depicted animals like dogs, rabbits, or deer, in combination with flowers or trees.

Students included Asai Seisho
  Kawai Gyokudo

November 24, 1873 - June 30, 1957

File:Kawai Gyokudo.jpg
 

Kawai Gyokudō (川合 玉堂?, November 24, 1873 - June 30, 1957) was the pseudonym of a
Japanese painter in the nihonga school, active from Meiji through Shōwa period Japan.
His real name was Kawai Yoshisaburō.
Gyokudō was born in what is now Ichinomiya city, Aichi Prefecture, as the eldest son of a paper,
ink and brush merchant. He went to Kyoto in 1887 to study under Kōno Bairei of the
Maruyama-Shijo school of painting. In 1896, he moved to Tokyo and he became the student of
Hashimoto Gahō, of the Kanō school. He also studied Western-style painting and developed a
highly personal style, especially in the field of landscape painting.
Gyokudō is noted for his polychrome and occasionally monochrome works depicting the mountains
and rivers of Japan in the four seasons, with humans and animals shown as part of the natural landscape.
Among his representative works are Futsuka zuki (The New Moon), Yuku haru (The Departing Spring),
Mine-no-yu (Evening at the Mountain Top), and Bosetsu (Snow in the Evening).
In 1898, Gyokudō joined with Okakura Tenshin and Yokoyama Taikan to found the Nihon Bijutsuin
(Japan Fine Art Academy). In 1907, Gyokudo was selected as a judge for the first annual Bunten Exhibition.
He became a teacher at the Tokyo Bijutsu Gakkō (the forerunner of the Tokyo National University of Fine
Arts and Music) in 1919.
In 1940, he was awarded the Order of Culture by the Japanese government.
Most of his works are preserved and displayed at the Gyokudo Art Museum, in Ōme, Tokyo.
    Gyokusen玉泉 (A.D. 1834-1913) N. Mochizuki Shigemine望月重岑 A.Shuitsu主一, F.N. Shunzo 駿三, Go. Gyokusen玉泉Gyokkei 玉溪 S. Japanese style. Pupil of his father Gyokusen. L & C. Lived in Kyoto. Members of the Imperial Art Committee. Sp. flower and birds
     
H
Hoitsu Sakai
(1761 - 1828)
Painter and poet at the latter part of the Edo period. Younger brother of Himeji domain head. Son in law of Bunnyo who was the 18th head of Nishi-Hongan-Ji Sect. Adopted sketch technique, Ukiyo-e technique and also the techniques of the Tosa school and the Maruyama school. At last, he admired Korin Ogata who is the patriarch of the Rin school.
 

Hirotsura Sumiyoshi (1793-1863)

 
 He was born in Edo in 1793. His first name was  Hirosada. The second son of Hiroyuki Sumiyoshi. He was the expert of the Sumiyoshi sect in the Edo latter period. He was the Sumiyoshi sect 7th senior Priest. He died age 71 years old in 1863.

 

  Hokusai Katsushika
(1760 - 1849)
Ukiyo-e printmaker and painter. Born in Edo. His real name is Tetsuzo. There are over 30 pen names for him except Hokusai. Learned painting techniques of Ukiyo-e and the Kano school and the Tosa school. Later he adopted a more western style under the influence of Kokan Shiba. "Thirty six views of Mount Fuji" is the most popular one of his artworks.

Katsushika Hokusai was a Ukiyo-e painter well known internationally. He published over 30,000 paintings during his life. His creativity have a great influence on any kinds of artists such as a musician or an industrial artist. Vincent van Gogh is well known as the one who was influenced by Hokusai very much. Hokusai learned every sort of paintings and made his original way of painting. His pupils are more than 200 people. His most important work would be "FUGAKU 36 KEI" or "HOKUSAI MANGA". From "FUGAKU 36 KEI", Claude Achille Debussy inspired making "La mer". He is the one of most importat person of Japanese Art History.
Hokusai has 30 pseudonyms. Hokusai, Haruo, Gunmatei, Sori, Tokimasa, Hokusaitokimasa, etc

  Houitsu Sakai (1761-1828) Rimpa painter. Born in Edo, second son of Lord Sakai of Himeji Castle in Harima Province. To Kyoto to study. An eclectic painting education: began in Kano school; then under Toyoharu Utagawa of the Ukiyo-e school, Nangaku Watanabe of the Maruyama school, Shiseki So of the Nanga school; finally, on the advice of Buncho Tani, took up the Rimpa style. Also well versed in the classics, poetry, and the Noh. In 1797 became a Buddhist priest; spent the last 21 years of his life in seclusion, painting and studying the life and works of Kohrin. (From 1707 the Sakai family had supported Kohrin with a daily allowance for a number of years and had a large collection of his work.) Published two influential books -Kohrin Hyakuzu (1815) and Kenzan Iboku Gafu (1823)- of woodcuts after paintings by Kohrin and Kenzan, as well as a book of his own work, Ohson Gafu. His style owes something to the realism of Ohkyo, but much more to Kohrins decorative manner, which he revived: a liquid style, with the dramatic contrasts of Kohrin combined with particularly clear colors, elegant and refined

 
   Hishikawa Moronobu (1618? - 1694) Hashimoto Gaho (1835 - 1908) Hishida Shunso (1874 - 1911)  
I
Kanou Isen'in (1775-1828)
Setsu gekka 雪月花 (Snow, Moon and Flowers)
「雪月花」means the beautiful things of each season.
Isen Hogan Hude seal(伊川法眼筆)
Hanging scroll:ink and color on paper

restored in 2011


 

  Kanou Isen'in (1775-1828) Kanō Isen'in Naganobu (1775-1828) was the seventh generation head of the Kobikichō branch of the Kanō school in Edo (modern Tokyo).
He was an artist of considerable talent, and was official painter to the shōgun.
For this work he employed mild, graceful brushwork and colouring, drawing on an older style of Yamato-e.
The secret of his success was said to have been that he combined the qualities of gakuga (learned artistic ability), highly prized by the Kanō school, with shinga (instinctive artistic ability), which was customarily regarded as less important.
 
 
Iccho Hanabusa
(1652 - 1724)
Painter at the middle part of the Edo period. Born in Osaka. Learned painting technique from Yasunobu Kano. Became a patriarch of the Iccho school. He also learned Haiku poem from Basho Matsuo. His pen name for Haiku is Gyoun.
  Imao Keinen (1845 - 1924)
 
 
  Hiroshige Utagawa
(1797-1858):
The younger rival of Katsushika Hokusai, Hiroshige was a member of the Utagawa school, along with Kunisada (1786-1865) and Kuniyoshi (1797-1861). The Utagawa school, containing hundreds of artists, stood at the forefront of nineteenth century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige's time, the print industry was booming and the consumer audience of prints was growing rapidly. Previously, prints had been issued in sets of ten or twelve, but the number of prints within a set was increasing at this time. This trend can be seen in Hiroshige's own work, from Sixty-nine Stations of the Kisokaido to One Hundred Famous Views of Edo. In terms of his style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. He adapted Western principles of perspective and receding space to his own works in order to achieve a sense of realistic depth. Even more, he worked extensively within the realm of meishoe, pictures of famous places. During the Edo Period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded and towns appeared along routes such as the Tokaido, the road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels and tales of others' adventures for inspiration in creating his landscapes. For example, in Fifty-three Stages on the Tokaido (1833) he illustrates anecdotes from Travels on the Eastern Seaboard (Tokaidochu Hizakurige, 1802-1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige's Fifty-three Stations of the Tokaido (1833-1834) and One Hundred Famous Views of Edo (1856-1858) greatly influenced French Impressionists like Monet. Vincent Van Gogh also copied two of the One Hundred Famous Views of Edo. Hiroshige also influenced the Mir iskusstva, a 20th century Russian art movement of which Ivan Bilibin was a major artist. 
   Iwasa Matabei (1578 - 1650)  
  Isamura Ippo Isamura Ippo (act:19th century)
He was born in Kyoto.His real name was Yoshisada.His another name was Shuran-sai.
  Mori Ippo (1798-1871

WA982

Mori Ippo (1798-1871) Shijo painter. Born and lived in Osaka. Studied under Mori Tetsuzan, who later adopted him. About 1850, created some of the paintings for the "fusuma" of the Imperial Palace, Kyoto. A superb painter of birds, even more so of landscapes he also produced scenes of Osaka life rendered in an unconventional manner
  Yano Ippo (1924~)
Yano Ippo (1924~) :
Yano Ippo is a Rinzai sect Daitoku-ji Zoun-ji temple priest.
Now he lives in Daitoku-ji Chozen-an.

Calligraphy reads: (click image)

Kokoro Shizukanareba Rakunaganen :
If we have a peaceful day,a matter of joy will last longer.

J Jippo Araki
(1872 - 1944)
Born in Nagasaki Prefecture. His given name is Teijiro. Went to Tokyo and studied painting from Kanpo Araki. Later became his adopted son. Good at painting birds and flowers. 

 
 
Jakuchu Ito
(1715 - 1800)
Painter at the middle or latter part of the Edo period. Born in Kyoto as a son of rich wholesale greengrocer. Studied Kano painting first, then influenced by  Chinese Yuan and Ming paintings. At the age of 40, transfered resposibility for the family to his younger brother. Good at painting animals and flowers with a realism. Especially good at painting fowls (cocks).
     
K    
  Imao Keisho (1903-1993)

 

Imao Keisho (1903-1993

His real name is Takanori and an another name is Jakkan.

Imao Keisho was born in Kyoto in May of 1903 the adopted son of Imao Keinen (1845 - 1924), one of the most influential painters of the early 20th century.  He graduated from the Kyoto School of Fine Art, and then apprenticed under his father in the Maruyama style. Not given to the
 National Exhibitions, he led a more reclusive life, however his work decorates many temples in Kyoto, including both the Gold and silver pavilions, Nanzenji, Kurodani and Honen-in.
He worked on Fusuma paintings of several temples including tributes to the imperial families.Several pieces have also been collected by the Imperial Household Agency.
  Ohara Koson (1877-1945).

Subject illustrated in Amy Newland, Jan Perre, Robert Schaap, Crows, Cranes & Camellias the natural world of Ohara Koson 1877-1945. Leiden 2001. no. K 41.9

 

Ohara Koson (1877-1945) Also known as Ohara Matao, Shoson, Hoson Ohara.

Nature in print Japanese artist Ohara Koson
had his own unique perspective on the natural
world. In his numerous prints he depicted animals
in their own environment, specialising particularly
 in birds. A characteristic of Koson's style was his
ability to imitate brushstrokes in the lines of a woodcut
print. This show presented a broad selection of his prints alongside a number of paintings by the artist

Koson was born in Kanazawa in Ishikawa prefecture. His original name was Matao. He became a student of Suzuki Kason, a Shijo-style painter. During his study with Kason, he took his artist name Koson, which was perhaps partial adaptation of his teacher's. His artist name was changed to Shoson in 1912 and Hoson later in his career.

Around 1900 Koson started teaching at the Tokyo School of Fine Arts, where he met Ernest Fenollosa, an American who had a great passion for Japanese art. Fenollosa convinced Koson to deign prints in traditional Japanese-style for export, mainly to the United States.

After the Russo-Japanese War irrupted in 1904, Koson, like many ukiyoe artists at the time, began designing war prints. By then people in Japan had lost interest in traditional woodblock prints as a result of the introduction of photography. The war was a chance for these financially troubled ukiyoe artists to get out of poverty as the demand for illustrations of the war was high.

As well as war prints, Koson also made some landscape prints in the 1900's. But his chief interest remained to be birds and flowers. He had many kachoe published by Kokkeido and Daikokuya early in his career, and his works around this period were in restraint of bright colours, capturing a certain sense of calmness and elegance.

Changing his artist name to Shoson in 1912, he began concentrating on painting. However, many believe that he created some more prints for Daikokuya using the name Koson.

In 1923, the Great Kanto Earthquake and subsequent fire destroyed much of Tokyo. Watanabe Shozaburo, a Tokyo publisher and the initiator of the Shin Hanga (New Print) movement, lost his workshop in this catastrophic event. His shop was reopened in the following year, and to rebuild his print business he recruited Koson and other best printmakers. Koson re-started printmaking, in 1926. From then on, many of his print designs, mostly kach-e, were published by Watanabe, though Koson also worked with other publishers including Nishinomiya Yosaku. On the works published by Sakai and Kawaguchi, he used the name Hoson.

Koson's prints after 1926 have much brighter colours than his early works, perhaps because they were aimed at the Western market. His kacho-e prints were exported to the U.S. in hundreds. In 1930 and 1936, his prints were displayed at the Toledo exhibition.

Koson's depiction of birds is masterful and body details, feathers in particular, were done with meticulous care. His kacho-e prints are considered among the best portrayal of birds created in the 20th century Japan.

 

  Ikeda Koson (1801-66)

Ikeda Koson (1801-66) was originally from Echigo province (modern Niigata Prefecture), but went to Edo (modern Tokyo), where he studied with Sakai Hōitsu (1761-1828), the leading Rimpa artist there. He painted the popular, colourfulkachōga (bird-and-flower paintings), but he later took up study of Chinese ink paintings of the Ming dynasty (1368-1644) and began to paint in this style. He made full use of the Rimpa technique oftarashi-komi but blended other techniques as he developed his skills.
 

 

 

 

 

 

 

Kano Isenin Naganobu (1775~1828)

Isenin Hogen

 A painter of Edo latter period.A child of Kano Yoseiin Korenobu (1753-1808).He learnd a painting from his father (Korenobu),his father said that Naganobu has great talent as painter than me.He is a master hand of Kano school in the early modern times.He used technique to give gold paint for a black-and-white drawing.Moreover,he was familiar with tea ceremony,took the favor of Matsudaira Fumai (1751-1818).He was granted rank called HOIN in 1816 and called myself Isenin.
His pseudonym is Fujiwara Naganobu,Hoin,Shin,Gensho, etc

 
  Nakanishi Koseki
(1807-1884)

 

 

 

 

 

 

 

 

 

 

 

 

Signed artist name "Koseki" and sealed. Nakanishi Koseki (1807-1884), scholar artist, active in Kyoto from late Edo to early Meiji era.

Biography Kseki, Nakanishi 耕石 中西

Koseki although born in Osaka he was brought up in Fukuoka Prefecture (福岡県 Fukuoka-ken) is a prefecture of Japan located on Kyūshū Island.
He studied under the great artist Oda Kaisen (1785-1862) a Nanga painter,in Kyoto.It was in Kyoto that he established himself as a top rated artist. He also studied the Southern Chinese style. This resulted in a style which is typical for the Meiji nanga style. He moved back to Osaka when he was 26, and lived there for the rest of his life. He was very popular in the Kansai area. During the late Edo and early Meiji period he was considered one of the best landscape artists in Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are in a number of private collections and museums, including the Ashmolean.

One of his studnets was Hata Kinseki (Hata Tatsu) who was born in Kyoto in 1856. He was a nanga artist

References:
Araki, Tsune (ed), Dai Nihon shga meika taikan, Tokyo 1975 (1934), p.1555
Roberts, Laurance P., A Dictionary of Japanese artists, New York, 1976, p. 91

 

  Hata Kinseki
(1856-1912-?)

Also known as Hata Tatsu

Nanga Painter from Kyoto and a student of Nakanishi Koseki (1807-1884)

 

  Kano Seisenin Osanobu (1796-1846)

Seisen Hogen

He was a painter who inherited ninth gereration of Kobiki town Kano school of the Edo latter period. He was born as the eldest son of Isenin Naganobu (1774~1828) in Edo.He worked at 15 years old for the first time in Edo-jo Castle,it seems to have been often forced government affairs in various ways by his father.It is supposed that he died afterwards because he was sickly by nater and fatigue by a series of hard work. He poured great passion into copy,he also is known by left the manuscript of the old painting, a sketch, a draft for painting on Japanese screens production,and having had a record of the work called "KOYO NIKKI / the public diary". He took pupils,they were Kano Hogai (1828~1888) who was a Japanese painter of the Meiji period and Hashimoto Gaho (1835~1908).
 
  Kano Hisanobu (1695-1731) Kano Hisanobu was the 5th of Kobiki-cho Kanofamily. His father is Kano Chikanobu. He learned the way of painting from his father Chikanobu. Kano Eisenin Michinobu is his son.
His pseudonym is Eisen etc
  Kano Eishin Yasunobu (1613-1685) Yasunobu was the son of Kano Takanobu, and Tanyu and Naonobu were his older brothers. It didn't seem that he had a talent compare to other brothers. Therefor he tried to work and study harder to be a better painter and finally he got the rank of Hogen in 1662. Hanabusa Iccho was his pupil.
His pseudonym is Bokushinsai, Eishin, etc
 

Kano Doshun (1747~1797)

 
  Kano Tsunenobu (1636-1713) The painter who served Edo Shogunate in first-term of Edo era.His father was "Kano Naonobu (1607-1650)".There were his eldest son "Kano Chikanobu (1660-1728)" who inherited his the headship of a family,second son "Kano Minenobu (1662-1708) who oneself promoted "Hamamachi Kano school"and "Kano Yoshinobu (?-1745) who inherited it of Tsunenobu's children.After Tsunenobu's father Naonobu died in 1650,he inherited Kano school "Kibancho Kano school" at fifteen years.He shaved his head the same year,called himself "Yoboku" , greeted "Tokugawa Iemitsu (1623-1651)",and served under "Tokugawa Ietsuna (1641-1680)" afterward.He learned painting from "Kano Tanyu (1602-1674)" other than his father,he was assumed one of the four major painter of Kano school with "Kano Motonobu (1476-1554)","Kano Eitoku (1543-1590)",and "Kano Tanyu (1602-1674)",had been highly thought from ancient times.Besides he strengthen a basics of prosperity of the Kano school,in particlular,Kibancho Kano school,his the style of painting of later years turned into a calm,delicate style.The painting almost follows Kano Tanyu style and was lacking in strong personality,but became a leading figure of Kano school after Kano Tanyu died.
His pseudonym is Yoboku,Fujiwara,Tsunenobu,Ukon,Hogenyoboku
,
  Kano Tan'yu Morinobu (1602-1674)  Kano Tan'yu was one of the foremost Japanese painters of the Kano school. His original given name was Morinobu; he was the eldest son of Kano Takanobu and grandson of Kano Eitoku. Many of the most famous and widely known Kano works today are by Tan'yu.
In 1617, Tan'yu was appointed by the Tokugawa shogunate to become one of the shogunate's official artists. Over the following years, he was given many highly prestigious commissions. Over the 1620s and '30s, he created a number of large-scale works for Edo castle, Nijo castle, Osaka castle, Nagoya castle, and Nikko Tosho-gu.
Prolific in a variety of painting styles, Tan'yu's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the Momoyama style, depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.
Tan'yu was also accomplished, however, in monochrome ink painting based on the prototypical style of the Muromachi period, yamato-e compositions in a style similar to that of the Tosa school, and Chinese style scrolls. His most famous yamato-e work is a narrative hand scroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yu.
In addition to being a highly honoured and respected painter in his own right, Tan'yu was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication.
  Momo Kou Born in Mie Prefecture.
Accepted to Shigenten exhibition 4 times.
Accepted to Shinkobijutsuin exhibition.
Studied under Imao Keinen
  Morita Kohei

1916-1994)

 

 
  Souchu Kobori (?-1867)

He was a warrior and devotee of tea ceremony in the Edo latter period. He became the 8th Ensyu sect head. Hhis real name, Masamoto, nick name be Daizen. As a devotee of the tea ceremony he was responsible for the revival of the Kobori sect in the later part of the Edo  period. He died at 82 in 1867.

 
     
  KANO SCHOOL NOTES AT BOTTOM OF PAGE. ARTISTS ARE MARKED HERE BY THEIR FIRST NAME
 
  Kanjo Adachi
(1864-1948)
Born in Kumamoto. Given name is Kanzo. Son of Jihei Adachi, Samurai of the Kumamoto Domain. Held ministerial posts before World War 2. Head of the Kokumin Domei Party.
  Watanabe Kazan (1793-1841) Watanabe Kazan was born in Tokyo as the child of a Edo-Bakufu Soldier. He was very poor in the cradle and he sold his painting to make money for his family. He learned from Tani Buncho found his reamarkable artistic talent developed well and his powerfull connection made his conception better.
His paint of portrait had been very popular and he painted a lot.
His portrait paintings were infuluenced by ways of Europe using shading very well which was really impressive. Besides he's been a paintinter, he was a traditionalist Confucian. His pseudonym is Kazan and Toh


 
  Kanpo Araki
(1831 - 1915)
Born in Edo. Studied painting under Kankai Araki. Later, became his adopted son. Enjoyed Yodo Yamanouchi (=Top of Tosa Domain)'s favor and became an official painter of the domain. After the Meiji Restoration, he became a teacher of the Tokyo School of Fine Arts.

This page is copyright to Craig Coussins

  Kanzan Shimomura
(1873 - 1930)
Born in Wakayama Prefecture. His given name is Seizaburo. Studied painting under Hogai Kano and Gaho Hashimoto. Graduated from the Tokyo School of Fine Art. Participated in establishing the Japan Art Institute with Taikan Yokoyama and Shunso Hishida. Teacher of the Tokyo School of Fine Art.
 

Nakajima Kaho:1866-

Showa-
Late MEIJI to TAISHO period


 

Painter.Born in Kyoto,prefered to Maruyama Okyo style drawing,and learned painting under Mori Kansai,and calligraphy under Tomioka Tessai.Often exhibited Naikoku Kangyo Hakurankai and the other exhibitions.Good at landscape and kachoga


 

  Katsumi Aizu
(1903-1991)
Born in Fukushima Prefecture. Graduated from the Kyoto School. Was accepted for the Teiten Exhibition and Bunten Exhibition.
    The fate of Takahashi Hiroaki was a rather tragic one. When he was 52 years old, the fires after the great Kanto earthquake in 1923 destroyed all 500 woodblock prints he had created. And when he was 74 years old, he visited his daughter in Hiroshima in the summer of 1945. Nobody saw him again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the given name of Takahashi Katsutaro. He was trained in Nihonga - traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed large numbers of prints for Watanabe's print shop. He was one of the first printmakers joining the artisan "pool" of Watanabe. The prints were largely exported - mainly to Northern America.

The Great Kanto Earthquake

By 1923 he had produced a total of about 500 designs - mostly in Oban or smaller sizes. Then Japan was hit by the Great Kanto earthquake in 1923 - the worst natural catastrophe in the history of Japan. The earthquake and the fires that raged for three days, killed 140,000 people. Watanabe's print shop was completely destroyed - and with it the woodblocks of all 500 prints created by Takahashi Hiroaki. Watanabe and his shin hanga artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints after the Kanto earthquake. Most of his designs show scenic Japanese landscapes in typical shin hanga style. He continued to work for Watanabe. But he also published with Fusui Gabo and Shobido Tanaka - probably because he was too much limited in his artistic development by the excellent but rigid businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get Confused!

Hiroaki used a variety of names, signatures and seals during his lifetime. From 1907 until 1922 he used the name Shotei and after 1922 Hiroaki or Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in Hiroshima. According to Japanese sources, the aging artist had visited his daughter during the summer of 1945. At 8:15 in the morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber dropped the first atomic bomb in the history of mankind over Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga artists was never seen again.



 
  Kayo Yamaguchi
(1899 - 1984)
Born in Kyoto. His given name is Yonejiro. Studied painting under Goun Nishimura from his childhood. Graduated from the Kyoto Municipal College of Painting. Good at painting animals and flowers with realism. Became a leading figure in Kyoto's art community after World War 2.


 
  Gyokusetsu Kawabata (1880-?) He was born in Tokyo in 1880. He was the child of artist Gyokusyou Kawabata. His real name was Torazaburou. He became a Kawabata picture school chief editor and lived in Tokyo

 

  Kawabata Gyokusho (1842~1913)

Kawabata Gyokusho (April 18 1842- February 14, 1913)
Kawabata Gyokusho (1842-1913) was born in Kyoto City Takakura Nijo Kawaramachi on April 14, 1842 (The 13th year of Tenpo) as Ryunosuke, the son of Kawabata Sahei a lacquer artisan who did maki-e. He learned Chinese poetry from his father and as well as the craft of maki-e. Around 1852 (the fifth year of Kaei) Gyokusho learned Maruyama painting style from Nakajima Raisho and learned Chinese and Japanese philosophy, culture, and history as well as interpreting art from Oda Kaisen. Gyokusho also studied Western painting
in Tokyo under Charles Wirgman.

In 1866 (the second year of Keio) Gyokusho moved to Edo and made a living making kaleidoscopes and woodblock print fold outs for magazines and learned Western style painting. Gyokusho at that time earns his first award at the Naikoku kangyo Exhibiton under the naikoku Kaiga kyoushinkai. His skills were admired by Okakura Tenshin and he then  asked Kawabata Gyokusho to become part of the faculty at his school, the Tokyo Arts Academy (Now Tokyo University of the Fine Arts) Kawabat Goykusho was to be a professor and served from 1888 (21st year of Meiji) until 1912 (the 45th year of Meiji) a year before he died. Gyokusho submitted art to the Nihon Kaiga kyoka who were a group who did contemporary works as well as the Nihon Bijutsu Kyokai who were mainly for the older styles. As being a central figure of the older school group he was selected to paint the cedar doors of the imperial palace in 1888. His works combine the Maruyama school with Western realist styles and during his latter years he experimented with Bunjin styles. In the latter part of the 19th century, Kawabata Gyokusho participated with the Imperial Art board (Teishitsy gigei in) and in 1909 established his own art school. In 1897 he became part of the board for the historical preservation of temples and shrines as well as a member who examines and appraises items to be selected to become national treasures. He was known for his efforts in preserving ancient art and had wide influence within artists circles. Gyokusho was also known by his other names, Kyotei and Sho-ou (his choice for Sho-ou, the character shou if the sections of the character are separated is the same as Gyokusho) and sometimes as Yu Zhang His son, Kawabata Shigeaki was also an artist including Kawabata Gyokusetsu (a member of the family) Shigeaki inherited the school and became the second generation. His Grandson, Kawabata Minoru was an artist specialising in oil paintings and was in New York as a researcher, painter, and teacher at the New York School for Social Research.

During his career, he won many prizes in domestic painting competitions and exhibitions

  Kumashiro Yuhi (1712-1772) Kumashiro Yuhi was known as the only one pupil of the Chinese Painter,Shen Nanpi(Shan Quan) and as his only Japanese student. He spread the way of painting of Shen Nanpi called Nanpin-ha from China to Japan influenced Japanese painting history. At that time a Nanpi painting  was hard to get and Yuhi's painting were in great demand.  Shiseki, Mori Ransai, Kakutei became the pupisl of Yuhi.
His pseudonym is Shukou.

Shukoyuhi (signature) & Yuhi (seal).

 
  Kobayashi Kokei (1883 - 1957) Born in Niigata Prefecture.
His given name is Shigeru.
Studied painting under Kajita Hanko.
Participated in the Kohjikai with Imamura Shiko and Yasuda Yukihiko.
In 1914, Kokei participated in the reconstruction of the Nihon Bijutsu-In (The Japan Art Institute).
In 1944, he became a professor of the Tokyo Bijutsu Gakko (The Tokyo School of Fine Arts).
In 1950, he was awarded the Order of Cultural Merit.
  Keibun Matsumura
(1779 - 1843)
Born in Kyoto.
His given name is Naoharu, another pen name is Kakei.
Studied the Shijo-ha style painting under his great old brother, Goshun.
Good at painting Flowers & Birds pictures.
Succeeded to his brother and led the prosperity of the Shijo style painting school.


 
  Kogyo Terasaki
(1866 - 1919)
Born in Dewa (=Now Akita Pref.). Studied the Kano, the Shijyo and the Nanga 
painting styles. Found the Japan Art Institute in cooperation with Tenshin Okakura. Teacher of the Tokyo School of Fine Arts.
  Kesui / Kisui, Suga 其翠 菅 (1830 - 1887) Painted birds and snow scenes
  Murayama Koka
Active early to mid 20th century.
Murayama Koka, circa1910 to 1950. Murayama was an "Imperial Examiner of Art," and the recipient of many other honours as an artist.
  Keigetsu Matsubayashi (1876-1963)

 

 

 

 

 

Sanjin KEIGETSU  /Atsushi ITO

Keigetsu Matsubayashi (1876-1963) also known as Keigetsu Sanjin/ Ito Atsushi a Nanga style painter

 Born in Yamaguchi 18.8.1876

Keigetsu Matsubayashi is the Japanese painter who was born Hagi-shi, Yamaguchi . The original family name,  Ito, is his the real name, it is 篤. The character is 子敬. It means: I am the scent of  incense outside, and also means a Tamae fisherman. Ito went to Tokyo in 1893  to study under Yukoku Noguchi and learned the southern school of Chinese painting. This study helped him to explore the depth of his  own  painting. After his teacher died in 1898,  Ito was elevated to  a position of an influential person in the southern school of Chinese painting which was very popular at this time.

The style of painting steadily became more popular at the start of the Showa era and was the style was practiced when Ink painting or  sumi l was further popularised by many artists. It is shown really well in a nice peculiarity to the rendition of what is called the Katsura moon. The diversity of the work of Keigetsu Matsubayashi can be found in private collections and the National Gallery of Japan.

Keigetsu Matsubayashi (1876-1963)
(The photograph is taken from the
directory of Japanese Painters

 

  Bairei Kouno (1844-1895)

Yasuda

He was an artist of the Sijyou-Maruyama sect. He was born in Kyoto. His last name Yasuda. He was part of the Sijyou-Maruyama sect his teacher being Raisyou Nakajima and learned landscape from Bunrin Shiokawa. After this he became the teacher. Hi students included the genius Seihou Takeuchi, Houbun Kikuchi, Gyokudo Kawai etc.

 
 

Kohkan Watanabe (1878-1938)

Kohhei.

 

He was born in Shiga Pref. Ootsu on January 20 in Meiji 11 (1878). His real name was Kohhei. He left  Kyoto municipal arts and crafts school and became the student of Sobun Morikawa in Meiji 28 (1895) he then learned the Shijyo art of drawing. In Meiji 35 (1902) he studied without a teacher after the death of the mentor. Thereafter he displayed many works with the exhibition. He died in Kyoto on July 29 in Showa 13 (1938). Age 60 years old.

  Kigetsu Kita (1864-?)

His real name was Tsunetarou. He was born in Okayama Pref. in 1864. He studied under Rogetsu Nakagawa. At the end of his life he lived in Osaka.

 

  Asano Kouzan mid to late 20th century painter in Kyoto and Tokyo Member of Shoufuukai society. Specialised in landscape paintings.
  Kakei
pen name of

Keibun Matsumur
a (1779 - 1843)
also known as Naoharu
Keibun Matsumura (1779 - 1843) Born in Kyoto.His given name is Naoharu, another pen name is Kakei.Studied the Shijo-ha style painting under his great old brother, Goshun.Good at painting Flowers & Birds pictures.Succeeded to his brother and led the prosperity of the Shijo style painting school.
  K Kaneko Beiken (1883 - 1946) Kano Chikanobu (1660 - 1728) Kano Doshun (1747 - 1797) Kano Eitoku (1543 - 1590) Kano Isenin Naganobu (1775 - 1828) Kano Masanobu (1434? - 1530?) Kano Masunobu (1625 - 1694) Kano Motonobu (1476 - 1559) Kano Sansetsu (1589 - 1651) Kano Tanyu (1602 - 1674) Kano Tsunenobu (1636 - 1713) Kano Yasunobu (1613 - 1685) Katsushika Hokusai (1760 - 1849) Kawai Gyokudo (1873 - 1957) Kikuchi Yosai (1788 - 1878) Kitano Tsunetomi (1880 - 1947) Kobayashi Kokei (1883 - 1957)  
  Yoshikawa Kokei
1769-1836
Japanese painter. He was born in Tokyo and lived in Osaka. His paintings were accepted for the art exhibition (Bunten).He was a member of Taisho Bijutsu-kai. One of the Maruyama Okyo's 10 famous pupilsIn the service of Nishi Hongan-ji for which he painted a series of screens

Kachoga painter

 L  

 
  Korin Ogata
(1658 - 1716)
Painter and lacquer worker at the former or middle part of the Edo period. 
Born in Kyoto. Second son of Soken Ogata. Kenzan is his younger brother. 
Learned painting technique from Soken Yamamoto. As he admired Koetsu Honami and Sotatsu Tawaraya so that he intended to revive their styles. 
Established decorative and splendid expression world.
   

 
M

* see below

Masanobu Kano
(1434? - 1530?)
Painter at the latter part of the Muromachi period. Patriarch of the Kano school. Born in Izu District. Became an official painter for Ashikaga Shogun family that was the leader of samurai during the Muromachi period.
He Japanized Chinese painting style.
  Maruyama Oshin (1790-1838) Oshin was the grandson of Maruyama Okyo. He was addapted by uncle Maruyama Ozui.He was good at SANSUI-GA, figure painting, and flowers and birds painting.
His pseudonym is Seishukan and Hokon

 
* see below
Masunobu Kano
 
(1625 - 1694)
Kano painter at the middle part of the Edo period. His pen name is Tohun. Real son of metal-carving craftsman Ritsujo Goto. Became son-in-law of Tanyu Kano. He was conferred the "Hogen" rank by Iemitsu Tokugawa, the 3rd Tycoon of Tokugawa Shogunate. Patriarch of the Surugadai Kano school.
   Matsubayashi,  Keigetsu
(1876-1963)
See Keigetsu
  Momonoi Shunzo  (1825 - 1885)
Also known as: Momoi Seijo
 Swordsman Momoi Shunzo was Grandmaster of the Kyoshin Meichi Ryu Shigakukan Dojo, one of the 'Three Great Kendo Dojo of Edo'. The other two were the Hokushin Itto Ryu Gembukan headed by Chiba Shusaku, and the Shindo Munen Ryu Renbeikan headed by Saito Yakuro. The saying in those days was 'Technique: Chiba; Power: Saito; Bearing: Momoi'. 
  Keibun Matsumura (1779 - 1843)
also known as Naoharu and as Kakei
Keibun Matsumura (1779 - 1843) Born in Kyoto.His given name is Naoharu, another pen name is Kakei.Studied the Shijo-ha style painting under his great old brother, Goshun.Good at painting Flowers & Birds pictures.Succeeded to his brother and led the prosperity of the Shijo style painting school.
  Maeda Seison (1885 - 1977) Maekawa Bunrei (1837 - 1917) Maruyama Okyo (1733 - 1795) Matsumoto Fuko (1840 - 1923) Matsumura Keibun
(1779 - 1843) Miki Suizan (1887 - 1957) Miwa Chosei (1902 - 1983) Mizuta Chikuho (1884 - 1958) Mori Kansai (1814 - 1894) Mori Sosen (1747 - 1821)
 
  Tosa Mitsusada (1738-1806) Tosa Mitsusada (1738-1806)
Tosanomori Fujiwara Mitsusada.
Mitsusada was the second son of Tosa Mitsuyoshi.
The first son of Mitsuyoshi was Tosa Mitsuatsu.
He became Edokoro-Azukari (Chief of Edo Shognate Atelier)
with his brother.
His pseudonym was Enran.

 
 N Haruki Nanko (1759-1839 Haruki Nanko (1759-1839 Nanko  moved quickly through the ranks and in the 1830s he had become Tani Bunchs (1763-1840) equal . It had taken Nanko some time to gain recognition in Edo because he spent many years travelling to study Southern Chinese painting. But in the course of his travels he gained many students. When he returned to Edo he introduced this Southern painting style where all Nanga painters in Edo still worked in the Northern style. His son Nammei, (Haruki Nammei 1795-1878)was still very young at the time during this rise in popularity but he became well known in his own right.


 

  Naoharu
pen name of  Keibun Matsumur
a (1779 - 1843)
also known as as Kakei
Keibun Matsumura (1779 - 1843) Born in Kyoto.His given name is Naoharu, another pen name was Kakei.Studied the Shijo-ha style painting under his famous older brother, Goshun. Good at painting Flowers & Birds pictures. Succeeded to his brother and led the prosperity of the Shijo style painting school.
  Nakabayashi Seishuku (1831-??)


Subject: Shikunshi

 

Nakabayashi Seishuku (1831-??)
She was a daughter of Nakabayshi Chikudo.She studied Bunjin-ga under her father.Her forte was plum tree painting.She was born in Kyoto.her real name was Kuniko
.

 

 

 

 

 

  Raisho Nakajima  -  1796-1871

      

Raisho Nakajima was born in Otsu and was a pupil of Watanabe Nangaku and later of Maruyama Ozui. He was a late Edo exponent of the Maruyama manner. Kano Bairei and Kawabata Gyokusho were his pupils.

Shintsudo, Shumbunsai, Toko (Haiku name) were also used

     
  Ōta Nampo
(大田 南畝)
(17491823)

His pennames also include Yomo no Akara, Yomo Sanjin, Kyōkaen, and Shokusanjin (蜀山人).

Ōta Nampo (大田 南畝)(17491823) was the most oft-used penname of Ōta Tan, a late Edo period as the alternative westernized spelling Ōta Nanpo Japanese poet and fiction writer. He wrote primarily in the comedic forms of kyōshi, derived from comic Chinese verse, and kyōka, derived from waka poetry. His pennames also include Yomo no Akara, Yomo Sanjin, Kyōkaen, and Shokusanjin (蜀山人).
Born into a lower-status samurai family in Edo, Nampo served the shogunate in various ways throughout his life. He began his literary career as a student of Chinese Ming Dynasty writings, and adapted traditional Chinese comic verse (called kyōshi in Japanese), under the mentorship of playwright Hiraga Gennai, to daily life in Edo. His first collection of work was called Neboke sensei bunshū, or the Literary Works of Master Groggy.
Nampo soon began to write kyōka, comic waka verses, as well. His popularity grew in the 1760s and 1770s, as a result of his down-to-earth subject matter and unabashed style. During this time he also wrote a number of works of popular literature, and edited a collection of comic verses called Manzai kyōkashū, which truly cemented his position as a central literary figure of his time.
For political reasons, he was forced to abandon his writings for a time in the 1780s. He committed himself for several years to shogunal duties, but eventually returned to poetry.
Nampo also collaborated with many different artists such as Hokusai, Eishi, Hokuba, Sakai Hōitsu and many others. Many paintings bears his original calligraphy and poem, he also worked together with artists in making prints, surimono and ehon. Nampo made calligrphies (calligraphy) mainly in the tanzaku and kakemono format. He also produced paintings; these are now extremely rare.
The most famous of Nampos paintings are in the album Shokusanjin ennyo meisekishu (A collection of Shokusanjin memorabilia)The album consists of 41 double pages of letters, paintings, fan paintings, sketches, and poems; ink and colour on paper and silk. The album size is 15 x 9in. (40 x 24 cm.). Date;1804. All of the works bears Nampos writing. Some works was coproduced and inscribed by other gifted people. The inscribed works includes examples by the kabuki actor Ichikawa Danjūrō V, the geisha Katsu, the courtesan Nareginu, the kyoka master Shikatsube Magao, the novelist Santō Kyōden, and the kanshi (Chinese-style verse) poets Kikuchi Gozan and Okubo Shibutsu.There are paintings by the ukiyo-e artists Hokusai and Hokuba in the album.A further two fan paintings, one with a Chinese-style landscape by Haruki Nanmei (17951878) and a playful image of the Chinese poet Li Bai in his cups by Unshitsu Dojin, shows Shokusanjin's links to the more aloft of the literati artists.
The album is a fascinating compendium of material documenting the interaction between prominent members of literary, theatre, and art circles of the day. Shokusanjin as Nampo signs himself here produced two small sketches which were mounted into the album. The first sketch is of a Geisha and the other of an Oiran (courtesan).
The album is in the Chiba Prefectural Museum of Art, ex. provenance; Azabu Museum and Anders Rikardson Collection.
In many reference works Ōta Nampos name is referenced
O
Okyo Maruyama
(1733 - 1795)

Father

Painter at the latter part of the Edo period. Born in Tanba District. Patriarch of the Maruyama school. He learned the idiom of the Kano school at first. 
Later, he established his own style by adopting Chinese painting idioms and Western perspective drawing technique. Good at painting animals and flowers.
 

Maruyama zui (1766-1829)

Son

 

Maruyama zui (1766-1829)
He was the eldest son and pupil of Maruyama kyo, founder of the leading Kyoto painting school. He adopted shin, son of his brother ju as his son. In the 1790s he was commissioned to paint some of the fusuma (sliding doors) for the restoration of the imperial palace in Kyoto. He followed his father's style faithfully.

  Maruyama Oshin (1790-1838)

Grandson

Oshin was the grandson of Maruyama Okyo. He was adopted by uncle Maruyama Ozui. He was good at SANSUI-GA, figure painting, and flowers and birds painting.
His pseudonym is Seishukan and Hokon
  Ohara Donshu (大原呑舟
(17911857)
Ohara Donshu was born in Awa Province (Modern Tokushima Prefecture).
He was the adopted son of Ohara Donkyo (大原呑響), and he studied painting under Shibata Gito (柴田義董). He was good at painting landscapes and figures. Ohara Donshu (Ohara Kon) was most active between the years 1811 and 1836. He died on the 29th of
December 1857. He was born in and resided in Kyoto. He was a student of the prominent Shijo school artist Shibata Gito (1780-1819). He also studied
under his father Ohara Donkyo (died 1810) who was a self taught painter in the Nanga tradition. Donshu's works are held in the British Museum and the Cleveland Museum of Art.
  Ogata Korin (1658 - 1716) Ogawa Usen (1868 - 1938) Okakura Tenshin (1863 - 1913) Okumura Togyu (1889 - 1990) Otake Chikuha (1878 - 1936)   
     
     

This page is copyright to Craig Coussins

 P  

 
R
Ryuu Shimazaki
(1865 - 1937)
Born in Edo. At first, he learned Western painting from Kenkichi Sakurai. Later, he turned his painting style to Japanese. Learned technique of the Yosai school from Fuko Matsumoto, and also learned technique of the Maruyama school from Gyokusho Kawabata. Good at painting Japanese beautiful girls.
  Tanaka Raisho (1868-1940)

 

Tanaka Raisho (1868-1940) originally studied under Mori Kansai whom he met by chance in his home prefecture of Shimane. Later he moved to Tokyo to study under Kawabata Gyokusho. He exhibited works at the national Bunten on 10 occasions between 1908 and 1918 and with the re-named Teiten on six occasions between 1919 and 1926. He went on to become a juror for the prestigious organization. See Roberts p.173.

Tanaka Raisho represent a tour de force by the artist at the peak of his abilities. Raisho is well known for his Shijo style landscapes in the manner of his highly esteemed teacher Kawabata Gyokusho (1842-1913) who is widely recognized as the last great representative of the Shijo school. Painted purely with ink on a gold leaf ground, Raisho has used a multitude of varying brushstrokes and washes to define the landscape and impart depth. Like his teacher Gyokusho, Raisho generally painted native Japanese landscapes, drawing inspiration from his natural surroundings and the people who inhabited it.

Tanaka Raisho first studied under Mori Kansai (1814-1894) in Kyoto. After moving to Tokyo he studied under Kawabata Gyokusho (1842-1913), a leading figure in Japanese painting who perpetuated the Shijo style evoked in this painting by his pupil.

 

  Takahashi Hiroaki - 1871-1945

Also known as Komei and as Shotei

The fate of Takahashi Hiroaki was a rather tragic one. When he was 52 years old, the fires after the great Kanto earthquake in 1923 destroyed all 500 woodblock prints he had created. And when he was 74 years old, he visited his daughter in Hiroshima in the summer of 1945. Nobody saw him again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the given name of Takahashi Katsutaro. He was trained in Nihonga - traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed large numbers of prints for Watanabe's print shop. He was one of the first printmakers joining the artisan "pool" of Watanabe. The prints were largely exported - mainly to Northern America.

The Great Kanto Earthquake

By 1923 he had produced a total of about 500 designs - mostly in Oban or smaller sizes. Then Japan was hit by the Great Kanto earthquake in 1923 - the worst natural catastrophe in the history of Japan. The earthquake and the fires that raged for three days, killed 140,000 people. Watanabe's print shop was completely destroyed - and with it the woodblocks of all 500 prints created by Takahashi Hiroaki. Watanabe and his shin hanga artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints after the Kanto earthquake. Most of his designs show scenic Japanese landscapes in typical shin hanga style. He continued to work for Watanabe. But he also published with Fusui Gabo and Shobido Tanaka - probably because he was too much limited in his artistic development by the excellent but rigid businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get Confused!

Hiroaki used a variety of names, signatures and seals during his lifetime. From 1907 until 1922 he used the name Shotei and after 1922 Hiroaki or Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in Hiroshima. According to Japanese sources, the aging artist had visited his daughter during the summer of 1945. At 8:15 in the morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber dropped the first atomic bomb in the history of mankind over Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga artists was never seen again.



 
  Nagasawa Rosetsu
1754-1799
Rosetsu, Edo period, c. 1790. Nagasawa Rosetsu is celebrated as one of the Three Kyoto Eccentrics noted for his daring originality. His work reflects his uniquely rendered subjects using a sublime economy of strokes featuring birds and animals in lifelike and animated poses. He was one of the best pupils of Maruyama Ōkyo[ who incorporated aspects of Western realism into Japanese themes.In his work, which is reminiscent of earlier Zen painting, while the moon is left white, the night sky, mountains, and pine trees are depicted with gradations of India ink.
  Rai Sanyo
(1781 - 1832)
 
  KISHI RENZAN (GAN) (1805-1859)

KISHI RENZAN (GAN) (1805-1859)

Kishi Renzan was a painter who lived in Kyoto . He was a pupil of his father-in-law Kishi Ganku by whom he was adopted. Kishi Renzan specialized in landscapes and nature ( kacho-ga ) paintings. He was also known for his Tora-Tigers which he liked to paint in swirling mist. In addition the artist is known for the paintings of wild geese on the walls of the Imperial Palace in Kyoto

 
     
S
Seison Maeda
 
(1885 - 1977)
Born in Gifu Prefecture. Entered the painting school of Hanko Kajita. Member 
of the Imperial Art Academy. He was awarded the Order of Cultural Merit.
  Seppou

The pseudonym of Chikuha Otake

Chikuha Otake (1878-1936)

Chikuha Otake (1878-1936)
He was born in Niigata. He learned painting from Sasada Unseki of Nanshu-ha he was given the pseudonym Chikuha. In 1891, he moved to Toyama with his older brother and he made money by painting illustration for newspapers or advertisement. His younger brother got a prize of the book named Shokokumin, he started to send illustration to this book. After he moved to Tokyo and learned under Kawabata Gyokusho, he got prizes that made his painting very popular.
His pseudonym is Seppou.
  Takeuchi Seiho (1864-1942) Takeuchi Seiho (1864-1942) was the pseudonym of a Japanese painter of the nihonga genre, active from the Meiji through the early Shōwa era. One of the founders of nihonga, his works spanned half a century and he was regarded as master of the prewar Kyoto circle of painters. His real name was Takeuchi Tsunekichi.
  Saeki Ganku (1749 - 1839) Sakai Hoitsu (1761 - 1828) Sesshu Toyo (1420 - 1506 ?) Shimazaki Ryuu (1865 - 1937) Shimomura Kanzan
(1873 - 1930) Shiokawa Bunrin (1808 - 1877)
 
  Abe Shunpo (1877-1956) Abe Shunpo (1877-1956) was born in Fukuoka. He moved to Osaka at the age of 16 to begin training under the tutelage of Fukada Chokujo. At 19 he moved to Kyoto to study under Kikuchi Hobun. He went on to exhibit with the Nitten/Teiten on countless occasions, eventually becoming a judge of the prestigious organization. His work is held in the collection of the National Museum of Modern Art, Tokyo.
  Shotei
Takahashi Hiroaki - 1871-1945

Also known as Komei and as Shotei

The fate of Takahashi Hiroaki was a rather tragic one. When he was 52 years old, the fires after the great Kanto earthquake in 1923 destroyed all 500 woodblock prints he had created. And when he was 74 years old, he visited his daughter in Hiroshima in the summer of 1945. Nobody saw him again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the given name of Takahashi Katsutaro. He was trained in Nihonga - traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed large numbers of prints for Watanabe's print shop. He was one of the first printmakers joining the artisan "pool" of Watanabe. The prints were largely exported - mainly to Northern America.

The Great Kanto Earthquake

By 1923 he had produced a total of about 500 designs - mostly in Oban or smaller sizes. Then Japan was hit by the Great Kanto earthquake in 1923 - the worst natural catastrophe in the history of Japan. The earthquake and the fires that raged for three days, killed 140,000 people. Watanabe's print shop was completely destroyed - and with it the woodblocks of all 500 prints created by Takahashi Hiroaki. Watanabe and his shin hanga artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints after the Kanto earthquake. Most of his designs show scenic Japanese landscapes in typical shin hanga style. He continued to work for Watanabe. But he also published with Fusui Gabo and Shobido Tanaka - probably because he was too much limited in his artistic development by the excellent but rigid businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get Confused!

Hiroaki used a variety of names, signatures and seals during his lifetime. From 1907 until 1922 he used the name Shotei and after 1922 Hiroaki or Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in Hiroshima. According to Japanese sources, the aging artist had visited his daughter during the summer of 1945. At 8:15 in the morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber dropped the first atomic bomb in the history of mankind over Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga artists was never seen again.

 

  Yamakawa Shuho
1898
Shuho was born in Kyoto, 1898. He moved into Tokyo at the age of three, and started his career as painter at fifteen when he became a pupil of Ikegami Shuho. The name of Shuho would have been granted by his master. He later became a pupil of Kaburaki Kiyokata, and rapidly made progress enough to be counted as one of three birds under Kiyokata, along with Ito Shinsui and Terashima Shimei. It was said that charms in the beauty Shuho depicted are its common familiarity and purity.

In the art world, an artists ability and the market price dont match sometimes. Although Shuho had an ability enough to be told Shinsui in east, Shuho in west, his name didnt spread much because of his young death.



 
  Shukou also
Kumashiro Yuh
i (1712-1772) Listed under K
Shukou was the pseudonym of Kumashiro Yuhi (1712-1772) Listed under K
  Shunso Hishida
(1874 - 1911)
Born in Iida, Nagano Pref. His given name is Mioji. Entered the Tokyo School of Fine Arts and received lessons from Gaho Hashimoto. He took part in the establishment of the Japan Art Institute with Taikan Yokoyama. Shunso and Taikan and Kanzan and Buzan are called the big four under Gaho Hashimoto's tuition.
  Sanjin Keigetsu See Keigetsu

 
  Sosen Mori
(1747 - 1821)
Painter at the latter part of the Edo period. Born in Nagasaki. Studied the Kano school technique from Josyunsai Yamamoto. Influenced by Okyo Maruyama's realism. Good at painting animals especially monkeys and deer.
  Sasaki Senryu (1808-1884)  Sasaki Senryu was a Kano-ha painter and a son of Sasaki Senkei.He was a personal painter of Kaga clan. Sasaki Senryu learned painting from Kano Tansen at first,next he learned painting from Kano Tanshin.Sasaki Senryu was ordained as Hokyo in 1852

 
  Suizan Miki
(1887 - 1957)
Born in Hyogo Pref. His given name is Saiichiro. Studied painting under Seiho Takeuchi. Won some prizes at the Bunten and the Teiten exhibitions.
  Suiho Artist working in the mid 20th century

 
  Sakai Hoitsu (1761-1829) Hoitsu was born in Tokyo as a son of the Himeji feudal lord. His older brother was famous of Japanese tea ceremony person and Hoitsu also had been getting familier with tea ceremony, haiku, and kyoka influenced by his brother, and his talent was good enoght to be known. Hoitsu learned painted from Kano Koshin and Soshiseki. 3 years later his brother died, he became a priest and became a pupil of Ogata Korin (Rin-pa). And he used the way and technique of painting from Maruyamashijo-ha, Tosa-ha, Nanpin-ha, and from Ito Jakuchu. And finally he made his own school as Edorin-pa. He was close to Tani Buncho, Ota Nanbo and so many cultural people. In 1783, he became a pupil of Utagawa Toyoharu and he learned the way of painting Ukiyoe.
His pseudonym is Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi, Meimeii,
 

Okajima Seiko (1825~1877)

 

Okajima Seiko was a painter of Shijo-ha (school),
he learned painting from Yokoyama Seiki and he was good at flower & bird paintings

More on this school of painting below

 

Sakai Hoitsu (1761~1829)

 

Hoitsu was born in Tokyo as a son of the Himeji feudal lord. His older brother was famous of Japanese tea ceremony person and Hoitsu also had been getting familier with tea ceremony, haiku, and kyoka influenced by his brother, and his talent was good enoght to be known. Hoitsu learned painted from Kano Koshin and Soshiseki. 3 years later his brother died, he became a priest and became a pupil of Ogata Korin (Rin-pa). And he used the way and technique of painting from Maruyamashijo-ha, Tosa-ha, Nanpin-ha, and from Ito Jakuchu. And finally he made his own school as Edorin-pa. He was close to Tani Buncho, Ota Nanbo and so many cultural people. In 1783, he became a pupil of Utagawa Toyoharu and he learned the way of painting Ukiyoe.
His pseudonym is Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi, Meimeii, etc

 

  Seisho
Period 1770 to 1840

Shijo painter pupil of Shibata Gito

 
  Suisen Inoue Shujo

1941-

Orchid and Flower Painter

1941 Inoue Shujo was born in Fukuoka Prefecture.
1961 entered the Japanese painting department of the Tokyo National University of Fine Arts and Music.
1967 completed his graduate studies at the Tokyo National University of Fine Arts and Music.
He was appointed to the Inyu of the Japan Art Institute.
1983-1987 He took office as the managing director of the Nichifuten.
 

Suzuki Yasuyuki
1911-1980

 
 
  Uemura Shoen

1875-1949

Uemura Shoen

 

Uemura Shoen was born in Kyoto. Her true name is Tsune. Her father died two months ago when she was born. Her family business was a buckwheat noodle shop, and her mother brought her up alone. She liked paintings very much since she was a child, Graduated from an elementary school, then she entered the first Japanese painting school in Kyoto. However, she thought it was more beneficial becoming a pupil of an honourable master than studying in the school given priority to a curriculum, and so she withdrew from school and became a pupil of Suzuki Shonen in 1888. She advanced remarkably, she was given a name "Shoen". Her family and her circle of friends often criticised her such way of life. It was a better virtue for a woman to marry and protect her home in the world of the Meiji era, as it was to be an object of slander to  receive education and to learn a painting. In 1890, "Shiki bijin-zu" which she exhibited at the third Naikoku Kangyo Hakurankai exhibition a purchase was made by Imperial Highness Prince of Wales Connaught, she received a honourable mention and people said there is a genius girl painter in Kyoto. She changed her master in sequence, so that she could learn a new painting technique. She became a pupil of Takeuchi Seiho who was the central figure of the Kyoto painting circles when she was at 20 years old. She became pregnant at 27 years old. The partner is called the first teacher Suzuki Shonen, but Shoen did not talk about most because of he had a family. She chose the way of single mother and gave birth to her first son Uemura Shoko while bearing the cold eyes of the world. He grew up and became a painter and was given the Order of Culture. The private life was hard in any kind of situation, but she did not neglect the study of the painting from an early morning. Her technique of painting was advancing by quantum leaps, and her artworks were and still are highly estimated at the exhibitions of her and her contemporaries work. As she was active intensely, she was an object of envy and hatred to many male painters. It was so terrible as to write later that it was like a bloody battle in the same way as an officer of the battlefield. She continued grasping a paintbrush in the conservative Japanese painting circles that still avoided the  advance in society of any woman.
A terrible incident occurred in 1904. Her artwork at exhibition was scribbled. It is said that she said to the staff, "Please continue exhibiting it. Let's show the reality". She was small, but her spiritual strength seemed to be steel. The women that were painted by her made all dignified and rose in dignity, and the style of painting was grand. At the Bunten exhibition which was founded in 1907, she was selected and awarded every time. She was appointed to the judge of the Teiten, Shinbunten and Nitten, and she also exhibited at The New York International Exhibition.

She fought against the social prejudice bravely, however, she broke up with her younger lover in her forties, and she was in a slump. As a result she gave birth to the problematic artwork "Hono (flame)". It was the world of the grudge of the woman which was painted by her who continued drawing a clean painting of beauties. She said later, "I can not understand myself why I painted such a ferocious painting", and she did not exhibit at all for three years afterwards. However, ironically, she had gained a more reputation for this artwork. The painters who denied her till then were frightened at her terrible emotion.

In 1934, her mother who had supported her for all the time died. Two years later, she completed her best artwork "Jo No Mai". It was the ideal image of woman which was painted by woman.
She was given the Order of Culture the first as a woman in 1948, and the next year she died at 74 years old. It is said that "No Shoen before Shoen, no Shoen after Shoen" in the modern painting circles in Japan.

She said "I think I have survived only with anger, and I think also I have lived to paint".

1875 Uemura Shoen was born in Kyoto. Her true name is Tsune.

1887 She entered the "Kyoto-fu Gagakko (existing Kyoto City Dohda Senior High School of Arts)".
1888 became the pupil of Suzuki Shonen.
1895 became the pupil of Kono Bairei.
1895  became the pupil of Takeuchi Seiho.
1900 exhibited at the 9th "Nihon Kaiga Kyokai and Nihon Bijutsuin Rengou Kyoshinkai", and she was given the silver medal, and achieved eminence in the painting circle in Japan.
1902 She bore the eldest son, Uemura Shoko.
1916 exhibited "Gesshoku No Yoi" at the 10th "Bunten (existing Nitten)".
1940 exhibited "Tsuzumi No Ne" at The New York International Exhibition.
1941was appointed to the member of the "Teikoku Bijutsuin (existing Nitten)".
1946 was appointed to the judge of the "Shinbunten (existing Nitten)".
1948 was given the Order of Culture the first as a woman.
1949 She passed away in August at 74 years old.

 

Suzuki Shonen (1849-1918)
鈴木松年

Suzuki Shonen 1849-1918, was born in Kyoto as son of Suzuki Hyakunen (1825-1891) who established his own style of painting without adhering to any of the established styles such as the Shijo-Maruyama, Nanga or Kano schools. Shnen is considered the best student of Hyakunen's, and was known for his bold and dramatic brushstrokes. After he established his own style of painting without adhering to any of the established styles such as the Shijo-Maruyama, nanga or Kano schools. Shonen is considered the best student of Hyakunen's, and was known for his bold and dramatic brushstrokes. Shōnen never worked from preliminary sketches (shita-e), but painted quickly and directly, in a bold, individual style. Considering his highly individualistic nature it is not surprising he made a private study of western painting methods.
Some of his best-known subjects are: landscapes, kacho-e, pine trees, and some traditional and Buddhist subjects.
From 1881 to 1888 Shnen was the head of the Northern Division (ink painting in the Sesshu tradition) of the Kyoto Prefecture Painting School (other divisions were: South - nanga school; East - Shij-Maruyama school; and West - Western style painting).
Shonen appears to have been satisfied with cultivating his own art on the eve of sweeping modernisation in Japanese painting, which, in Kyoto, was led by Takeuchi Seiho, a pupil of Shonen's rival and a Shij artist Kono Bairei.
Thus his name is less often associated with the modern movements of Japanese painting than with Uemura Shoen, one of his most talented students and the most prominent female painter of the Meiji period. Other well known pupils were Shoshu Saito and Kimura Konen

  Uemura Shoko

1902-2001Uemura Shoko

 

1902 Uemura Shoko was born in Kyoto as a son of the Japanese painter Uemura Shoen.
1915 He entered "Kyoto-shi Bijutsu Kougei Gakko (existing Kyoto City Dohda Senior High School of Arts)".
1921 He entered "Kyoto-shiritsu Kaiga Senmon Gakko (existing Kyoto City University of Arts)".
He became the pupil of Nishiyama Suisho, and entered the private school of painting, "Shoko-sha".
1930 took office the teacher of the "Kyoto-shi Bijutsu Kougei Gakko (existing Kyoto City Dohda Senior High School of Arts)".
1936 took office the assistant professor of the "Kyoto-shiritsu Kaiga Senmon Gakko (existing Kyoto City University of Arts)".
1937 exhibited "Boshi no Hitsuji (mother and child of sheep)"at the first "Shinbunten (existing Nitten)".
1941 was appointed to the judge of the third "Nitten".
1948 established the painting circle of the Japanese painter, "Souzou Bijutsu" with Akino Fuku, Yamamoto Kyujin, etc.
1949 took office the professor of the "Kyoto-shiritsu Bijutsu Senmon Gakko (existing Kyoto City University of Arts)".
His mother Uemura Shoen passed away.
1953 took office the professor of the Kyoto City University of Arts.
1959 was given the "Geijutsu senshou Monbudaijin Shou".
1968 took office the honorary professor of the Kyoto City University of Arts.
1973 He was given the Orders of the Sacred treasure.
1981 was appointed to the member of the Japan Art Academy.
1983 was selected to the Person of Cultural Merits.
1984 was given the Order of Culture.
1993 "The wind and the bird Uemura Shoko and Atsushi Exhibition" opened in Paris.
2001 Uemura Shoko passed away at 98 years old.
 

Chigusa Sun (1873-1944)

 

 
  Sosui Tanaka (1898-1981) See Tanaka Sosui below
  Momonoi Shunzo  (1825 - 1885)
Also known as: Momoi Seijo

Swordsman Momoi Shunzo was Grandmaster of the Kyoshin Meichi Ryu Shigakukan Dojo, one of the 'Three Great Kendo Dojo of Edo'. The other two were the Hokushin Itto Ryu Gembukan headed by Chiba Shusaku, and the Shindo Munen Ryu Renbeikan headed by Saito Yakuro. The saying in those days was 'Technique: Chiba; Power: Saito; Bearing: Momoi'.

 

  Morohoshi Seisho
 (1870-
Morohoshi Seisho (1870- ? ) born in Chiba. Studied in Tokyo with Kawabata Gyokusho (1842-1913).

 

 

Moriue Seisui (act 20th century)

Moriue Seisui (act 20th century)
He was born in Osaka.Suzuki Kason was one of his pupil.

  Yamamoto Shunkyo
1871-1933
Yamamoto Shunkyo 1871-1933Born in Shiga-ken and lived in Kyoto. Pupil of Kono Barei.Nomura Bunkyo and Mori Kansai. Professor at the Kyoto College of Fine Arts and exhibitor with the Buntsen. One of the founders of the modern Kyoto School; a great figure in Kyoto art circles. Member of the Imperial Art Committee and of the Teikoku Bijutsuin. His style at first was that of the Shijo school but became more eclectic, painting landscapes with considerable western influences hence the work of his students would sometimes reflect that as in this scroll by Tosen. Shunkyo's subjects included Buddhist themes. Collections are in the Kyoto Museums,. Tokyo Museum etc.  
  Katsukawa Shunzan

(1700 -1800 )

Seigyu Kitakami

 
Born in Hakodate of Hokkaido.
Went to Kyoto and studied painting under Shunzan Kitakami, his uncle.
Later, studied painting under Seiho Takeuchi.
Was accepted for the Bunten Exhibitions and Teiten Exhibitions several times.

 

Shunzan enju 春山煙樹 (Spring Mountains and Hazy Trees)Seigyu Kitakami (1891 - 1970
 

 

    Toda Shunzan (戸田春山) (painter/draughtsman; Japanese; 19thC)

 

  Yamada Shuhei (1877-1931)  He was born in Oita prefecture.He was a son of feudal soldier,Yamada Shukei. Shuhei studied painting under Himejima Chikugai.He lived and painted in Osaka 
  Suzuki Shonen (1849-1918)

Suzuki Shonen was born in Kyoto as son of Suzuki Hyakunen (1825-1891) who established his own style of painting without adhering to any of the established styles such as the Shijo-Maruyama, Nanga or Kano schools. Shnen is considered the best student of Hyakunen's, and was known for his bold and dramatic brushstrokes. After he established his own style of painting without adhering to any of the established styles such as the Shijo-Maruyama, nanga or Kano schools. Shonen is considered the best student of Hyakunen's, and was known for his bold and dramatic brushstrokes. Shōnen never worked from preliminary sketches (shita-e), but painted quickly and directly, in a bold, individual style. Considering his highly individualistic nature it is not surprising he made a private study of western painting methods.
Some of his best-known subjects are: landscapes, kacho-e, pine trees, and some traditional and Buddhist subjects.
From 1881 to 1888 Shnen was the head of the Northern Division (ink painting in the Sesshu tradition) of the Kyoto Prefecture Painting School (other divisions were: South - nanga school; East - Shij-Maruyama school; and West - Western style painting).
Shonen appears to have been satisfied with cultivating his own art on the eve of sweeping modernisation in Japanese painting, which, in Kyoto, was led by Takeuchi Seiho, a pupil of Shonen's rival and a Shij artist Kono Bairei.
Thus his name is less often associated with the modern movements of Japanese painting than with Uemura Shoen, one of his most talented students and the most prominent female painter of the Meiji period. Other well known pupils were Shoshu Saito and Kimura Konen

  Senrei Okumura
Senrei Okumura-Circa 1860 to 1920
  Shoto  
  Shibata Gitō (1780-1819)
Gito Shibata, 白川芝山.was the teacher of Seisho

Shibata Git was born in Bizen and moved to Kyoto, where he became a student of Matsumura Go shun (1752-1811), the founder of the Shij school of painting. Soon he became an important member of this school, specializing in landscapes and kachga. His early death prevented him from becoming more widely known and from becoming as famous as Matsumura Keibun and Okamoto Toyohiko, the other two most prominent members of the Shij school. He also painted in the style of the Maruyama-Shijō school, whose founder Maruyama ōkyo (1737-95) had developed a new, naturalistic style to depict, among many other subjects, genre scenes of the urban life of Kyoto. Shibata Gitō (1780-1819) was a pupil of ōkyo's contemporary Go Shun (1752-1811). He died young and his works, characterized by fine brushwork and a light-hearted charm, are relatively rare.

 
  Sadakata (Sakata?) Kaiseki
(1882-1943?)

Sadakata (Sakata?) Kaiseki (1882-1943?)

Born in Okayama prefecture and educated at Kansai Gakuin University. Studied under Kyose Shoseki and becomes his son-in-law. He went abroad to France and entered the Salon d'automne exhibition where established artists such as Pierre-Auguste Renoir threw their support behind this exhibition and even Auguste Rodin displayed several drawings. Since its inception, the greats and future greats of the art world such as Paul Czanne, Henri Matisse, Paul Gauguin and Pablo Picasso have been shown here. An obvious magnet for young artists from around the world including Japan

Later in life he created hanga or woodblock prints. Not much of his life is recorded and is thought to have passed away after 1933. However, Kaiseki did change his artist name 3 times and the painting shown here dates from the 1930s when Kaiseki was living in Tokyo's Bunkyo ward until when he moved back to Okayama during the war. We do not have anything recordd after 1943 so we can only assume that he died around that period. During his life Kaiseki was known to have favoured painting Fuji-san (Mt. Fuji) many times During the years when he used the name Youkei, Mt. Fuji was centre to his paintings and used more Fuji-san Sansui-ga, landscapes, compared to his earlier works where there were more genre paintings with Mt. Fuji as the background.

 
T Mitsuoki Tosa
(1617 - 1691)
Painter at the former part of the Edo period. Born in Sakai of Izumi. Son of Mitsunori. Became a official painter for the Imperial Court in 1654. Revived the Tosa school.
  Tanaka Sosui(1898-1981) He was born in Gifu prefecture and studied painting under Nishio Soko.

Sosui was known for his love of Haiku and he was a antique collector of Japanese sword furniture( Katana, Menuki & Tsuba, and had amassed a collection of Japanese arrowheads).

 
 

Taigen Koji  Painted c 1930

(also known as  Nobuyoshi Nobutada /  Etsuji Sanjin)

 

 
 
Taikan YokoYama
(1868 - 1958)
Yokoyama Taikan

 

 

Born in Mito District of Ibaraki Pref. His given name is Hidemaro. Entered the Tokyo School of Arts and studied under Tenshin Okakura and Gaho Hashimoto. 
Helped Okakura found the Japan Art Institute in cooperation with Shunso Hishida and Kanzan Shimomura. He kept innovating Japanese arts throughout the Meiji and Taisho and Showa eras. Received the Order of Cultural Merit and others.

1868 On September 18, Yokoyama Taikan was born in Mito city, Ibaragi Prefecture.
1889 entered Tokyo School of Fine Arts (existing Tokyo National University of Fine Arts and Music).
1893 graduated from Tokyo School of Fine Arts.
1895 took office to a teacher of Kyoto-shi Bijutsu Kougei Gakko (existing Kyoto City Dohda Senior High School of Arts).
1896 He was appointed to the assistant professor of Tokyo School of Fine Arts.
1898 took part in the establishment of the Nihon-Bijutsuin, and took office to the councilor of it.
1907 The "Monbusho Bijutsu Tenrankai" was established, and Yokoyama Taikan was appointed to the judge of it. He exhibited at the 1st "Bunten" exhibition.
1914 Yokoyama Taikan, Shimomura Kanzan and others restored the Nihon Bijutsuin.
1928 exhibited "Tachiaoi" at the 15th Inten exhibition, and he presented it to Mussolini, the prime minister later.
1935 was appointed to a member of the Shin-teikoku Bijutsuin.
1937 was given the 1st Order of Culture with Takeuchi Seiho and others.
1949 He offered his resignation to the Nihon Geijutsuin because of his age.
1958 On February 26, Yokoyama Taikan passed away at 89 years old, and he was awarded the Order of the Rising Sun.

  Tanomura Chokunyu (1814-1907)

born in Oita and learned under Tanomura Chikuden

 
  Tanyu Kano
(1602 - 1674)

Painter at the former part of the Edo period. Son of Takanobu. Elder brother of Naonobu and Yasunobu. Brought a breath of fresh air to the Kano school. 
Patriarch of the Kajibashi Kano school.

Kanō Tan'yū (狩野 探幽?, 4 March 1602 - 4 November 1674) was one of the foremost Japanese painters of the Kanō school. His original given name was Morinobu; he was the eldest son of Kanō Takanobu and grandson of Kanō Eitoku. Many of the most famous and widely known Kanō works today are by Tan'yū.

In 1617, Tan'yū was appointed by the Tokugawa shogunate to become one of the shogunate's official artists. Over the following years, he was given many highly prestigious commissions. Over the 1620s and '30s, he created a number of large-scale works for Edo Castle, Nijō Castle, Osaka Castle, Nagoya Castle, and Nikkō Tōshō-gū.

Prolific in a variety of painting styles, Tan'yū's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the Momoyama style, depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.

Tan'yū was also accomplished, however, in monochrome ink painting based on the prototypical style of the Muromachi period, yamato-e compositions in a style similar to that of the Tosa school, and Chinese style scrolls. His most famous yamato-e work is a narrative handscroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yū.

In addition to being a highly honored and respected painter in his own right, Tan'yū was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication
.

  Takahashi Hiroaki
- 1871-1945
also known as Shotei and Komei
The fate of Takahashi Hiroaki was a rather tragic one. When he was 52 years old, the fires after the great Kanto earthquake in 1923 destroyed all 500 woodblock prints he had created. And when he was 74 years old, he visited his daughter in Hiroshima in the summer of 1945. Nobody saw him again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the given name of Takahashi Katsutaro. He was trained in Nihonga - traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed large numbers of prints for Watanabe's print shop. He was one of the first printmakers joining the artisan "pool" of Watanabe. The prints were largely exported - mainly to Northern America.

The Great Kanto Earthquake

By 1923 he had produced a total of about 500 designs - mostly in Oban or smaller sizes. Then Japan was hit by the Great Kanto earthquake in 1923 - the worst natural catastrophe in the history of Japan. The earthquake and the fires that raged for three days, killed 140,000 people. Watanabe's print shop was completely destroyed - and with it the woodblocks of all 500 prints created by Takahashi Hiroaki. Watanabe and his shin hanga artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints after the Kanto earthquake. Most of his designs show scenic Japanese landscapes in typical shin hanga style. He continued to work for Watanabe. But he also published with Fusui Gabo and Shobido Tanaka - probably because he was too much limited in his artistic development by the excellent but rigid businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get Confused!

Hiroaki used a variety of names, signatures and seals during his lifetime. From 1907 until 1922 he used the name Shotei and after 1922 Hiroaki or Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in Hiroshima. According to Japanese sources, the aging artist had visited his daughter during the summer of 1945. At 8:15 in the morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber dropped the first atomic bomb in the history of mankind over Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga artists was never seen again.



 
  Tessai Tomioka
(1836 - 1924)
Nanga painter. Born in Kyoto. Learned Japanese classical literature and Chinese classics. Came to be lodged with the poet and nun Rengetsu Otagaki. 
Interacted with Imperial loyalists in the last days of the Tokugawa shogunate. 
After the Meiji Restoration, served as a Shinto priest at several different shrines. Founded the Southern School of Chinese Painting Asscociation of Japan (Nihon Nanga Kyokai) with Chokunyu Tanomura and the others.
  Tanaka Raisho (1868-1940) Tanaka Raisho (1868-1940) originally studied under Mori Kansai whom he met by chance in his home prefecture of Shimane. Later he moved to Tokyo to study under Kawabata Gyokusho. He exhibited works at the national Bunten on 10 occasions between 1908 and 1918 and with the re-named Teiten on six occasions between 1919 and 1926. He went on to become a juror for the prestigious organization. See Roberts p.173.

Tanaka Raisho represent a tour de force by the artist at the peak of his abilities. Raisho is well known for his Shijo style landscapes in the manner of his highly esteemed teacher Kawabata Gyokusho (1842-1913) who is widely recognized as the last great representative of the Shijo school. Painted purely with ink on a gold leaf ground, Raisho has used a multitude of varying brushstrokes and washes to define the landscape and impart depth. Like his teacher Gyokusho, Raisho generally painted native Japanese landscapes, drawing inspiration from his natural surroundings and the people who inhabited it.

Tanaka Raisho first studied under Mori Kansai (1814-1894) in Kyoto. After moving to Tokyo he studied under Kawabata Gyokusho (1842-1913), a leading figure in Japanese painting who perpetuated the Shijo style evoked in this painting by his pupil.

 

  Tozan Lived in Kyoto, he studied under the Rinzai master  ENNI Benen

Tozan Tansho and his friend Haku'un Egyo, both students of the teachings of ENNI Benen. These Masters brought a significant impurity from the Shingon into practice such as Gikai.

Enni Ben'en (圓爾辯圓; 1202-1280) was a Japanese Buddhist monk who studied various forms of Mahayana under the Rinzai teacher Wuzhun Shifan in China. When he returned to Japan, he founded Tōfuku-ji monastery in Kyoto, and practiced zazen as well as other types of Buddhism..It is believed that he was the first to bring udon noodles to Japan from China

 

  Kabata Tosen (act:20th century)

 

Kabata Tosen (act:20th century)

He studied under Yamamoto Shunkyo.His paintings were accepted for the art exhibition(Nitten,Bunten).
He lived in Kyoto.

  Takaku Aigai (1796 - 1843) Tani Buncho (1763 - 1840) Tanomura Chikuden
(1777 - 1835) Tanomura Chokunyu
(1814 - 1907) Terasaki Kogyo (1866 - 1919) Tomioka Tessai (1836 - 1924) Tosa Mitsuoki (1617 - 1691) Tsuchida Bakusen
(1887 - 1936)
 
    TAISHU
 
 

Tokan Syugetsu
(1440-1529)

 

Muromachi Suiboku painter. Son of Shigekane Taki, a vassal of Lord Shimazu in Satsuma Province. In 1462 took Buddhust vows and became a pupil of Sessyu, living in Yamaguchi. In 1492 called back to Satsuma by Lord Shimazu and lived at the Fukusho-ji. Said to have accompanied Sessyu to China. His style very close to that of Sessyu, but his brushwork less powerful.

 

  Nishikawa Torei (1865-1900 c)

Born in Kyoto. He was a Talented painter who studied under Kono Bairei, He was a superb artist but he died around age 40 in the Taisho period.

This extract was taken from: ON THE LAWS OF JAPANESE PAINTING AN INTRODUCTION TO THE STUDY OF THE ART OF JAPAN BY HENRY P  BOWIE WITH PREFATORY REMARKS BY IWAYA SAZANAMI AND HIRAI KINZA -Paul Elder and Co 1911. (Please note that original 'first editions' are available from Tokonomascrolls.com)

The city of Kyoto has always been a hotbed of Japanese art. At that time the great artist Ko No Bairei, was still living there, and one of his distinguished pupils, Torei Nishigawa, was highly recommended  as an artist. Bairei had declared Torei's ability was so great that at the age of eighteen he had learned all he could teach him. Torei was now over thirty years of age and a perfect style of his own, overflowing with skill, learning, and humour.

 
  Tsunetomi Kitano
(1880 - 1947)
Born in Ishikawa Pref. His given name is Tomitaro. Moved to Osaka and learned Ukiyo-e technique of the Utagawa school from Toshitsune Inano. Became a leading figure in Kyoto's art community for painting beautiful girls.
  Takeuchi Keishu
 武内桂舟
(1861-1943)


1887

Photo, Friends of the Inkstone c. 1887
Front row from the left:
Sazanami Iwaya, Shian Ishibashi,Koyo Ozaki

Back row from the left:
Keishu Takeuchi, Bizan Kawakami, Suiin Emi
(http://shisly.cocolog-nifty.com/blog/2009/10/post-0048.html)
Thumbnail Image-Click for larger picture

 

 


Illustration from the Golden Demon

He often made illustrations for books and magazines. The following is from a novel called the White Kannon.This is a novel about a young woman named Teru and an artist named Michikage.
Because of the differences between their fathers the young couple cannot marry.
In time Teru, like the merciful Kannon, devotes her life to helping others who were unjustly treated by her father. The artist in the picture is what is believed to be a self Portrait
.

 

Takeuchi Keishu 武内桂舟 (1861-1943)

Given name: Takeuchi Ginpei. Born in the Akasaka district in Edo, he was the second son of a retainer of the Kishu daimyo. The name Keishu was given to him by Keika-en Keika, a haiku poet and friend of his father. He received no formal education. He is primarily known as an illustrator.

Keishu was adopted into the family of Kano Eitoku (1814-1891), who was head of the prestigious Nakabashi Kano lineage. But, because of the chaos in the country, there was no work for Kano1 painters so Keishu worked as a porcelain painter while studying Kano. After the suicide of his elder brother in 1879 or 1880, he returned to his father's house and abandoned the Kano style. After a disagreement about quality, Keishu switched from porcelain painting to making hanshita (drawing the black line images to be used for the keyblocks for woodblock prints.)

At some point he studied drawing under Masanobu Karino and Yoshitoshi Tsukioka (1839-1892).

It is not known when Keishu began illustration. According to Keishu, his early years as a hanshita artist paid little and he was often hard-pressed for basic necessities. When his son mentioned a desire to become a painter, Keishu responded, "If you are able to live on air and water, you may become an artist."

In 1887, he joined the writing society Kenyūsha (Friends of the Inkstone - a literary coterie founded in 1885 by a group of Tokyo University students) and designed kuchi-e (woodblock-printed frontispiece illustrations produced for publication in Japanese novels and literary magazines) and sashi-e (illustrations in books, magazines, and newspapers) for the novels of many of its members including its leader Ozaki Koyo (1868-1903). He became the art editor for the Bungei Kurabu literary magazine and contributed some sixty-five kuchi-e, several of which are part of this collection.

Takeuchi was such a good friend of Ozaki Koyo that he drew the illustrations for Ozakis outstanding work, Konjiki Yasha (The Golden Demon), and he frequented the exclusive restaurant Koyokan in Shiba Park with the inner group members of Kenyūsha, Sazanami Iwaya, Shian Ishihashi, Bizan Kawakami (1869-1908), and Ozaki Koyo, who claimed that Koyokan was the best place to observe women. The progressive atmosphere of Koyokan, which was built in 1881 by the first president of the Yomiuri shimbunnewspaper, Takashi Koyasu, perfectly matched the ethos of a group of young writers and artists, the Kenyūsha.

     
Uemura Shoen (1875 - 1949)

 
  Akamatsu Unrei (1892-1958)

赤松雲嶺 写真
赤松 雲嶺

Unrei, Akamatsu 雲嶺 赤松 (1892 - 1958)

Akamatsu Unrei was born in Osaka in 1892. His real name was Yoshisuke.
He studied painting with Unsen Koyama and Tikugai Fujii and later with the famous nanga painter Himejima Chikugai (1840-1928).
At a relatively young age he already proved a true master of nanga, surpassing the talents of his teachers and finding a new, personal way of looking at nanga. His paintings were often exhibited with the Bunten, Teiten and Nitten and he was a member of the Nihon Nanga-in.
He died in 1958 at the age of 65

 
 V  

 
W Watanabe Kazan (1793-1841) Watanabe Kazan was born in Tokyo as the child of a Edo-Bakufu Soldier. He was very poor in the cradle and he sold his painting to make money for his family. He learned from Tani Buncho found his remarkable artistic talent developed well and his powerful connection made his conception better.
His paint of portrait had been very popular and he painted a lot.
His portrait paintings were infuluenced by ways of Europe using shading very well which was really impressive. Besides he's been a paintinter, he was a traditionalist Confucian. His pseudonym is Kazan and Toh
 

Kohkan Watanabe (1878-1938)

Kohhei.

He was born in Shiga Pref. Ootsu on January 20 in Meiji 11 (1878). His real name was Kohhei. He left  Kyoto municipal arts and crafts school and became the student of Sobun Morikawa in Meiji 28 (1895) he then learned the Shijyo art of drawing. In Meiji 35 (1902) he studied without a teacher after the death of the mentor. Thereafter he displayed many works with the exhibition. He died in Kyoto on July 29 in Showa 13 (1938). Age 60 years old.

 
  Watanabe Seitei (1852 - 1918)   
     
     
     
Y
Yasunobu Kano
(1613 - 1685)
Painter at the former part of the Edo period. Patriarch of the Nakabashi Kano school. Born in Kyoto. Younger brother of Tanyu and Naonobu. Studied painting under Koi Kano. He was conferred the "Hogen" rank. Good at painting flowers and birds, landscapes, figures, Buddhistic arts and also good at appraising.

This page is copyright to Craig Coussins

  Yosai Kikuchi
(1788 - 1878)
Born in Edo. His real first name is Takeyasu. Served the Tokugawa government. 
At first, he learned painting technique of the Kano school from Enjyo Takada. 
Then, learned the other techniques of Japanese, Chinese and Western idioms. 
He studied ancient practices in Japan, and was good at painting historical scenes. Patriarch of the Yosai school.
  Ogura Yuki

1895-2000

Ogura Yuki

Flower Painter


Ogura Yuki, born in Otsu city, Shiga Prefecture, had communed with painting ever since she was two years old, and her painting was rated as excellent at Otsu High School.
However, after she graduated from Nara Girls High School, she didn't prepare the way for a painter, became a teacher. When she visited Yasuda Yukihiko in 1920, she looked up to him as a teacher that lasts a lifetime, and she was with the aim of becoming a painter in addition to performing her regular duties as a teacher.

In 1926 she was accepted to the 13th Inten exhibition, and was appointed to the Dojin of the Japan Art Institute for the first time as a woman in 1932, her paintings were experiencing rapid evolution. She was awarded the Uemura Shoen Prize in 1954 and the Japan Art Academy Prize in 1987, and was given the Order of Culture in 1880.

Ogura Yuki's art world, which was derived from unconventional means and bold simplification, is in spite of a strong and plain expression, the warmth or life, even a spirit of the motif felt good. It results from the effort that she performed ascetic zen exercises.
1895 Ogura Yuki was born in Otsu city, Shiga Prefecture.
1917 graduated from Nara Girls High School.
1920 studied under Yasuda Yukihiko.
1926 Her artworks are selected for the 13th "Inten" Exhibition.
1932 was appointed to the first female member of the Japan Fine Arts Academy.
1938 married a Zen priest Ogura Tetsuju.
1970 exhibited "Shimai (sisters)" at the 55th "Inten" exhibition.
1973 was given the Orders of the Sacred Treasure.
1976 was appointed to a member of the Japan Art Academy.
1978 was selected to the person of Cultural Merits.
1980 was given the Order of Culture.
1990 took office as a chief director of The Japan Art Institute.
1996 took office as a honorary chief director of The Japan Art Institute.
2000 On July 23, she passed away at 105 years old.
 
  Yukihiko Yasuda
(1884 - 1978)
Born in Tokyo. His given name is Shinzaburo. Studied painting from Tomoto Kobori and Tenshin Okakura. Participated in the restoration of the Japan Art Institute. Good at painting historical subjects with elegant and sophisticated techniques.
  Yoshimura Ranshu
(1739-1817)
Yoshimura Ranshu studied under his father, Yoshimura Ranryo, Ishida Yuutei, and Maruyama Okyo. Later on he became the appointed painter for the Nishi Hongwanji temple. He was known to have painted kacho-ga (bird and flower) themes and human subjects often. He died on November 27, 1817 at the age of 78

 
  Yamaguchi Kayo (1899 - 1984) Yamamoto Baiitsu
(1783 - 1856) Yasuda Yukihiko (1884 - 1978) Yokoyama Taikan
(1868 - 1958)
 
  Yanagisawa Kien(1706-1758).

 

Japanese painter and calligrapher. With Gion Nankai and Sakaki Hyakusen, he was one of the pioneers of Japanese literati painting

 

     
     
U Usen Ogawa
(1868 - 1938)
Born in Tokyo. His given name is Mokichi. Studied Western-style painting from Kinkichiro Honda. Became Manga artist and illustrator. Started drawing Japanese paintings at Tatsuko Kawabata's suggestion. Member Japan Fine Art Academy from 1917.
  Zhao ShaoAng  1905 - 1998  

Zhao ShaoAng ( 1905 - 1998 ) Zhao ShaoAng studied painting at the Gao Qifeng Private College of Art. He taught at the Foshan College of Fine Arts in 1927. In 1930, he founded the Lingnan Art Studio in Guangzhou. In 1937, he served as the head of the Department of Chinese Painting at the Guangzhou Municipal College of Fine Arts. In 1948, he was appointed a professor at the Department of Fine Arts, Guangzhou University. Later in the year, Zhao moved and settled in Hong Kong. There he founded the "Lingnan Art Studio" to teach Chinese paintings. He was inspired by Gao Qifeng in his early years. He excels in painting landscape, animal, flower, insect and fish, and is particularly noted for painting cicada. Zhao is a representative painter of the Lingnan School
 
  Xu Bei Hong
(July 19, 1895 - Sept 26, 1953)
Xu Bei Hong is considered a modern master in China. His merging of Western techniques with classic Chinese approaches was unmatched. His paintings of horses and birds are particularly stunning.
 
  Unrei, Akamatsu
雲嶺 赤松
(1892 - 1958)
He studied painting with Unsen Koyama and Tikugai Fujii and later with the famous nanga painter Himejima Chikugai (1840-1928).
At a relatively young age he already proved a true master of nanga, surpassing the talents of his teachers and finding a new, personal way of looking at nanga. His paintings were often exhibited with the Bunten, Teiten and Nitten and he was a member of the Nihon Nanga-in.
He died in 1958 at the age of 65.

 

This page is copyright to Craig Coussins


List of Artists held in the Tokyo Museum of Art including scroll artists: Click line or picture below


 

Notes:


Kojyou Katsurada (1865-?)

He was born in Shiga Pref. in 1865. His real name be Yoshiharu. He made the mentor to Chikudou Kishi, Keinen Imao, Chokujyou Fukada.

              

Tokujirou Tsutsumi (20th century)

His, in another name it is Syunpo. He made the mentor to Yukihiko Yasuda. He lived in Tokyo.

              

Toshiyuki Kasai (1917-?)

The Japanese artist. He was born in Gifu Pref. in 1917. His, in another name it is Wakou. He made the mentor to Eizou Katou. He wins a prize with many exhibitions.

              

Yoshinobu Kano (?-1820)

His, in another name it is Dourin. Also his nick name be Kyounosuke. He be the child of Doutei Kano. He succeeds the site of grandfather Tohjyu Kano and become the painter of the shogunate. He is the death on July 7, 1820.

Koujyou Asami (1890-1974)

His nick name be Torajirou. He was born in Hyogo Pref. in May of Meiji 23. He learned the picture from Suisyou Nishiyama. At the later time he did in Aichi Pref. Nagoya.

      

Yoshinobu Tosyun Kano (1747-1797)

Kano painter. Son of Gensen Kano; became fourth-generation head of the Kano branch at Surugadai in Edo. Pupil of Tosyu Kano. It is recorded that he painted a screen as a gift to the king of Korea from the Bakufu; also known to have worked on the ceilings and walls of the Rinno-ji in Edo. Given title of Hogen. Worked in the styles of Tanyu and Sessyu.

Housyu Yamada (18-19th century)

His real name be Kijyou. He was appointed to Houkyou. He be the person of around the Edo middle-latter period.

Unrei Akamatsu (1892-1958)

He was born in Osaka in 1892. He made the mentor to Unsen Koyama, Chikugai Himejima. As for he the landscape and flowers and birds picture are good. He is the death, 65 years old in 1958.

Kyouu Gotou (1907-1973)

He was born in Nagano Pref. in 1907. He learned the picture from Kansetsu Hashimoto. He is the death, age at death 67 years old in 1973.

Setsui Kawakami (1901-1976)

He was born in Ehime Pref. in 1901. He be the Kyoto painting specialized school graduation. He made the mentor to Tatehiko Kan, Suisyou Nishiyama. At the later time he lived in Kyoto. He is the death, 75 years old in 1976.

Syuka Takahashi (1878-1952)

He was born in Okayama Pref. in 1878. His real name be Toshita. He made the mentor to Kinryou Ishii, Syunkyo Yamamoto. He is the death, 75 years old in 1952.

Baisen Hirai (1889-1969)

He was born in Kyoto on January 5, in Meiji 22. The real name be Syuhzoh. In Meiji 39 he graduates from the Kyoto municipal arts and crafts school painting family and made the mentor to Seihoh Takeuchi. Thereafter he does winning a prize a lot with an/the exhibition and took an active part as the star artist. After the war, he did only picture made life. He dies in Kyoto on August 30, in Showa 44. Age at death 80 years old.

Baisen Hirai (1889-1969)

He was born in Kyoto on January 5, in Meiji 22. The real name be Syuhzoh. In Meiji 39 he graduates from the Kyoto municipal arts and crafts school painting family and made the mentor to Seihoh Takeuchi. Thereafter he does winning a prize a lot with an/the exhibition and took an active part as the star artist. After the war, he did only picture made life. He dies in Kyoto on August 30, in Showa 44. Age at death 80 years old.

Ganryou (1798-1852)

His last name be Kishi after Saeki. His pen name be Gaunrou. He lived in Kyoto with the foster child of ancestor Ganku of the Kishi sect. His picture defends the family custom and be wonderful. He is the death, age at death 55 years old on March 19, 1852.

Tousen Kabata (20th century)

He be the Kyoto painting specialized school graduation. He made the mentor to Syunkyo Yamamoto. He lived in Kyoto.

      

Oushin Maruyama (1791-1840)

He was born in Kyoto as the child of second son Oujyu Kinoshita of Oukyo Maruyama in 1791. In the after he becomes the foster child of oldest son Ouzui Maruyama. He is the death, age at death 52 years old in 1840.

Kasyu Iguchi (1880-1930)

He was born in Osaka in 1880. His real name be Jinzaburou. He learned the picture from Seihou Takeuchi. At the later time he lived in Kyoto. He is the death, age at death 50 years old in 1930.

Eigaku Kano (1790-1867)

Kano painter. Born in Kyoto. Studied the Kano style under his father-in-law, Eishun Kano, by whom he was adopted. As a member of the Kyo Kano school, became a leading Kano painter in the late Edo period and worked in the Kyoto Imperial Palace. His painting is rich and decorative, retaining also some elements of Shijyo technique and style.

 

Chikuha Otake (1878-1936)

The Japanese artist. He is born in Niigata-shi. He is all the artists with the brother 3 people. Etsudoh Otake is his older brother and Kokkan Otake is his younger brother. Beginning he learned the art of drawing from Unseki Sasada and went to Tokyo the after and made Gyokusyoh Kawabata the mentor. After that he took an active part with many exhibitions.

Eisyou Kano (1811-1886)

 

He was born in Kyoto in 1811. His last name be Horiuchi. His, in another name it is Sanan. He be the clansman of Kyoto Tanba Sasayama. He learned the picture from Eigaku kanou of the Kyou Kano sect. At the later time he becomes 11 reigns of Kyou Kano sects. He is the death, age at death 76 years old in 1886.

Koui Kano (1569-1636)

Kano painter. Details of his life unclear. Known to have served the Tokugawa clan in Kii Province and to have brought up Takanobus Kano three sons; Tanyu, Naonobu, and Yasunobu. Pupil of Mitsunobu Kano; perhaps, later in his career, influenced by the works of Sesshu. With Sanraku, the most important Kano artist of the early Edo period, introducing a new and lighter style of Kano painting. Known as a fine painter of Kachoga, few of which remain. Has been much overshadowed by Tanyu.

Tsunenobu Kano (1636-1713)

 

Kano painter. Born in Kyoto. Son of Naonobu Kano. At age 15, on his father's death, became pupil of his uncle Tan'yu. Succeeded to the Kano estate at Kobikicho; in attendance at the Sentoh Palace as court painter. Also a connoisseur of old paintings. In 1704 given rank of Hogen; later received that of Hoin. In 1709, at order of the emperor, painted the Kensho Shoji (portraits of Confucius, Mencius, and other sages) in the Shishinden of the Imperial Palace. A leading artist of the Kano school, he brought the Kobikicho branch to a position of prominence. His paintings are eminently pleasant, charming in color, delicate in tone. Excelled also in literature.

Jyoseki Kitou (1891-1978)

He was born in Aichi Pref. in 1891. He be the second son of artist Doukyou Kitou. His real name be Yonekichi. He learned the picture from Gyokudou Kawai. He is the death, 88 years old in 1978.

Eitatsu Koyama (1880-1945)

He was born in Tokyo Met. on March 18, in Meiji 13. His real name be Masaharu. He learns the picture in Western style from beginning Kinkichirou Honda and after he is to Eigyou Suzuki when he is 14 year-old and learn the Japanese painting. Also he made the mentor to famous artist Tomoto Kobori when he is 18 year-old. After that he wins a prize with many exhibitions. He was the authority of a history picture, animal picture, Musha picture. He is the death on August 18, in Showa 20. Age at death 65 years old.

Jyoseki Kitou (1891-1978)

 

He was born in Aichi Pref. in 1891. He be the second son of artist Doukyou Kitou. His real name be Yonekichi. He learned the picture from Gyokudou Kawai. He is the death, 88 years old in 1978.

Chokujyou Fukada (1861-1947)

 

He was born in first year July 14, Shiga Pref. for the Bunkyu year. His real name be Masataka. His, in another name it is Syuhgetsu. He learns mentor that, Shijyou sect from Sobun Morikawa. He wins a prize with many exhibitions. After that he transmigrates in Osaka and do the guidance of the reverse. He is the death in Showa 22. Age at death 86 years old.

Sessou Nakane (1849-1924)

He was born in Aichi Pref. in 1849. His real name be Sada. His nickname be Jintarou. He made the mentor to Baisou Yamamoto, Aizan Taniguchi. He be 1924 death, 76 years old.

Hanzan Niki (1901-?)

He was born in Osaka in 1901. He made the mentor from Kyouson Yano and learned the picture.

Seisen'in Kano (1796-1846)

 

Kano painter. Represented the eighth generation of the KOBIKICHO branch of the Kano school. Son and pupil of Kano Isen'in, became in his turn GOYO ESHI and did much work at Edo Castle.Also made copies of earlier paintings. In 1819, given title of HOGEN, in 1834 that of HOIN, at which time he began to use the GO of Seisen'in. Author of a well-known diary, Kaishinsai Nenki, which is essential for the study of the Kano school. Toward the end of his life, took orders. Produced exaggerated Chinese-type rococo landscapes.

Tsunenobu Kano (1636-1713)

 

 

Kano painter. Born in Kyoto. Son of Naonobu Kano. At age 15, on his father's death, became pupil of his uncle Tan'yu. Succeeded to the Kano estate at Kobikicho; in attendance at the Sentoh Palace as court painter. Also a connoisseur of old paintings. In 1704 given rank of Hogen; later received that of Hoin. In 1709, at order of the emperor, painted the Kensho Shoji (portraits of Confucius, Mencius, and other sages) in the Shishinden of the Imperial Palace. A leading artist of the Kano school, he brought the Kobikicho branch to a position of prominence. His paintings are eminently pleasant, charming in color, delicate in tone. Excelled also in literature.

Touei Sekkou Hasegawa (19th century)

He be the Edo graduate. He be the child of artist Setsurei Hasegawa. As for he all the landscapes, portraits, flowers and birds pictures are precise.

Goshun Matsumura (1752-1811)

 

Shijo painter. Born in Owari; lived in Settsu and Kyoto. Studied first with Suigetsu Onishi; later, a pupil of Buson Yosa, with whom he also studied Haiku, using at that time the Go Gekkei. After 1781, adopted Go Goshun. Following Buson's death, strongly influenced by Ohkyo. Eventually created his own style, founding the Shijo school (named after the in which he lived), which tried to combine the realism of Ohkyo with the idealism of the Nanga school. Skilled in Haiku and calligraphy. Among his students were Keibun Matsumura and Toyohiko Okamoto. One of the greatest of the later Edo period painters; his school had an enormous influence on 19th century Japanese art. His pleasant work more intimate and spontaneous, less monumental than that of Ohkyo; used larger brushes, applying them more obliquely than Ohkyo.

      

Hukunen Konishi (1887-1959)

He was born in Fukui Pref. Takefu-shi on February 15, in Meiji 20. His real name be Yuhnosuke. He came in Kyoto in Meiji 34 and entered a private school as the apprentice of Syounen Suzuki. He received the name of Hukunen from the mentor. He painted an elegant picture as the teaching of the mentor. He is the death, age at death 73 years old on January 13, in Showa 34.

Ryuun Kusano (1863-?)

 

His real name be Jyutarou. He was born in Kyoto in 1863. He learned the picture from Chikudou Kishi.

      

Chousei Nohara (1897-1971)

 

He was born in Gifu Pref. in Meiji 30. He made the mentor to artist Suisyou Nishiyama and belonged to picture meeting Seikousya. He be the first acceptance with the exhibition in Showa 9. Thereafter he wins a prize many prizes. He is the death, age at death 74 years old in Showa 46.

Gyokusyou Kawabata (1842-1913)

 

He was born in Kyoto in 1842. His real name be Takinosuke. His, in another name it is Keitei. He learned the picture from Raisyou Nakajima, Kaisen Oda. At the later time he moves to Tokyo and was nominated to the professor at the time of the Tokyo art school foundation. Also he builds the Kawabata picture school and brought up the junior. He is the death, age at death 72 years old in Taisho 2.

      

Ousei Murata (1816-1877)

 

He was born in Kyoto in 1816. He made the mentor to Oushin Maruyama. In the after he transmigrated to Fukuoka Pref. Kokura in 1845

Sessen Morihide Awata (18te century)

 

He served the Chikuzen feudal lord. He made the mentor to Tanshin Kano. He took an active part around the 18th century.

      

Bunrin Shiokawa (1808-1877)

 

Shijyo sect painter. Lived in Kyoto. Pupil of Toyohiko Okamoto; also learned the Nanga manner and something of Western painting. Specialized in landscapes. His painting, somewhat heavier and more Western than that of his contemporaries, set the style for painting in Kyoto in the early Meiji era.

 

Sosen Kano (17-18th century)

The Kano sect artist. He was born in Edo. He 2 reigns of the KandaMatsunaga-cho Kano school.

Chokusen 20th cent

 

Shosen'in Kano (1823-1880)

 

Kano painter. Pupil of his father Seisen'in Kano Osanobu; succeeded him as ninth generation of the Kobikicho branch of the Kano school. On receiving title of Hoin, took name of Shosen'in. Teacher of Gaho Hashimoto and Hohgai Kano. Produced a large number of eccentric paintings as well as some delicately colored rather tight landscapes; his style close to that of his father.

Yusen Kano (18-19th century)

carp painter

He is the artist of a Kano sect.

 

Ryouko Kawanishi (1938-)

 

She was born in Nagano Pref. in 1938. She got accepted with many exhibitions. After that he lives in Kanagawa Pref.

 

Yamamoto Baiitsu

1783~1856

He was born in Nagoya, one of the representative of Southern School artists in late Edo era, drew realistically.

Okada Kanrin

1775~1849

He was born in Edo (Tokyo).one of the best disciples of Tani Buncho (Bunchou).

Tani Bunchō (谷文晁) (October 15, 1763 - January 6, 1840) was a Japanese literati (bunjin) painter and poet. He was the son of the poet Tani Rokkoku (1729-1809). As his family were retainers of the Tayasu Family and descendents of the eighth Tokugawa shogun, Bunchō inherited samurai status and received a stipend to meet the responsibilities this entailed. In his youth he began studying the painting techniques of the Kano School under Kato Bunrei (1706-82). After Bunrei's death, Bunchō worked with masters of other schools, such as the literati painter Kangan Kitayama (1767-1801), and developed a wide stylistic range that included many Chinese, Japanese and European idioms. He's best known for his crisp landscapes in the literati style (Nanga or Bunjinga). Like most bunjinga painters of his time, Bunchō focused largely on Chinese-inspired landscapes. Since travel outside Japan was forbidden under the Tokugawa shogunate, Bunchō was unable to study in China; he spent many years in Nagasaki, therefore, studying Chinese art and Western art (洋画, Yōga) with the traders there. Watanabe Kazan and Takaku Aigai were among his disciples.

Nakabayashi Chikuto(Chikutou)

1776~1853

Born in Nagoya, Nakabayashi was a Nanga painter of the late Edo period who faithfully followed the traditional style of Chinese literati painting.

Hoyama Yuinen(Hananoya)

1823~1894

He was a pupil of Watanabe Kiyosh, Ukita Ikkei. Also he studied under Tosa Mitsunobu ( Tosa school ) in Kyoto.

Watanabe Kiyoshi

1778~1861

He was born in Nagoya, was a pupil of Yoshikawa Eishin, Yoshinobu (Kano school). After that, he studied Yamatoe under Tanaka Totsugen, Tosa Mitsusada.

Nakabayashi Chikuto(Chikutou)

1776~1853

He was born in Nagoya, Nakabayashi was a Nanga painter of the late Edo period who faithfully followed the traditional style of Chinese literati painting.

Doi Goga(Gouga)

1812~1880

Confucianism, had often been called the "Mad Monk" because of his unprecedented words and deeds.

akahashi Zaikyo(zaikyou)

It has not known when he was born. It seems that the floruit was in 1850's.

He was son of Takahashi Zaikou who was also a painter of Hara school that derived from the movement of art in kyoto at that time.

Nakabayashi Chikkei

1816~1867

He was a son of Nakabayashi Chikutou.

 

Kouno Tettou

1825~1867

He was known as a child prodigy made a hundred poems in a night at the age of 15. He studied from Yanagawa Seigan. a Confucist,doctor.

Nakabayashi Chikuto(Chikutou)

1776~1853

He was Born in Nagoya, a Nanga painter of the late Edo period who faithfully followed the traditional style of Chinese literati painting.

Condition index

Shikunshi means the four particular flowers, bamboo,Japanese apricot, chrysanthemum and orchid. Also each flower has meaning of its season like orchid in spring,bamboo in summer, chrysanthemum in autumn and Japanese apricot in winter. So we enjoy it through all seasons.

The title -Shikunshi- is a typical one expressed the ideal of the spirit of Nanga, but rare one which has all of four kinds of them in a set.

This work was depicted at his age 53 in 1828.

It has a good mount of Nanga style.

 

Nakabayashi Chikuto(Chikutou)

1776~1853

He was Born in Nagoya, a Nanga painter of the late Edo period who faithfully followed the traditional style of Chinese literati painting.

Nakabayashi Chikuto(Chikutou)

1776~1853

Born in Nagoya, Nakabayashi was a Nanga painter of the late Edo period who faithfully followed the traditional style of Chinese literati painting.

Watanabe Kiyoshi

1778~1861

He studied from Yoshikawa Hidenobu,Yoshinobu of Kano school at first. Then studied Yamatoe from Tanaka Totsugen,Tosa Mitsusada.

Chigusa Arikoto

1797~1854

He was a poet of Nijou school.

Sumi Raizan

1757~1821

He was one of the representative of Southern School artists in early Owari Nanga. Niwa Kagen was his teacher.

Ganku

1756~1839

He studied every style of Jaoanese art and Chinese one. The patriarch of Kishi school.

Gessen

1741~1809

He had been a monk and studied in Sesshu school.He became a chief monk of Sekishouji. He spent money earned by drawing for poor relief.

Doi Goga(Gouga)

1812~1880

Confucianism, had often been called the "Mad Monk" because of his unprecedented words and deeds.

 

 

Okamoto Sukehiko

1818~1884

He studied by his father, who studied paintings of Shijo school by Matsumura Goshun, Keibun. He became his another teacher Okamoto Kiyohiko's heir.

 


Scroll Descriptions August 2010

 

Chikuho, Mizuta 竹圃 水田 (1883 - 1958)

Japanese artist.

He was born in Osaka in 1883

and studied painting with Chikugai Himejima

and founded Japan Nangain furthermore.

He painted the scenery picture/portrait very well.

He died in 1958 at the age of 75.

----------------------------------------------------------------------------------

Fukuda Hanko (1804-1864)

Southern artist of the Edo period. Born in Shizuoka prefecture Enshu (Iwada city) .

His name , means good fortune person, and his alias was  恭 Saburo.

Around 1813 he becamse a student of 晁 , Muramatsu and also learns from Hiro who was the Kakegawa feudal clan business painter .

Around 1823 he studied with Nakabayasi in Edo and who was famous for Bamboo paintings

1833   He becomes a student of Watanabe

1864     August 23rd died, 61 years old.

------------------------------------------------------------Tanigami Konan 1879 - 1928

 

 

 


 

Gassaku by 4 artists from Edo

1820s. Sumi and colours on paper,99,2 x

28,5 cms. Scroll created and signed by more than one artist.

Tani Bunch (1763-1840): bat

Onishi Keisai (1773-1829): bat

Haruki Nanko (1759-1839): stag

Haruki Nammei (1795-1878): mushrooms

Haruki Nanko (1759-1839

Murase Taiotsu (1804-1881):

Nagazawa Rosetsu (1754-1799) & Minagawa Kien (1734-

1807):

Kinoshita j (1777-1815) & Maruyama shin

(1790-1838):

Azuma Ty (1755-1839) &

Matsumura Keibun (1779-1843):

Kinoshita ju (1777-1815):

coronation

Nishimura Nantei (1775-

1834): mouse

Haramitsu (act. 1770s -1826):

aubergines

Gan Ku (1749-1838): Fuji and

Miho beach

Matsumura Keibun (1779-

1843): peony

Yoshimura Kkei (1769-

1836): wagtail

Morikawa Chikuso, (1763-1830): bamboo

Mori Tetsuzan (1775-1841): gourd

Yamanaka Shnen (-1819): camellia

Uragami Shunkin (1779-1846): landscape

Nakayama Kin (1765-1849): cicada

Kawamura Bump (17..-1821)

Nishimura Nantei (1775-1834)

Oka Bummei (17.. -1813)

Yoshimura Kkei (1769-1836)

Nishitani Kisui (1826-1891): Juraku, fun forever

Takegawa Yk (1835-1913): Bat

Kawabe Kakyo (dates unknown): Mouse

Mori Kansai (1814-1894): Daikon

Keigaku ?: Pine sprout

Yamamoto Shunkyo (1871-1933): Adonis flower (Fukujus)

Umemura Keizan (1866-1934): Okame mask

Mochizuki Gyokusen (1834-1913): Crane

Kawabata Gyokusho (1842-1913): New Years decoration (Shimenawa)

Kokubu Buny (1823-1900): Small citrus (Kinkan)

Suzuki Mannen (1868-1893): Camellia

Morikawa Sbun (1847-1902): Tama

Kunii y (1868-1923): Rododendron

Nakajima Ysh (1837-1905): Tai

Mori Yzan (18..-1917): Daikon sprouts

Maekawa Bunrei (1837-1917): Shellfish (Hamaguri)

Shunko (dates unknown): Ripe rice stalk

Hara Zaisen (1849-1916): Mush room (Saru no koshitake)

Yamada Shkei (1866-...): Ise-ebi (lobster)

Hoshino Zensui (1833-1902): Daikoku's mallet

Takeuchi Seih (1864-1942): Tortoise

Miyake Gogy (1864-1919): Stone

Sseki (?): Adonis flower (Fukujus)

Nakajima Kah (1866-1939): Coins

 

Kano-ha (the Kano school)
The Kano school is one of the most famous schools of Japanese painting. It was founded by Kano Masanobu (1434-1530), a contemporary of Sesshu and student of Shubun. Some scholars write that though Masanobu mastered elements of Chinese painting and of Shubun's style, he was overall mediocre and lacked the originality and creativity of his teacher. Nevertheless, Masanobu became an official painter in the Shogun's court, and it was this lofty position which granted the Kano school influence and fame. The artists who followed him improved upon his style and methods, and within a generation the school flourished.
The school's works are the paragons of Momoyama period art, and while most schools specialize in one style, medium, or form, the Kano school excels at two. Kano painters often worked on a large scale, painting nature scenes of birds, plants, water, or other animals on sliding doors or screens, covering the background with gold leaf. Some of the most famous examples of these can be found at the Nijo Castle in Kyoto.
The school is equally renowned, however, for its monochrome ink-on-silk landscapes. Kano ink painters composed very flat pictures but they balanced impeccably detailed realistic depictions of animals and other subjects in the foreground with abstract, often entirely blank, clouds and other background elements. The use of negative space to indicate distance, and to imply mist, clouds, sky or sea is drawn from traditional Chinese modes and is used beautifully by the Kano artists. It is interesting, perhaps, to note the very bold brush strokes and thus bold images that are obtained in what is often a very subtle and soft medium. It is also interesting to note the contrast between these expertly painted monochrome ink paintings and the almost gaudy but no less beautiful gold-on-paper forms these artists created for walls and screens.

This page is copyright to Craig Coussins

Shijo-ha style Painting:
Shijo-ha was the one of biggest clique of Japanese paintings. At the end of Edo period, Shijo-ha got bigger clique in Kyoto having Matsumura Goshun as a leader. An exponent of Shijo-ha, there are Okamoto Toyohiko and Matsumura Keibun. Goshun was learning painting from Yosa Buson at first, after a while he tried to learn from Maruyama Okyo. Okyo denyed to have Goshun as his pupil but as his best friend. Which made Goshun painting an original. Because Okamoto Toyohiko and Matsumura Keibun lived around Shijo in Kyoto, the clique was started to called Shijo-ha. Shiokawa Bunrin was a pupil of Okamoto Toyohiko and he was very talented enough to succeed Shijo-ha. After the Meiji Restoration, Bunrin took Western way of painting into Shijo-ha, which changed Shijo-ha painting a lot and Kono Bairei succeeded that way from Bunrin. Kono Bairei was an excellent pupil of Bunrin and he succeeded Shijo-ha. Bairei was a good painter but it was not good enough to say talented but Bairei was distinguished for education. He chosen his life to teach how to paint to Shijo-ha students, than paint on his own. His way of education was teach the basics at first and let the students do whatever they want after learning the basics.
The painters known as of Shijo-ha include  below.

  • Maruyama Goshun
  • Maruyama Ōkyo
  • Mori Sosen
  • Kikuchi Yōsai
  • Ohara Shoson (Koson)
  • Shibata Zeshin
  • Takeuchi Suou,
  • Uemura Shoen,
  • Nishiyama Suisho,
  • Nishimura Goun,
  • Tsuchida Baisen, etc

Rear of Fan painting

Yamato-e/senmenga/ fan 14th century

Yamato-e

Yamato-e (大和絵 [jamatoꜜe]) is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style.
From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.
The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e 名所絵), and the four seasons (shiki-e 四季絵).
The pictures are non-symbolic and have the objective of depicting the beauty in nature.
The pictures are often on scrolls that can be hung on a wall (掛け物, kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanied story or on a folding screen (byoubu, 屏風) or panel (shouji, 障子).
Although they received their name from the Yamato period (大和), Yamato-e pictures rather stand for a style and are not restricted to a particular period.
Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e had a great influence on the Rimpa (琳派) and ukiyo-e (浮世絵) styles, as well as the Nihonga (日本画).

 


Asai Chu (1856-1923)
Bairei, Kono (1848-1895)
Bartlett, Charles (1860-1940)
Buncho, Ippitsusai (active ca. 1765-92)
Eisen, Keisai (1790-1848)
Eisen, Tomioka (1864-1905)
Eiri, Chokyosai (active ca. 1790-1800)
Korin, Furuya (1875-1910)
Gakutei, Yashima (1786?-1868)
Gekko, Ogata (1859-1920)
Gosei, Hotei (active ca. 1804-44)
Gyokusho, Kawabata (1842-1913)
Hanko, Kajita (1870-1917)
Hakuho, Hirano (1879-1957)
Hanzan, Matsukawa (1818-1882)
Harunobu, Suzuki (1725-1770)
Hashiguchi, Goyo (1880-1921)
Hattori (active ca. middle 20th century)
Hirosada, Utagawa (active ca. 1847-1863)
Hiroshi, Yoshida (1876-1950)
Hiroshige, Utagawa (1797-1858)
Hiroshige II, Suzuki (1828-1869)
Hokkei, Totoya (1780-1850)
Hokusai, Katsushika (1760-1849)
Hyakusui, Hirafuku (1877-1933)
Isai, Katsushika (1821-1880)
Issui, Ogino (active ca. 1900-10)
Kanei, Nishiyama (1834-1897)
Kasamatsu Shiro (1881-1991)
Keigaku, Harada (active ca. 1850-60)
Kiyokata, Kaburagi (1878-1973)
Kiyoshi, Kobayakawa (1896-1948)
Koin, Nagayama (1765-1849)
Konan, Tanigami (1879-1928)
Konobu, Hasegawa (1848-1940)
Koryusai, Isoda (active ca. 1764-1788)
Koson, Ohara (1877-1945)
Kunichika, Toyohara (1835-1900)
Kunikazu (active ca. 1856-58)
Kunimori, Utagawa (active ca. 1818-1843)
Kunimori II, Utagawa (active ca. 1848-1860)
Kunisada, Utagawa (1786-1865)
Kuniyoshi, Utagawa (1797-1861)
Masanobu, Kitao (1761-1816)
 
Ashiyuki (active ca. 1813-33)
Biho (active ca. 1900s')
Bisu, Yamaguchi (active ca. 1850)
Bumpo, Kawamura (1779-1821)
Chikanobu, Toyohara (1838-1912)
Chosui, Yabu (acive ca. 1830-1864)
Eiho, Hirezaki (1881-1968)
Eishi, Hosoda (1756-1829)
Eisho, Chokosai (active ca. 1790)
Eizan, Kikugawa (1787-1867)
Gesso, Yoshimoto (1881-1936)
Hakutei, Ishii (1882-1958)
Hasui, Kawase (1883-1957)
Hiromitsu, Nakazawa (1874-1964)
Hiroshige III, Utagawa (1842-1894)
Hirotaka, Hishikawa (first half 19th century)
Hodo, Nishimura (active ca. 1930)
Hoitsu, Sakai (1761-1828)
Hokuei, Shunkosai (active ca. 1829-1837)
Hokui, Hokusanjin (active ca. 1830-40)
Hokushu, Shunkosai (active ca. 1802-1832)
Hyde, Helen (1868-1919)
Ikuharu, Watanabe (1895-1975)
Jakucho, Ito (1716-1800)
Josen, Hamada (1875-?)
Kasen, Ohira (1900-1983)
Katei, Muto (1910-?)
Kazan, Ishikawa (active early 19th century)
Kazunobu (active ca. 1848-1864)
Keika, Hasegawa (active late 19th century)
Keinen, Imao (1845-1924)
Keishu, Takeuchi (1861-1948)
Kiyochika, Kobayashi (1847-1915)
Kiyonaga, Torii (1752-1815)
Kogyo, Terazaki (1866-1919)
Kokyo (active ca. 1904)
Koitsu, Tsuchiya (1870-1949)
Korin, Ogata (1658-1716)
Koshiro, Onchi (1891-1955)
Kunihisa, Utagawa (1832-1891)
Kunimaro, Utagawa (active 1850-75)
Kunisato, Utagawa (?-1858)
Kuniteru, Utagawa (active late Meji period)
Kunitora, Utagawa (early 19th century)
Kuniyasu, Utagawa (1797-1832)
Kyosai, Kawanabe (1831-1889)
Matora, Oishi (1794-1833)
Nihofu, Mizushima (1884-1958)
Nisaburo, Ito (1910-1988)
Sadahide, Utagawa (1807-1873)
Sadahiro, Utagawa (active ca. 1825-75)

This page is copyright to Craig Coussins

Other Artists who are also associated with Woodblock prints

( A to Z )

Kyogado ASHIKUNI ( Fl. c. 1807 1818 )
Gigado ASHIYUKI ( Fl. c. 1814 1833 )



Ki BAITEI ( 1734 1810 )
Takizawa BAKIN ( 1767 1848 )
Ono BAKUFU ( 1888 1976 )
Georges BIGOT ( 1860 1927 )
Kawamura BUMPO ( 1779 1821 )
Ippitsusai BUNCHO ( Fl. c. 1765 1792 )



Toyohara CHIKANOBU ( 1838 1912 )
Kishi CHIKUDO ( 1826 1897 )
Tsubaki CHINZAN ( 1801 1854 )
Eishosai CHOKI ( Fl. c. 1756 1808 ). See also SHIKO



Rekisentei EIRI ( Fl. c. 1790 1800 )
Keisai EISEN ( 1790 1848 )
Hosoda EISHI ( 1756 1829 )
Hosoda EISHO ( Fl. c. 1780 1800 )
Ichirakutei EISUI ( Fl. c. 1790 1823 )
Kikugawa EIZAN ( 1787 1867 )


Hirano HAKUHO ( 1879 1957 )


Elizabeth KEITH ( 1887 1956 )
Imao KEINEN ( 1845 1924 )

Yashima GAKUTEI ( 1786 1868 )
Ogata GEKKO ( 1859 1920 )
Adachi GINKO ( Fl. c. 1847 1897 )
Matsumura GOSHUN ( 1752 1811 )
GYOSAI. See Kawanabe KYOSAI


Hirano HAKUHO ( 1879 1957 )
Suzuki HARUNOBU ( 1724 1770 )
Kawase HASUI ( 1883 1957 )
Kitagawa HIDEMARO ( Fl. c. early 19th century )
Kinoshita HIRONOBU ( Fl. c. 1851 1870 )
Gosotei HIROSADA ( Fl. c. 1847 1863 )
Ichiryusai HIROSHIGE ( 1797 1858 )
Ichiryusai HIROSHIGE II ( 1826 1869 )
Ando HIROSHIGE III ( 1843 1894 )
Nakamura HOCHU ( Fl. c. late 18th to early 19th century )
Sakai HOITSU ( 1761 1828 )
Totoya HOKKEI ( 1780 1850 )
Teisai HOKUBA ( 1771 1844 )
Shunkosai HOKUEI (Active 1824-1837)
Katsushika HOKUGA ( Fl. c. 1830 )
Shotei HOKUJU ( Fl. c. 1789 1818 )
Katsushika HOKUSAI ( 1760 1849 ). Also used numerous other names such as: SORI, SHUNRO, SHINSAI
Shokosai HOKUSHU ( Fl. c. 1808 1832 )


KEISAI. See Kitao MASAYOSHI
Suzuki KIITSU ( 1796 1858 )
Kitagawa KIKUMARO ( Fl. c. ? 1830 ). See TSUKIMARO
Kobayashi KIYOCHIKA ( 1847 1915 )
Torii KIYOHIRO ( Fl. c. 1737 1771 )
Torii KIYOMASA ( Fl. c. 1700 1722 )
KIYOMINE. See Torii KIYOMITSU II
Torii KIYOMITSU ( 1735 1785 )
Torii KIYOMITSU II ( 1787 1868 ). See KIYOMINE
Torii KIYONAGA ( 1752 1815 )
Torii KIYONOBU ( 1664 1729 )
Torii KIYONOBU II ( 1706 1763 )
Torii KIYOTSUNE ( Fl. c. 1757 1779 )
Isoda KORYUSAI ( Fl. c. 1767 1788 )
Ohara KOSON ( 1877 1945 ). See SHOSON
Torii KOTONDO ( 1900 1976 )
Toyohara KUNICHIKA ( 1835 1900 )
Utagawa KUNIHIRO ( Fl. c. 1815 1843 )
Ichiunsai KUNIHISA ( 1832 1891 )
Utagawa KUNINAO ( 1793 1854 )
Utagawa KUNISADA ( 1786 1865 )
Utagawa KUNISADA II ( 1823 1880 )
Utagawa KUNISATO ( ? 1858 )
Utagawa KUNITERU ( 1808 1876 )
KUNITERU. See Utagawa SADASHIGE
Utagawa KUNITERU II ( 1829 1874 )
Utagawa KUNIYASU ( 1794 1832 )
Ichiyusai KUNIYOSHI ( 1797 1861 )
Santo KYODEN. See Kitao MASANOBU
Kawanabe KYOSAI ( 1831 1889 ). See GYOSAI


Okumura MASANOBU ( 1686 1764 )
KitaoMASANOBU ( 1761 1816 ). See Santo KYODEN
Kitao MASAYOSHI ( 1764 1824 ). See KEISAI
Oishi MATORA ( 1794 1833 )
Hishikawa MORONOBU ( Fl. c. 1618 1694 )


Nishimura NANTEI ( 1775 1834 )
Utagawa NOBUKATSU ( Fl. c. 1830 1844 )
Watanabe NOBUKAZU ( Fl. c. late 19th century )


Hishikawa RYUKOKU ( Fl. c. 1808 1816 )
Jokei RYUKOSAI ( Fl. 1772 1816 )


Gokitei SADAFUSA ( Fl. c. 1825 1850 )
Hasegawa SADAHARU ( Fl. c. 1830 1844 )
Gokotei SADAKAGE ( Fl. c. 1818 1844 )
Utagawa SADAHIDE ( 1807 1873 )
Hasegawa SADANOBU ( 1809 1879 )
Utagawa SADASHIGE ( Fl. c. mid 19th century ). See KUNITERU
Gofutei SADATORA ( Fl. c. 1825 )
Yamaguchi SHIGEHARU ( 1803 1853 )
Kitao SHIGEMASA ( 1739 1820 )
Nishimura SHIGENAGA ( 1697 ? 1756 )
Nishimura SHIGENOBU ( Fl. c. 1724 1735 )
SHIKO. See Eishosai CHOKI
Ryuryukyo SHINSAI ( 1764 1820 )
Ito SHINSUI ( 1898 1972 )
Kojima SHOGETSU ( Fl. c. 1880 1890 )
SHOSON. See Ohara KOSON
Takahashi SHOTEI ( 1871 1945 )
Yamamoto SHOUN ( 1870 1965 )
Yamakawa SHUHO ( 1898 1944 )
Katsukawa SHUNCHO ( Fl. c. 1780 1795 )
Takehara SHUNCHOSAI ( Fl. c. 1772 1801 )
Katsukawa SHUNEI ( 1762 1819 )
Katsukawa SHUNKO ( 1743 1812 )
Hishikawa SHUNKYO ( Fl. c. early 19th century )


Kubo SHUNMAN ( 1757 1820 )
Katsukawa SHUNSEN ( Fl. c. 1762 1830 )
Natori SHUNSEN ( 1886 1960 )
Gatoken SHUNSHI ( Fl. c. 1820 1828 )
Katsukawa SHUNSHO ( 1726 1792 )
Katsukawa SHUNTEI ( 1770 1820 )
Katsukawa SHUNZAN ( Fl. c. 1782 1798 )
Yamaguchi SOKEN ( 1759 1834 )


Ikeno TAIGA ( 1723 1776 )
Katsukawa TERUSHIGE ( Fl. c. 1715 1725 )
Mori TETSUZAN (1775-1841)
Migita TOSHIHIDE ( 1863 1925 )
Mizuno TOSHIKATA ( 1866 1908 )
Okumura TOSHINOBU ( Fl. c. 1717 1750 )
Utagawa TOYOHARU ( 1735 1814 )
Utagawa TOYOHIRO ( 1773 1828 )
Utagawa TOYOKUNI ( 1769 1825 )
Utagawa TOYOKUNI II ( 1777 1835 ). See TOYOSHIGE
Yamamura TOYONARI ( 1885 1942 )
Ishikawa TOYONOBU ( 1711 1785 )
TOYOSHIGE. See Utagawa TOYOKUNI II
TSUKIMARO. See Kitagawa KIKUMARO
Kitano TSUNETOMI ( 1880 1947 )


Toyokawa UMEKUNI ( Fl. c. 1816 1826 )
Kitagawa UTAMARO ( 1753 1806 )
Kitagawa UTAMARO II ( ? 1831 )


Inoue YASUJI ( 1864 1889 )
Hiroshi YOSHIDA ( 1876 1950 )
Ipposai YOSHIFUJI ( 1828 1887 )
Utagawa YOSHIIKU ( 1833 1904 )
Utagawa YOSHIKATA ( Fl. c. 1841 1864 )
Utagawa YOSHIKAZU ( Fl. c. 1850 1870 )
Toyokawa YOSHIKUNI ( Fl. c. 1803 1840 )
Utagawa YOSHIMUNE ( 1817 1880 )
Ichiyosai YOSHITAKI ( 1841 1899 )
Utagawa YOSHITORA ( Fl. c. 1850 1880 )
Taiso YOSHITOSHI ( 1839 1892 )
Utagawa YOSHITSURU ( Fl. c. 1840 1850 )
Ichieisai YOSHITSUYA ( 1822 1866 )
Mori YOSHIYUKI ( 1835 1879 )


Shibata ZESHIN ( 1807 1891 )

 

 

 

This page is copyright to Craig Coussins

 

 

 


Akamatsu Unrei (1892-1958

Bizan 1930

Edo period, 1800-1868. By artist Houkyou Kyosei Hidenobu

Ganku (1749 or 1756 - 1839), or more formally Kishi Ganku

Imao Keinen(1845-1924)

Mochino Kokei (1845

Mori Kansai (1814-1894

Doi Kinkoku

Mori Sosen (1747-1821

Omata Bokutei 1879-1951

TANOMURA CHOKUNYU (1814~1907

Watanabe Seitei - Shotei (1851-1918


Watanabe Shoka (1835-1887)

Yukimatsu Shunpo 1897-1962

KANO TSUNENOBU(1636-1713

Kano BaiunTamenobu 1657-1715

Kano Ryuhaku Sadanobu 1665-1722