The Role of Funpon in the Painting Production of the Edo Kano School
Index
1, Introduction 3
2, The origin of the term 5
3, Funpon for learning 7
3,1 The learning curriculum in the Kobikichō Kano workshop 7
3,2 Shitsu-ga and Gaku-ga 8
4, Funpon for painting production 13
4,1 The succession of motifs and styles 14
4,2 The succession of motifs and styles on the commission of large scale 16
4,2,1 The nature of funpon produced at the reconstruction of Edo castle 16
4,2,2 The visual customary at the shōgunal edifice 18
4,2,3 The images as symbol 21
5, The accumulation of funpon 23
5,1 Osanobu’s effort 24
5,2 Kobikichō’s collection policy 26
6, Conclusion 28
1, Introduction
It is impossible to find more vigorous painting school in the history of Japanese art other than the Kano school which has dominated the art scene for four hundred years from the middle of the Muromachi period to the end of the Edo period. Kano painters have extended their predominance, serving the most influential rulers of the times as official painter, Goyō eshi. Motonobu, Eitoku, Sanraku and Tanyū have been main figures who produced works that represent the Kano school. Although the school has kept their long lasting prestigious position, the Kano painters have changed their style in accordance with the preference of their patrons. The Kano school saw the culmination of the institutional flourisher in the Edo period. In the second half of seventeenth century,
1, Introduction 3
2, The origin of the term 5
3, Funpon for learning 7
3,1 The learning curriculum in the Kobikichō Kano workshop 7
3,2 Shitsu-ga and Gaku-ga 8
4, Funpon for painting production 13
4,1 The succession of motifs and styles 14
4,2 The succession of motifs and styles on the commission of large scale 16
4,2,1 The nature of funpon produced at the reconstruction of Edo castle 16
4,2,2 The visual customary at the shōgunal edifice 18
4,2,3 The images as symbol 21
5, The accumulation of funpon 23
5,1 Osanobu’s effort 24
5,2 Kobikichō’s collection policy 26
6, Conclusion 28
1, Introduction
It is impossible to find more vigorous painting school in the history of Japanese art other than the Kano school which has dominated the art scene for four hundred years from the middle of the Muromachi period to the end of the Edo period. Kano painters have extended their predominance, serving the most influential rulers of the times as official painter, Goyō eshi. Motonobu, Eitoku, Sanraku and Tanyū have been main figures who produced works that represent the Kano school. Although the school has kept their long lasting prestigious position, the Kano painters have changed their style in accordance with the preference of their patrons. The Kano school saw the culmination of the institutional flourisher in the Edo period. In the second half of seventeenth century,
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