Page 104 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868
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                   sash). According to the history of the  42  Kano  Tan'yü                his face is deeply wrinkled. The  sharp
                   Kaihó family written in Yüchiku's time,  Momota  Ryüei  (1647-1698)     eyes, prominent hooked  nose, tightly
                   this kosode and  uchikake were gifts  from  hanging scroll; ink and color on paper  closed lips, and square jaw nevertheless
                   lemitsu (1604-1651), the third Tokugawa  66.4 x 47.9 (26*78 x 187/3)    convey the strength of the aging artist,
                   shogun, whom Myótei and Yüsetsu met   Edo period, late i7th century     who was to painting what Tokugawa
                   after Yüshó's death. The  meeting was ar-                               leyasu was to politics.
                   ranged by lemitsu's wetnurse Kasuga no  Kyoto National  Museum             Although there is no seal on  the
                   Tsubone, the youngest daughter of Saitô  Important Cultural Property    painting, an inscription, Painted by Ryüei,
                   Toshimitsu, a military leader and  close  The painter Kano Tan'yü (1602-1674), the  identifying the  artist, is written on top of
                   friend  of Yüshó. In this painting, Myótei is  eldest son of Takanobu (cat. 18), not only  the lid of the box that contains  the  scroll.
                   portrayed with her back to the  viewer, giv-  cemented  the prestigious reputation of  Momota  Ryüei was one  of four close disci-
                   ing prominence to the  kosode and the  the  Kano school of painting, but  also es-  ples of Tan'yü. He served the  Shimazu
                   uchikake decorated with the Tokugawa  tablished the  official  painting style of the  family of Satsuma  Province  (part of
                   mon of three hollyhock leaves, thus re-  Edo period. This work is thought  to be a  present-day Kagoshima Prefecture) as a
                   cording for posterity the honor  bestowed  preparatory sketch for a finished painting,  painter, and  also practiced  medicine.  AY
                   on  the  Kaihô family.          SY  now lost, which was in the  Kajibashi Kano
                                                       family of Edo, founded by Tan'yü and  one
                                                       of the  four Kano families that served the
                                                       shogunate.
                                                          With concentrated  gaze, Tan'yü holds
                                                       a paintbrush in his right hand. He was
                                                       probably in his last years when this por-
                                                       trait was painted; he has lost much  of his
                                                       hair, he is flabby around the mouth, and



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