Page 189 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

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been attributed to Unkoku Tôgan (1547- Art historical sources compiled in the 109 Scenes from the Tale of the Heike
1618), a third-generation follower of Sesshü seventeenth century and later also note attributed to Yano Saburôhyôbei
Tôyô (1420-1506). Stylistic features associ- that before Tôgan inherited Sesshü's artis- Yoshishige
ated with Tôgan are the manner of depict- tic tradition, he had studied painting un- (fi. 1632-1653)
ing the jagged rock outcroppings, the der Kano Shôei (1519-1592), or his more pair of six-fold screens; ink, color, and
linear textures of the rocky terrains occu- famous son Eitoku (1543-1590). This con- gold leaf on paper
pying the landscape setting in the left nection is supported by stylistic evidence each 174.7 375-° (683/ 4 x 1473/5)
x
screen, and the faces of the people de- found in some of Togan's works. Shôei Edo period, first half ryth century
picted in both screens (cat. 119). and Eitoku, and the painters who worked
What is known of Togan's life comes in their studios, were the pioneers of the Eisei Bunko, Tokyo
from fragmentary contemporary writings colorful Momoyama style of painting. Important Art Object
by the artist himself and from later but Elsewhere Tôgan is recorded as a practi-
more complete accounts compiled by his tioner of tea and a participant in renga The conflicts between the two warrior
families of the late twelfth century,
the
descendants. One reliable biography says (linked verse) gatherings. In 1611, Tôgan Minamoto (Genji) and Taira (Heike), were
that Unkoku Tôgan, whose earlier name was given the rank of hokkyd (Bridge of shaped into a major epic battle narrative,
was Hará Chibei, was born in 1547 as the the Law), the lowest of the three honorific
second son of a warrior, one Hará Naoie, a ranks (the others are hdgen or Eye of the the Tale of the Heike, during the early thir-
Tale's themes of rise
teenth century. The
retainer of a minor daimyo of Nokomi Law, and hôin or Seal of the Law) given and fall of the mighty, of duty and compas-
Castle in the northern Kyushu province of by the Imperial court to clerics and gifted
Hizen. After his father's death in 1584 in artists. sion, of the sublime and the earthly, are
cast in an essentially Buddhist view that
the Battle of Arima, the artist became a re- This pair of screens can be said to the affairs of this world are transient and
tainer of the powerful daimyo Mori Teru- show both of Togan's styles: the spring volatile. Thus the Tale has inspired poetry,
moto (1553-1625), with an annual stipend of screen displays the buoyant, colorful mode No librettos, and paintings throughout the
200 koku. In 1593, the artist copied the typical of the Momoyama-period genre medieval period and well into the Edo
Landscape of the Four Seasons, a long style related to the Kano tradition, and the period.
handscroll by Sesshü and a treasure of the winter screen shows Togan's conservative
Two episodes from
Tale are shown
the
Mori family. The same source says that and archaistic mode reflecting Togan's here. The right screen depicts the Battle
Terumoto was so impressed by the copy debt to the Sesshü tradition. YS of Uji, south of Kyoto (site of the famous
that the artist was allowed to use as his ar- Buddhist temple of Byôdôin), on the twen-
tistic name Unkoku, after the name of Ses- tieth day of the first lunary month of 1184.
shü's studio, and to adopt the character to At the Battle of Uji the Genji troops,
of Tôyô as his own, and also that on this 60,000 strong and led by Minamoto Yori-
occasion Tôgan took the tonsure. A colo- tomo, surprised the army of his own
phon brushed by Tôgan at the time the cousin Yoshinaka. Yoshinaka's victorious
copy was made, and which accompanies campaigns against the Heike had aroused
the original by Sesshü, says that Terumoto Yoritomo's suspicion, and hence the at-
gave the scroll to the artist in token of To- tack. Yoshinaka's garrisons removed
gan's succeeding to Sesshü's artistic tradi- bridges and positioned themselves on the
tion and that the artist was also given northern shore of the Uji River, which the
Sesshü's studio, Unkokuken.
Genji army hesitated to cross. Then, from
a corner of Byôdôin, two high-ranking war-

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