The Kano have left an indelible mark on the art legacy of Japan. As court painters their work embodied the power of the Japanese shoguns through an impressive repertoire of magnificent imagery. The exhibition now on display at the Philadelphia Museum of Art includes a number of works that span the centuries-long legacy of the Kano, including sliding doors and folding screens and fans dating as far back as the Fifteenth century.
This exhibition offers visitors a chance to delve into Japanese art and culture as many of the works focus on not only court life, but daily agrarian life throughout Japan's long history. They provide a narrative that is rarely seen due to the sensitive nature of the pieces. Kano art is notorious for its delicacy. Many of the works are extremely sensitive to light, which make it incredible that they have survived in such a condition for so long. Naturally, photography is strictly forbidden and the pieces themselves are displayed on a three-week rotational basis. This is the first time many of the pieces have left Japan making this one of the must see exhibits of the season.
The exhibit loosely followed the narrative of the Kano lineage, but went thematically rather than chronologically, beginning with some of the most delicate and earlier works and ending with examples of the family's enduring legacy. What made these masters so powerful in my opinion was rather than maintain the lineage on a "pure-blood" basis, they would adopt the most promising pupil rather than appoint their own, when a sufficiently skilled heir should not appear.
These painters reveal the underlying nature of these works. They are symbols of power. Yes, they are beautiful, but they are also meant to overwhelm the visitor in the same manor the statues of Lamassu were meant to awe a visitor to a Sumerian palace. The representation of fierce animals such as tigers and leopards as shown above in this piece by arguably the greatest Kano painter of all, Kano Tan'yu. This tiger is not present for the majesty of the animal, but rather authority and power. In the full panel set the tiger is attacking a leopard. A formidable prey, but the overwhelming certainty of the image is in the eyes of the tiger as it is abundantly clear to the viewer that the tiger, catching the leopard unawares will succeed in its attack, such perhaps was the intention of not only the Kano Tan'yu, but the shogun for whom he was painting for.
However, the most remarkable fact comes from how deep the legacy runs of the Kano's work. Long after the shoguns lost imperial power, and the Kano ceased to have official court patronage, artists continued to study their work. The Kano produced massive books to log their work for future study, and a few of which are on display. Reproductions have been made so that visitors can view what sort of recurring themes came up in Kano art and design detail.
In the Twentieth century when Japan opened up to trading and foreigners a revival of the old school took place and its influence is still evident. Although the pieces aren't dripping in gold, the brush stroke and detail of the ink are similar. With influences of course from Western Art, this new school kept the same themes of power and ancient mythology to create vibrant works in their own right. What I find most enthralling in the piece above by Hashimoto Gahõ (1885). Bishamon is a Japanese Buddhist deity known as the chief of the four heavenly kings. This picture represents an earnest blend of Japanese traditions and myth with Western flair and style.
The exhibit certainly fits the once in a blue moon experience, and for me it was one of the most impressive exhibitions for its scale and due diligence to the material on display. The exhibtion is running until May 10th. If you can make one of the exhibition phases do, as the likelihood of seeing all these pieces in a room together again are next to nil.
For more details: Click Here
This exhibition offers visitors a chance to delve into Japanese art and culture as many of the works focus on not only court life, but daily agrarian life throughout Japan's long history. They provide a narrative that is rarely seen due to the sensitive nature of the pieces. Kano art is notorious for its delicacy. Many of the works are extremely sensitive to light, which make it incredible that they have survived in such a condition for so long. Naturally, photography is strictly forbidden and the pieces themselves are displayed on a three-week rotational basis. This is the first time many of the pieces have left Japan making this one of the must see exhibits of the season.
The exhibit loosely followed the narrative of the Kano lineage, but went thematically rather than chronologically, beginning with some of the most delicate and earlier works and ending with examples of the family's enduring legacy. What made these masters so powerful in my opinion was rather than maintain the lineage on a "pure-blood" basis, they would adopt the most promising pupil rather than appoint their own, when a sufficiently skilled heir should not appear.
Tigers in a Bamboo Grove, mid 1630s
Kano Tan'yu
Ink, color, and gold leaf on paper, detail of set of four-panel sliding doors;
each door 72 13/16 x 55 1/2 inches
Nanzen-ji, Kyoto. Important Cultural Property
Image: Courtesy of the Philadelphia Museum of Art
These painters reveal the underlying nature of these works. They are symbols of power. Yes, they are beautiful, but they are also meant to overwhelm the visitor in the same manor the statues of Lamassu were meant to awe a visitor to a Sumerian palace. The representation of fierce animals such as tigers and leopards as shown above in this piece by arguably the greatest Kano painter of all, Kano Tan'yu. This tiger is not present for the majesty of the animal, but rather authority and power. In the full panel set the tiger is attacking a leopard. A formidable prey, but the overwhelming certainty of the image is in the eyes of the tiger as it is abundantly clear to the viewer that the tiger, catching the leopard unawares will succeed in its attack, such perhaps was the intention of not only the Kano Tan'yu, but the shogun for whom he was painting for.
Bishamonten Pursuing an Oni (detail), 1885
Hashimoto Gahõ
Ink and color on paper, hanging scroll, 49 1/2 x 24 3/4 inches
Philadelphia Museum of Art
Image: Courtesy of Philadelphia Museum of Art
However, the most remarkable fact comes from how deep the legacy runs of the Kano's work. Long after the shoguns lost imperial power, and the Kano ceased to have official court patronage, artists continued to study their work. The Kano produced massive books to log their work for future study, and a few of which are on display. Reproductions have been made so that visitors can view what sort of recurring themes came up in Kano art and design detail.
In the Twentieth century when Japan opened up to trading and foreigners a revival of the old school took place and its influence is still evident. Although the pieces aren't dripping in gold, the brush stroke and detail of the ink are similar. With influences of course from Western Art, this new school kept the same themes of power and ancient mythology to create vibrant works in their own right. What I find most enthralling in the piece above by Hashimoto Gahõ (1885). Bishamon is a Japanese Buddhist deity known as the chief of the four heavenly kings. This picture represents an earnest blend of Japanese traditions and myth with Western flair and style.
The exhibit certainly fits the once in a blue moon experience, and for me it was one of the most impressive exhibitions for its scale and due diligence to the material on display. The exhibtion is running until May 10th. If you can make one of the exhibition phases do, as the likelihood of seeing all these pieces in a room together again are next to nil.
For more details: Click Here
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