@
HONCHOU GASHI@–{’©‰ζŽj
KEY WORD :@art history / paintings
@
History of Painting in Japan, a late 17c compendium of artists' biographies and the history of painting in Japan. Begun by Kanou Sansetsu Žλ–μŽRα (1589/90-1651), head of the second generation of the Kyoto branch of the Kanou school *Kyouganou ‹žŽλ–μ, his son Einou ‰i”[ (1631-97) supplemented the work with the help of Kurokawa Douyuu •μ“Ή—S (d.1691). Although bearing a preface by Hayashi Gahou —ΡκA•υ (dated 1678), it was originally published in 1691 as HONCHOU GADEN –{’©‰ζ“`. It is the first complete history of Japanese painting. The first volume presents an overview of the early painting tradition. The second to fifth volumes contain biographies of more than 400 painters: Volume 2 includes 147 biographies of Nara and Heian periods artists; Volume 3 has biographies of 100 Kamakura and Muromachi artists; Volume 4 includes biographies of the *Kanouha Žλ–μ”h and *Hasegawaha ’·’Jμ”h artists as well as a section on themes and techniques associated with them; and Volume 5 includes biographies of miscellaneous artists as well as a final section on tools and pigments. In 1691, Einou added a final volume, HONCHOU GAIN –{’©‰ζˆσ (Painter Seals of Japan), which reproduces signatures and seals, and then retitled the whole work HONCHOU GASHI when reissuing it in 1693. As a work by Kanou artists, HONCHOU GASHI understandably emphasizes the role of Kanou painters. Moreover, even within the Kanou school some branches are given great attention and particular artists are praised, while others are largely ignored or criticized based on competitive biases within the school. Although an extremely valuable source of information, HONCHOU GASHI remains a highly subjective reflection of the particular values of Sansetsu and Einou. A supplement, ZOKU-HONCHOU GASHI ‘±–{’©‰ζŽj (Continued History of Painting in Japan), by the Edo connoisseur Hiyama Tansai •OŽR’RΔ (1774-1842) was published in 1819. It has biographies of 483 painters beginning with 7c Buddhist artists and ending with Einou. HONCHOU GASHI is reprinted in Sakazaki Tan βθ’R, ed., NIHON GARON TAIKAN “ϊ–{‰ζ˜_‘εŠΟ 2: pp.953-1054, 1385-1443.
@
@

@
REFERENCES:
@
EXTERNAL LINKS: 
@@
NOTES
@

(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission.
ŒfΪ‚ΜƒeƒLƒXƒgEŽΚ^EƒCƒ‰ƒXƒg‚ȂǁA‘S‚Δ‚ΜƒRƒ“ƒeƒ“ƒc‚Μ–³’f•‘»E“]Ϊ‚π‹Φ‚Ά‚ά‚·B
@