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kanga 漢画 | ||||||
KEY WORD : art history / paintings | ||||||
Lit.
Chinese painting. Several painting styles which developed in Japan after
the mid-13c under the influence of Chinese (Ch: Han, Jp: Kan 漢) painting,
especially ink-painting *suibokuga
水墨画 techniques of the Song and Yuan dynasties (see *sougenga
宋元画). However, in the broadest usage of the term kanga also refers
to works influenced by the paintings of the Ming (Jp:Min 明) and Qing (Jp:Shin 清)
dynasties. The term kanga was coined in the Edo period to refer to
the painting style developed and practiced mainly by Kanou school *Kanouha
狩野派 artists beginning in the early 16c which was thought of as Chinese in
style. Kanga was used in contrast to the term *yamato-e
やまと絵 which had come to designate the highly-colored-and-detailed style of
painting produced by the *Tosaha
土佐派 and *Sumiyoshiha
住吉派. Yamato-e was itself originally based on highly-colored painting
from Tang (Jp: Tou 唐) dynasty China that was gradually Japanized at the Heian
court in the 10-11c. During the Heian period, paintings in the same, essentially
yamato-e style, but using Chinese themes or subject matter, were
termed *kara-e 唐絵, as distinct
from paintings of native themes which were called yamato-e. But from
the mid-13c kara-e came to refer to paintings produced in Japan in
the newly introduced Chinese ink monochrome style based mostly on the Southern
Song models (see *intaiga
院体画). These "Chinese" ink-paintings include works by Shuubun 周文 (act mid-15c),
Sesshuu Touyou 雪舟等楊 (1420-1506), and their followers. In the late 15c or early 16c,
when artists such as Kanou Motonobu 狩野元信 (1476-1559) synthesized the yamato-e
use of bright solid pigments with the ink outlines and modeling based in
kara-e, the need for new terminology arose. Sinophile, neo-Confucist
thought of the day called this Kanou painting "Chinese" or kanga.
This kanga style was developed and perfected to decorate the large-scale
screens and panels of the warrior's castles and mansions by Motonobu's grandson,
Eitoku 永徳 (1543-90), as well as painters of related schools including *Hasegawaha
長谷川派, *Kaihouha 海北派, and
*Unkokuha 雲谷派. These
artists often created Chinese landscapes, Neo-Confucian and Zen 禅 subjects
which included Chinese gentlemen and ladies. The Kanou school maintained
the style and Chinese-flavored repertoire and so remained the kanga
school, as distinct from the Tosa and Sumiyoshi schools which followed the
tradition of yamato-e. In the Edo period *nanga
南画, another Chinese trend in painting, influenced primarily by the Southern
Chinese literati style *nanshuuga
南宗画, was included in kanga, although in present usage it is generally
excluded. Today the term kanga is also applied to ink painting in
the Northern Chinese style *hokushuuga
北宗画 introduced by Oubaku 黄檗 sect monks which flourished in the city of Nagasaki
長崎 during the 17c through 19c. See *Oubakuga
黄檗画 and *Nagasakiha
長崎派. |
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(C)2001 Japanese Architecture and Art Net Users System. No reproduction or republication without written permission. 掲載のテキスト・写真・イラストなど、全てのコンテンツの無断複製・転載を禁じます。 |
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