Guide til elevkunst
Ophavsret Dette værk er i det offentlige domæne. Kano Motonobu døde i 1559; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 1629.
I kontekst
Landscape — Kano Motonobu
Originalen måler 59 × 108 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.
Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 83 ved død.
Skyggelagt: Kano Motonobu' livstid (1476–1559) ▲ dette værk, 501 hvert dateret maleri, årti for årti
Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.
Se flere lignende værker her: wikioo.org/da/art/similar/kano-motonobu-landscape-D32CGP-en/
Målt ud fra billedet
Primær farve
Putty #debca9
Katalogiseret palet
Disse farver i kunstnerens samlede palet Find andre malerier efter farve
De ti førende lande
Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.
Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 9 værker af denne kunstner, hvoraf 1 er blevet set mindst én gang. Dette maleri er endnu ikke blevet vist i denne periode — det afslutter listen uden en rangering. Det samme gælder måned for måned
Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.
Om dette kunstværk
Landscape — Kano Motonobu
This mist-shrouded pine grove where temple rooflines are faintly visible is a set motif that signals one scene, Evening Bell from the Distant Temple, from a classic series of landscape vignettes, Eight Views of the Xiao and Xiang Rivers, that developed among Chinese literati-artists in the eleventh century. It came to hold seminal importance in Japanese ink painting by the mid-fifteenth century, when no less than four versions of the subject were included among the Chinese paintings treasured by the Ashikaga shoguns. The impressionistic depiction in pale ink wash associates this depiction with the work of Muqi, a Chinese monk-painter active at the end of the thirteenth century in temples around the Southern Song capital at Hangzhou in southeast China. This poetic rendition of that landscape may have originally been part of a large composition that created an interior space on a sliding door panel or a folding screen. Its horizontal composition, however, recalls the original handscroll format of Muqi"s work.
Kunstner og museum
The world of Japanese art owes an immense debt to Kanō Motonobu (1476-1559), a figure whose influence reverberates through centuries of painting. More than simply a painter, Motonobu was the architect of the Kanō School, a dynasty that shaped the very definition of Japanese aesthetics and profoundly impacted the course of art history. His life unfolded during a turbulent period – the late Muromachi and early Azuchi-Momoyama eras – marked by political upheaval, warring states, and shifting cultural currents. Yet, within this chaos, Motonobu’s artistic vision flourished, establishing a system that would dominate Japanese painting for over three hundred years.
Born into a family deeply intertwined with the imperial court and the powerful Ashikaga shogunate, Motonobu's lineage traced back to Kanō Kagenobu, a warrior-artist who had gained favor by painting a landscape of Mount Fuji for Shogun Ashikaga Yoshinori in 1432. This connection provided a crucial foundation for the school’s early success. His father, Kanō Masanobu (1434–1530), is widely considered the founder of the Kanō School, establishing it as a professional atelier in Kyoto and adopting the Chinese painting style favored by the Ashikaga shogunate. Masanobu's influence was particularly significant; he skillfully blended the refined brushwork and monochromatic palette of Chinese ink paintings with the emerging Japanese aesthetic sensibilities.
Motonobu’s genius lay in his ability to synthesize these disparate influences. Unlike earlier artists who simply copied Chinese styles, Motonobu didn't merely replicate; he adapted and transformed them into something uniquely Japanese. He inherited his father’s foundation of Chinese-style painting but skillfully integrated elements of Yamato-e, the native Japanese style characterized by a focus on nature, human figures, and vibrant colors. This fusion resulted in a distinctive visual language—bold brushstrokes, dramatic contrasts between light and shadow, and a masterful use of color that was both refined and expressive.
Crucially, Motonobu’s artistic development was shaped by his marriage to Tosa Mitsunobu's daughter, a union that brought him into contact with the Tosa School, renowned for its depictions of native Japanese subjects. This exchange broadened his repertoire and provided him with new techniques and perspectives. He wasn’t simply a follower; he actively absorbed and reinterpreted these influences, creating a synthesis that was both innovative and deeply rooted in tradition.
Motonobu’s influence extended far beyond his own artistic output. He wasn’t just a painter; he was a shrewd administrator and organizer, transforming the Kanō School into a highly structured and influential institution. He established a system of apprenticeships, meticulously documented techniques in kōrō (sketchbooks), and oversaw the production of countless works for wealthy patrons – including the Ashikaga shogunate, the imperial court, Kyoto merchant class, and major shrines and temples.
His workshop, typically comprising around ten individuals—including himself, his three sons Shōei, Yusetsu, and Joshin, his younger brother Yukinobu, and various assistants—operated as a sophisticated production center. The hierarchy within the studio was carefully defined: Motonobu oversaw the overall design and direction, while his sons and apprentices specialized in different tasks – grinding pigments, preparing paper, executing backgrounds, and adding details. This collaborative approach ensured both quality control and efficient production, allowing the school to meet the demands of its diverse clientele.
Among Motonobu’s most celebrated works are the “49 Landscapes with Flowers and Birds” (Shiki-sansui-zu) executed for the houjou (abbot's chamber) of the former Daisen-in monastery in Kyoto. These monumental hanging scrolls, now housed at the Philadelphia Museum of Art, exemplify his mastery of composition, color, and brushwork. They represent a pivotal moment in the development of the Kanō School’s style, foreshadowing the grand decorative panels that would characterize later generations.
Motonobu's legacy extends far beyond these individual masterpieces. He established a system of training that produced countless skilled artists who carried on the school’s traditions for over three centuries. The Kanō School’s influence permeated Japanese art, shaping not only painting but also calligraphy, ceramics, and lacquerware. Kanō Motonobu's contributions are therefore indispensable to understanding the evolution of Japanese aesthetics and the enduring power of his artistic vision.
wikioo.org/da/art/download/kano-motonobu-landscape-D32CGP-en/
Se nærmere efter
Landscape — Kano Motonobu
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Farverne i "Landscape" af Kano Motonobu fremviser en Subtle Color mætning med en Balanced intensitet.
For at se en forhåndsvisning af en reproduktion af "Landscape" af Kano Motonobu, skal du åbne værkets Forhåndsvisning-side.
"Landscape" af Kano Motonobu er en Panoramic komposition med de originale mål på 59.4cm x 108.0cm.