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3. Kanô Tan’yû (1602-1674)
Kanô
Broken ink landscape
Signed: Tan'yûsai hitsu
Seals: Morinobu
Technique: ink on paper 94 x 33,9
Mounting: dark blue damask and brown silk
ivory rollers, 177 x 46,6
Box: double box authorised by Ôkura Kyûsui (1763-1825), in the autumn of 1797 and again in the winter of 1817
Condition: some light damage of silverfish, otherwise very good

Kanô Tan'yû was the foremost artist of his day. He was the eldest son of Kanô Takanobu (1571-1618) and the grandson of the extraordinarily talented Kanô Eitoku (1543-1590) who had worked for Nobunaga and Hideyoshi as goyô eshi, master painter employed by the court. He studied under Kanô Kôi (c.1569-1636). In 1614 moved from Kyoto to Edo and in 1617 only sixteen years old was appointed goyô eshi, painter in the service of the Shogun. By the time he was twenty years old he was awarded with a mansion which he turned into a workshop where he employed some twenty painters and a large number of assistants. In 1636 he became a priest on the shogun's orders and he changed his name from Morinobu to Tan'yû. In 1638 he received the rank of hôgen and in 1662 that of hôin. The Imperial household awarded Tan’yû with a membership in the aristocratic Fujiwara family. He established the Kanô style at the Edokoro, office of painting responsible for official painting commissions.

Reference:
Tokyo Metropolitan 2002
Nihon no bijutsu kaiga kinshû Vol.15
Fischer ‘15 p. 23-43
Rosenfield B.40
Roberts p.175;
Araki p. 1809;

Ôkura Kyûsui (1763-1825) was tenth generation expert on painting

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