狩野派 狩野宗秀 Kano School - Kano Sohsyuh

さて、これまで、室町時代の狩野正信に始まり、徳川幕府での御用絵師としての地位を確立した狩野孝信まで、いわば、狩野派の後継の流れを見てきた。

ここで、その間の、いわば周辺の狩野派の絵師たちを見てみたい。

狩野宗秀は、狩野永徳の弟で、永徳が安土城の壁画の仕事で現地に長期間の出張中に、永徳から狩野家のことを任されていた人物。

狩野宗秀の作品では、織田信長像がよく知られているが、この展覧会での、宗秀と特定されている作品は、3点が展示されていた。

京都の相国寺の柳絵屏風は、柳の太い木が屏風の左に側にどっしりと構え、枝は激しい風に右から左に揺れている。

宗秀は、兄の永徳の影響を受けて、ダイナミックな画風であったと言われているが、この柳を見ると、確かに頷ける。

Well, so far, it is beginning to Kano Masanobu Muromachi era, until Takanobu Kano that has established itself as a patronage painter in the Tokugawa shogunate, so to speak, we have seen the flow of the successor of the Kano school.

Here, in the meantime, I want to speak, take a look at the Kano school of painters around.

Kano Sohsyuh is a younger brother of Kano Eitoku, a person Eitoku is a long period of time during a business trip to the local in the mural work of Azuchi Castle, it had been entrusted with that from Eitoku Kano house.

In the work of Kano Sohsyuh, but Nobunaga Oda image is well known, in this exhibition, the works that have been identified as Sohsyuh, three points had been exhibited.

Willow picture folding screen of SOUKOKUJI of Kyoto, stout stance thick trees on the side to the left of the folding screen of willow, the branches are swaying from right to left in fierce wind.

Sohsyuh is, under the influence of the older brother of Eitoku, but is said to have a dynamic style of painting, looking at this willow, certainly well.

(Translated by Google Translate)