狩野派といえば、真っ先に狩野永徳や狩野探幽の名前が思い浮かぶ。
しかし、狩野永徳の祖父にあたる狩野元信は、父の正信の後を継いで、狩野派を一大絵師集団に築き上げた、狩野派にとっては、真の祖といえる人物だった。
足利義政の元で活躍していた狩野正信は15世紀を生きた人物で、その子の元信は、15世紀の後半から16世紀の前半を生きた。
そのせいか、元信の作品は、それほど今日までは伝わっていないという。
それでもこの展覧会では、花鳥風月を描いた屏風絵や掛け軸、大和絵、仏画など、狩野元信の筆のなると伝わる作品が、前期と後期に分けて展示された。
父の正信は、足利義政が好んだ唐風の水墨画を得意としていたが、元信はその範囲を大和絵や仏画に広げ、絵といえば狩野派、という圧倒的なブランドを確立した。
元信は、いわゆる工房を経営する経営者でもあった。
元信の作、と言っても、絵のパーツパーツは、弟子の絵師たちが、それぞれ得意な部分を仕上げていったのだろう。
会場には、元信の作品だけでなく、馬遠、夏珪、牧谿などの中国のレジェンドたちや雪舟など、元信が参考にしたと思われる名作も多数展示されていて、こちらも見応えがあった。
Speaking of the Kano school, the names of Kano Eitoku and Tanyu surveillance come to mind first.
However, Kano Masanobu, who is the grandfather of Eikuno Kano, was a person who could be considered a true father for the Kano school, who built the Kano school as one of the big painter groups, following his father's guard.
Masanobu Kano who was active in the former Ashikaga Yoshimasa was a man who lived in the 15th century and his son Lin lived in the first half of the 16th century from the latter half of the 15th century.
Because of that, Masanobu's work is said to have not been transmitted so much until today.
Nevertheless, in this exhibition, the work which is said to be a brush of Motonobu Kano such as folding screens depicting flower birds moon, hanging scrolls, Yamato paintings, Buddhist paintings, etc. was displayed separately in the first half and the second half.
His father's sincerity was good at the ink paintings of China preferred by Ashikaga Yoshimasa, but Masanobu spread it to Yamato and Buddhist drawings and established the overwhelming brand of Kano school as a painting.
Masanobu was also a manager who runs a so-called workshop.
Even if it is original work, the parts parts of painting, the disciples' painters, probably finished their respective good parts.
Many masterpieces believed to be referred to by Masayoshi such as Chinese legend and Sesshu were displayed in the venue as well, and this was also spectacular.
(Translated by Google Translate)
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