Even with the transition from the shinden to the

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Unformatted text preview: ch were allowed to trade at Nagasaki, Christianity and Western ways were in general so thoroughly rooted out that few traces of namban culture were to be found in Japan after about the mid-seventeenth century. There remained some things, like firearms, tobacco, and eyeglasses, and a few Portuguese words, such as pan (bread), karuta (playing card), and kappa (a straw cape used as a raincoat), to attest to the fact that the Jesuits and their patrons had really been in Japan for nearly a hundred years. Otherwise, their presence and cultural influence were to a remarkable extent expunged from the memory of the Japanese until modern times. Along with architecture, painting was the art that most fully captured the vigorous and expansive spirit of the Momoyama epoch of domestic culture during the age of unification. It was a time when many styles of painting and groups of painters flourished. Of the latter, by far the best known and most successful were the Kanò, a school that was maintained by lineal and adopted descendants from medieval until modern times. The origins of the Kanò school can be traced from Masanobu (1434– 1530), a member of a samurai house who purportedly studied under Shûbun. Masanobu accepted the post, first declined by Sesshû, of official The Country Unified 153 artist to the Ashikaga shogunate in the kanga or Chinese manner of Sung and Yüan monochrome painting. He thus established the Kanò as a line of professional painters who worked on commission to meet the demands of their warrior patrons. Although Masanobu founded the Kanò school, it was his son and successor, Motonobu (1476–1559), who was most responsible for defining its character and course of development. Motonobu was by all accounts a true eclectic. He continued the Kanò tradition of kanga monochrome painting, which still dominated the attention of nearly all Japanese artists until well into the sixteenth century; but Motonobu also made free use of the colorful Yamato style of native art that had evolved during the Heian period and had reached its pinnacle in the great narrative picture scrolls of the twelfth and thirteenth centuries. The Yam...
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This note was uploaded on 02/08/2013 for the course ANTH 142 taught by Professor Hans during the Spring '13 term at The University of British Columbia.

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