Kose school

A family of painters that continued from the early Heian period to the late Muromachi period. Founded by Kose Kanaoka (late 9th century), it is the oldest and longest-running family of painters in Japan. The outline of the family is given in the "Kose Family Tree" in the entry for December 23, 1472 (4th year of Bunmei) in the "Daijo-in Temple and Shrine Miscellaneous Records." During the Heian period, as a painter at the imperial court's painting studio, Kanaoka played an important role in the development of secular painting, especially Yamato-e. Kanaoka was the first to promote the Japanese style in Japanese painting. His successor, Oumi (also written as Aimi, missing from the family tree), was a contemporary of Ki no Tsurayuki in the early 10th century. Furthermore, the activities of the brothers Kimitada and Kimimochi (also written as Kimishige), who were in the next generation, suggest that a new style of painting had emerged in the mid-10th century. At the beginning of the 11th century, during the heyday of Fujiwara culture, Hirotaka (also written as Kotaka), who is thought to be Kimimochi's grandson, was highly active. During the period of cloistered rule at both the Shirakawa and Toba emperors, Nobushige (also written as Hirotaka's grandson) and his son Muneshige were active. In this way, the Kose school was active in the central art world throughout the Heian period, but at the start of the Kamakura period, they left Kyoto for Nanto (Nara), where they continued to exist as Buddhist sculptors. At the end of the 12th century, Yuson, who worked with Buddhist sculptor Kaikei and others at Todaiji Temple, served as the painting director at both Ichijo-in and Daijo-in temples at Kofuku-ji Temple. The next emperor, Gyoson, inherited the Ichijo-in family's Todaza, and Gyoyu inherited the Daijo-in family's Todaza, and they became influential painting houses in Nara. However, in the latter half of the 15th century, they lost their various rights as painting houses, and in the 16th century, they were dissolved.

[Etsuko Kato]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

平安時代前期から室町時代後期まで続いた画家の家系。巨勢金岡(かなおか)（9世紀後半）を始祖とし、日本において最古かつもっとも長く存続した画系。『大乗院寺社雑事記』の文明(ぶんめい)4年（1472）12月23日の条に載る「巨勢氏系図」にその家系の大要が記されている。平安時代には宮廷絵所(えどころ)の絵師として、世俗画、とくに大和絵(やまとえ)の発展に重要な役割を果たした。日本絵画の和様化は、金岡によって初めて進められた。その継承者である相覧(おうみ)（相見とも書く。系図には欠）は10世紀初めに、紀貫之(きのつらゆき)の同時代人として活動した。さらに次世代にあたる公忠(きみただ)と公望(きみもち)（公茂とも書く）兄弟の活動は、10世紀なかばに新しい画風がおこったことを推測させる。11世紀初め、藤原文化の全盛期に多彩な活動がみられるのが、公望の孫にあたると考えられる広貴(ひろたか)（弘高とも書く）である。白河(しらかわ)・鳥羽(とば)両院の院政期には、広貴の孫と思われる信茂(のぶしげ)、さらにその子の宗茂(むねしげ)が活躍している。このように巨勢派は平安時代を通じて中央画壇で活躍したが、鎌倉時代に入ると京都を離れて南都（奈良）に赴き、以後絵仏師として存続した。12世紀最末、東大寺において仏師快慶らとともに活動した有尊(ゆうそん)は、興福寺の一乗院および大乗院の両絵所職を兼ねた。次代の堯尊(ぎょうそん)は一乗院家吐田座(はんだざ)を、堯有(ぎょうゆう)は大乗院家吐田座を受け継ぎ、南都の有力な絵所座となった。しかし15世紀後半には絵所座としての諸権利を失うことなどがあり、16世紀に入ると解体した。

［加藤悦子］

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