Komaneya - Komake

The family continued as official maki-e artists for the Tokugawa family for 11 generations. The first, Kyūi (?-1663), was summoned by Tokugawa Iemitsu in 1636 (Kan'ei 13), and applied maki-e to the Buddhist temple at Momijiyama in Edo Castle, which was praised for its splendor. One of his remains is the Shibagaki Tsuta Maki-e Suzuribako (Tokyo National Museum), an elegant work of art. The second, Kyūhaku (?-1715), succeeded his father as a maki-e artist for the Tokugawa family in 1681 (Tenwa 1), and in 1689 (Genroku 2), as the head of the maki-e artists together with Koami Nagayasu, applied maki-e to Nikko Toshogu Shrine. His skills were precise and beautifully expressive, and he was especially renowned for his black lacquer painting skills. The fourth generation, Kyūhaku (date of birth and death unknown), worked on the repair of Nikko Toshogu Shrine in 1778 (7th year of An'ei). His descendants continued to work there until the end of the Edo period, and the works of these people are called Koman maki-e. Their distinctive style was unpretentious, incorporating the tastes of the time into their designs, and using techniques similar to those of the Rinpa school, which was scorned by the Koami family as hobby maki-e. Furthermore, outstanding students were allowed to use the Koman surname, such as Kyoryū (later known as Kyoryūsai) and Kansai (2nd generation, died in 1835) from around the An'ei and Tenmei periods (1772-1789). One of Kansai's students was Shibata Zeshin.

[Goka loyal retainer]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

徳川家の御抱え蒔絵師(まきえし)として11代続いた家系。初代休意(きゅうい)（？―1663）は1636年（寛永13）徳川家光(いえみつ)に召され、江戸城内の紅葉山(もみじやま)の仏殿に蒔絵を施し、そのみごとさにより賞せられた。遺品に『柴垣蔦蒔絵硯箱(しばがきつたまきえすずりばこ)』（東京国立博物館）があり、瀟洒(しょうしゃ)な作風である。2代休伯（？―1715）は1681年（天和1）父の跡を継いで徳川家の蒔絵師となり、1689年（元禄2）幸阿弥長救(こうあみながやす)とともに蒔絵師の頭取として、日光東照宮に蒔絵を施した。彼の技能は精密佳麗な表現力があり、とくに黒漆塗りの技では当時名手とうたわれた。4代休伯（生没年不詳）は1778年（安永7）に日光東照宮の再修理に従事している。以降子孫は幕末まで続くが、これらの人々の作品を古満蒔絵という。特色は、格式張らず時流の好みを意匠に取り入れ、琳派(りんぱ)に近い技法を用いたので、幸阿弥家では道楽蒔絵といって蔑視(べっし)した。また優れた門人には古満姓を許し、安永(あんえい)・天明(てんめい)（1772～1789）ごろの巨柳（のちに巨柳斎）や寛哉(かんさい)（2代目、1835没）がある。寛哉の門人から柴田是真(しばたぜしん)が出ている。

［郷家忠臣］

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