Tosa Mitsuoki

Japanese: 土佐光起 - とさ・みつおき

Year of death: 4th September 25th, Genroku (1691.11.14)
Year of birth: Genna 3.10.23 (1617.11.21)
A Tosa school painter in the early Edo period. The founder of the Tosa school revival. Born in Sakai as the son of Tosa Mitsunori. His childhood name was Fujimitsumaru. In 1634, he moved to Kyoto with his father Mitsunori. On March 10, 1654, at the age of 38, he was appointed Junior Fifth Rank and Sakon'e no Shokan, and in 1569, he became the head of the Imperial Court's art office, which had been lost for a long time since the death of Tosa Mitsumoto, achieving his father Mitsunori's long-cherished wish to restore the Tosa clan. At the same time, he shaved his head and took the name Tsuneaki. After this, he became Hokyo in 1681, and then Hokan in 1685. During this time, he worked on art matters at the Imperial Court, including producing wall paintings for the construction of the Shoodo Imperial Palace. He excelled in the intricate "Quail Picture" that he learned from the In-style flower and bird painting of Li An-zhong and others, and further incorporated the painting techniques of the Kano school, and was active in a wide range of fields, including picture scrolls, folding screens, and hanging scrolls. His representative works include the "Awaho Quail Picture Screen" (private collection), the "Otera Engi Emaki" (1690, owned by Kaikatori Shrine, Sakai), and the "Kitano Tenjin Engi Emaki" (owned by Kitano Tenmangu Shrine, Kyoto). He also wrote "Honcho Gaho Daiden" (Great Collection of Paintings of Japan), systematizing the Tosa school's painting techniques. <References> Omura Seigai (ed.), "Toyo Bijutsu Taikan" (vol. 5),

(Satoru Sakakibara)

Source: Asahi Japanese Historical Biography: Asahi Shimbun Publications Inc. About Asahi Japanese Historical Biography

Japanese:

没年：元禄4.9.25(1691.11.14)
生年：元和3.10.23(1617.11.21)
江戸初期の土佐派の画家。土佐派中興の祖。土佐光則の子として堺に生まれる。幼名藤満丸。寛永11(1634)年父光則に従って京都に移住。承応3(1654)年3月10日,38歳のとき,従五位下,左近衛将監に叙任され,永禄12(1569)年,土佐光元が没して以来久しく失われていた宮廷の絵所預となり,父光則の宿願でもあった土佐家再興を果たした。同時に剃髪して,常昭と号した。こののち延宝9(1681)年法橋。次いで貞享2(1685)年には法眼に叙せられた。この間,承応度内裏造営に伴う障壁画制作をはじめ,宮中の絵事御用を勤めた。李安忠らの院体花鳥画に学んだ精緻な「鶉図」を得意とし,さらに狩野派の画法もとり入れて絵巻や屏風,掛幅にと幅広く活躍した。代表作に「粟穂鶉図屏風」(個人蔵),「大寺縁起絵巻」(1690,堺・開口神社蔵),「北野天神縁起絵巻」(京都・北野天満宮蔵)などがある。また『本朝画法大伝』を著し,土佐派の画法を体系化した。<参考文献>大村西崖編『東洋美術大観』5巻

(榊原悟)

出典　朝日日本歴史人物事典：（株）朝日新聞出版朝日日本歴史人物事典について　情報

<<: Tosa Mitsunobu

>>: Japanese dogwood - Japanese dogwood