Hasegawa School

Japanese: 長谷川派 - はせがわは

This is a school of painting founded by Hasegawa Tohaku, who was active in the Momoyama period. Tohaku had four sons, Kyuzo, Sotaku, Sakon, and Soya, but Kyuzo, who was the most gifted of them all, died at the early age of 26, and Sotaku temporarily inherited the family headship. Sotaku was called Togo and was given the title of Hokkyo, and left works such as "Autumn Grasses Screen" (Nanzenji Temple), but he died the year after Tohaku's death. In the end, it seems that the third son, Sakon, inherited the family headship, and following in his father's footsteps of "Seshu the Five Generations," he proclaimed himself to be "Seshu the Sixth Generation." Sakon's works include "Thirty-six Immortal Poets" plaque (Kaizu Tenjin Shrine) and "Cowherd and Wild Horses Screen" (Boston Museum of Fine Arts), and his style, while inheriting Tohaku's painting style, is more decorative and is said to be influenced by the Sotatsu school. The fourth son, Muneya, was the half-brother of the three children and produced works such as the Willow Bridge and Waterwheel Screen, but his painting skills were the poorest of the four. Other artists in the Hasegawa school during Tohaku's active period included Tohaku's pupil and son-in-law Tohaku Toin, who went to Edo and produced screen paintings for Katori Shrine and the Date clan's Zuiganji Temple, as well as Toho, Toji, Tojin, Toen, and many others. The screen paintings at Chishaku-in (formerly Shoun-ji Temple), Sanbo-in, Myoren-ji, and Zenrin-ji Temple are thought to be works of the Hasegawa school. The early Hasegawa school had a better sense of color than the Kano school and was characterized by a style full of innovative designs and poetic sentiment, but no excellent artists emerged after Tohaku, and the school never became a major school of painting that could rival the Kano school.

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

桃山時代に活躍した長谷川等伯を祖とする画派。等伯には久蔵，宗宅，左近，宗也の4男子があったが，そのうち最も天分に恵まれていた久蔵が 26歳で早世し，宗宅が一時家督を継いだ。宗宅は等後と号し，法橋に叙されて『秋草図屏風』 (南禅寺) などを残しているが，等伯の没した翌年に死去。結局，3男左近が家督を継いだらしく，父等伯が「自雪舟五代」を称したあとをうけて「自雪舟六代」を標榜した。左近には『三十六歌仙図』扁額 (海津天神社) ，『牧牛，野馬図屏風』 (ボストン美術館) などがあるが，その作風は等伯の画法を受継ぎながらより装飾性を増し，宗達派の影響があるともいわれる。4男宗也は先の3子の異母弟にあたり『柳橋水車図屏風』などを残すが，画技は4人のうち最も劣った。その他，等伯の活躍期の長谷川派には，等伯の門人で女婿となった等秀や，江戸に下り香取神社や伊達家の瑞巌寺の障屏画を制作した等胤のほか，等誉，等二，等仁，等圜ら多数の画家がいた。智積院 (旧祥雲寺) ，三宝院，妙蓮寺，禅林寺などの障屏画は，これら長谷川派の作品と考えられている。初期長谷川派は狩野派よりも色彩感覚にすぐれ，斬新な意匠と詩情に満ちた作風を特徴とするが，等伯以後はすぐれた画家が出ず，狩野派に対抗しうる大きな画派とはならなかった。

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