. Internationales Studio. Farbgebung tortunknown. Während des 18. Und frühen 19. Jahrhunderts blieb die Kano-Akademie die aristokratische Schule am Shoguns-Hof, mit Tanyu. Dem letzten großen Meister, als Führer. Aber es kam zu mehreren neuen Entwicklungen inder einheimischen japanischen Kunst. Eine weitere aristokratische Schule charakteristischer Japanisch, Das Korin, das sich um den Hof des Mikado drehte, während es in den unteren Klassen ebenso wichtig war, entstanden völlig neue und verschiedene Kunstschulen.die T imes änderten sich. Die Leute begannen, eine Stimme zu haben. Die Schule von Korin

• Bildanbieter: Reading Room 2020 / Alamy Stock Foto
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. International studio . ancy of colour hithertounknown. All through the eighteenth and earlynineteenth centuries the Kano academy remainedthe aristocratic school at the Shoguns court, with Tanyu. the last great master, as its leader.But there came several new developments inthe native Japanese art. Another aristocraticschool more characteristically Japanese, that ofKorin, centered about the court of the Mikado, while equally important, among the lower classes, entirely new and different schools of art arose.The t imes were changing. The people were begin-ning to have a voice. The school of Korin, whose great master wasKoyetsu, flourished during the seventeenthcentury, and united the splendor of gold leaf, colour and noble design, of Kano Yeitoku, withthe more national spirit of the older Tosa painters.The whole combined to form the most sumptuous, most purely decorative art the East has everknown. Line was subordinated. Flat masses ofcolour, sometimes glowing and sometimes som- Religion and Nature in Oriental Art. PART OF A SCROLL PAINTING AFTER SESSHU. KANO SCHOOL berly revealing themselves in rare gleams, lent arefinement to screens which might otherwise havedegenerated into the merely gorgeous. Gold wasused lavishly, in the delicate veining of a leaf aswell as in great solid bands forming the back-grounds. It was an art which utilized as neverbefore the decorative values of masses of flowers.Yet it was like nothing in nature. It was, rather, a new convention, a realization of the pure beautyof colour, bold and yet refined, and of a composi-tion in which decorative, rather than pictorial, values were emphasized. Meanwhile the populace was becoming in-terested in art, heretofore a prerogative of thenobility. Among the artificers and tradesmen of thetwo capitals, Kioto and Yedo (Tokio), there arosepopular bourgeois schools, of which the best knownare the Shijo and Ukio-ye. Despised by the aris-tocracy, these won immediate favour with thepeople. Under Okio and his many fol

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