The Contrast in Art and Lives Between Kano Eitoku and Hasegawa Tohaku
Compare and contrast the life, work and social situation of Kano Eitoku and Hasegawa Tohaku.
Kano Eitoku and Hasegawa Tohaku were two painters, who worked during the Azuchi-Momoyama period in Japan. Although Eitoku is far better known as an artist, due to not only his outstanding ability in painting but also because he was a leading figure from his familial Kano School, Tohaku is often considered a rival as his skill and talent was highly comparable to that of Eitoku. Bearing in mind that Eitoku was more fortunate to have a historically famous name with the duty to uphold and grow in reputation, Tohaku began with absolutely nothing in terms of a reputation as an artist, therefore Tohaku’s talent has often been overlooked in history, even though he was a master of his own kind. Thus, it is quite clear that fame does not translate to quality. Although living in the same flamboyant age of extravagance, the Azuchi-Momoyama period, Eitoku and Tohaku lived in very different social situations, as they came from completely different backgrounds and lead separate lives. Taking this into account, it is not surprising that both artists eventually developed their own distinct styles, which are often compared but are vastly dissimilar. Although both artists produced works that were typically ‘Momoyama’ in style with the extensive use of vibrant colours and gold leaf background, their technique, composition and influences differ greatly.
Although the Azuchi-Momoyama Period was very brief, lasting for a mere 33 years, from approximately 1570 to 1603, it is one of the most internationally famous period of Japanese art history and is often referred to as the ‘Japanese Renaissance’, as it was notably more colourful, majestic and extravagant than any other.[i] An interval between the Muromachi and the Edo periods, the Azuchi-Momoyama period laid the foundations of modern Japan as it was during this period that the process of unification of the country began.[ii] In 1582 Oda
Kano Eitoku and Hasegawa Tohaku were two painters, who worked during the Azuchi-Momoyama period in Japan. Although Eitoku is far better known as an artist, due to not only his outstanding ability in painting but also because he was a leading figure from his familial Kano School, Tohaku is often considered a rival as his skill and talent was highly comparable to that of Eitoku. Bearing in mind that Eitoku was more fortunate to have a historically famous name with the duty to uphold and grow in reputation, Tohaku began with absolutely nothing in terms of a reputation as an artist, therefore Tohaku’s talent has often been overlooked in history, even though he was a master of his own kind. Thus, it is quite clear that fame does not translate to quality. Although living in the same flamboyant age of extravagance, the Azuchi-Momoyama period, Eitoku and Tohaku lived in very different social situations, as they came from completely different backgrounds and lead separate lives. Taking this into account, it is not surprising that both artists eventually developed their own distinct styles, which are often compared but are vastly dissimilar. Although both artists produced works that were typically ‘Momoyama’ in style with the extensive use of vibrant colours and gold leaf background, their technique, composition and influences differ greatly.
Although the Azuchi-Momoyama Period was very brief, lasting for a mere 33 years, from approximately 1570 to 1603, it is one of the most internationally famous period of Japanese art history and is often referred to as the ‘Japanese Renaissance’, as it was notably more colourful, majestic and extravagant than any other.[i] An interval between the Muromachi and the Edo periods, the Azuchi-Momoyama period laid the foundations of modern Japan as it was during this period that the process of unification of the country began.[ii] In 1582 Oda
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