was a Japanese painter.
Tosa Mitsuoki succeeded his father, Tosa Mitsunori (1583–1638), as head of the Tosa school and brought the Tosa school to Kyoto after around 50 years in Sakai. When the school was settled in Sakai, Mitsunori painted for townsmen. The school was not as prolific as it once was when Mitsunobu, who painted many fine scrolls (1434–1525) ran the school. Mitsuoki moved out of Sakai with his father, in 1634 and into the city of Kyoto. There, he hoped to revive the Tosa school to gain status back into the Kyoto court. Around the time of 1654 he gained a position as court painter (edokoro azukari) that had for many years traditionally been held by the Tosa family, but was in possession of the Kano school since the late Muromachi period (1338–1573).
Restoring the Tosa School In 1634, Mitsuoki relocataed from Sakai, Osaka prefecture to the capitol at the behest of Emperor Go-Mizunoo. Mitsunori began painting ceremonial fans sensu for the court. In 1654, Mitsuoki succeeded his father, Tosa Mitsunori, when he was elevated to the title of the edokoro azukari, "head of the Imperial court painting bureau". The Tosa-ha prospered throughout the Edo period, during the years of 1600 to 1868. Tosa school works were again favored by the Kyoto elites at court. Showing influence form Chinese paintings and echoing stylistic choices of the Kano School, Mitsuoki's painting style deviated more so from Tosa style traditions than his predecessors granting him a wider audience of appeal to the changing art tastes of the imperial court.千野, 香織. 南北朝・室町時代の絵巻物 東京, ブリュッケ, 星雲社, 2010. 170-177. ISBN 9784434145834 Mitsuoki descendants succeeded him in his role as edokoro azukari, starting with his son, Tosa Mitsunari (1646–1710). Many of the successors used the same techniques and style of painting as Mitsuoki, this lack of innovation by Mitsuoki's successors produced many works that could be misappropriated to Mitsuoki. This lack of adaption to the continuously evolving 17th century Japanese culture lead to the gradual disinterest in the family's work and its eventual die out in the nineteenth century. In 1690, Mitsuoki contributed to The Authoritative Summary of the Rules of Japanese Painting, Honchou gahou daiden (本朝画法大伝) a book detailing many Tosa painting techniques that had been traditionally handed down orally.
The Art Workshop The court and political affiliated art school practices of historical Japan are far different than their contemporary counterparts in Europe and America, but more akin to a family craft, business, or workshop than academic institution where any person may apply and learn the trade. Many practices flourished during the Edo period, imploring different understandings of Japanese customs and Chinese artistic learning. Each school's practice was a closely guarded secret traditionally passed down orally or in short written documents from master to student. Unfortunately due to a multitude of circumstances many of these documents being lost or destroyed, there exists a limited wealth of written documentation. What little scattered and incomplete documentation that still exists is in the form of personal diaries, nikki, lists, letters, and inscriptions on artworks themselves. For many art workshops, labor would be divided based on seniority and skill, with the head of the workshop acting as a quasi-middleman between the aristocratic commissioner and the various craftsmen employed by the workshop; fulfilling the role of commissioner, preservationist and restorationist, appraiser, and official channel of communications.
After death The later Tosa style of the eighteenth century showed very little strength or promise due to loss of patrons and overshadowing from the Kanō school. The school was affected by the growing popularity of the study of Japanese history and the rise of the imperial family. Around the nineteenth century, there was a distinct revival under two artist named Tanaka Totsugen and Reizei Tamechika who specialized in repeating Mitsuoki's work. Their work reaffirmed the Japanese spirit of Yamato-e, which they made many copies. Their art reflected political philosophy and sometimes had a historical connecting because several of the artists were also faithful to the imperial cause. The two artists were revivalists, and got so caught up in painting historical figures, that they overlooked the special greatness of the early artists who specialized in movement and realism. The most successful successors invented their own artistic style but kept the predecessors tradition of painting in strong color with an intense feeling of natural beauty.
Style Mitsuoki reinvigorated the Yamato-e(大和絵) style of classical Japanese painting. Yamato-e originated from interest in reproducing early Tang dynasty (AD 618–907) paintings, and was later reinvented and further refined to fit Japanese cultural perceptions in the late Heian period (794-1185). Yamato-e, sometimes referred to as wa-e or kazu-e (和絵) had become synonymous with the Tosa-ha by the Muromachi period as a way for Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e (唐絵).守屋,正彦. すぐわかる日本の絵画. 東京: 東京美術, 2002. ISBN 4-8087-0716-0 Yamato-e incorporated various visual and literary techniques for establishing narrative. Works were not always accompanied with text and may rely on heavily on period specific visual motifs, icons, and symbols to relay a story or theme. Tosa style by the time of Mitsuoki focused heavily on depicting themes of plants and nature, famous places, meisho-e (名所絵), the four seasons, shiki-e (四季絵), bird-and-flower, kachō-e (花鳥絵). Many of these popular symbols and icons from mimicking Chinese practices, treating the original Chinese masterwork as a sort of prototype to improve upon. Popular formats for Mitsuoki's pictures were wall scrolls kakemono (掛け物), or handscrolls (emakimono) that would be read from right to left with the accompanied story, sliding doors fusuma and folding screen panels byobu that featured up to six panels. Mitsuoki's style incorporated the depth and calligraphy techniques of ink wash brushwork similar to Song dynasty (AD 960–1279) and Yuan dynasty (AD 1271–1368) Chinese court paintings, used cartoon-like sketch linework, innovation of historical designs, and excellent execution of decorative elements. With the great shifts to Japanese cultural and social structures over the two hundred and fifty-odd years, new art schools and practices arose that the recently popular revival of the Tosa had to contend with. The new influences such as the Kano style and Ukiyo-e, with their reimaging of birds, beasts, and the plant life of Japan can be seen influencing Tosa Mitsuoki's practice.Stern, Harold. "Edo and Modern Periods." Birds, Beasts, Blossoms, and Bugs: The Nature of Japan. New York, New York: Harry N. Abrams, Inc., Publishing. 65-67.
Tosa MitsunoriTosa MitsuokiKano Tan'yu+ It is easy to see the drastic shift of Mitsuoki's artistic practice when put in comparison with his father, Mitsunori, and fellow contemporary Kano-he artist, Kano Tan'yu. Here we are better able to see how Mitsuoki uses void between defining figures, with tonal washes of color only being broken by equally formless instances of gold leaf hinting at an obscuring fog. Here, the fog's nature acts similar to the curtain and delineates the dreamscape of The Tale of Genji from the viewer's reality much more effectively than the frame-like mist of Mitsunori's interpretation. Mitsuoki's space is voluminous, much like that of Kano Tan'yu's Phoenixes by Paulownia Trees. The sparseness of objects grounding Mitsuoki's space invites the viewer to wonder among the ambiguous vastness of the space; where as Mitsunori's work does not cause this sharing of reality and treats the viewer as if they are watching through a window. Mitsuoki's clouds feel as though they could be dispersed and reveal hidden figures.
One of the best Yamato-e painters of the time was Mitsuoki. His paintings reintroduced subject matter into the arts. His urbanized surroundings heavily influenced his style, with a wide angle of art ranging from "Quails and Flowers", to tree and scenery paintings on gold leaf screens. Mitsuoki reinstated the Tosa school style by incorporating the space and light touch somewhat similar to the earlier Song dynasty and Yuan dynasty (AD 960–1279) Chinese court paintings. He also put greater stress on ink brushwork. Mitsuoki had a style that was decorative, refined, and precise all at the same time, and throughout his career he maintained a consistent delivery. The birds and the landscapes were soft and delicate lines formed some inspiring pieces filled with beauty. His light-hearted linework, originality of design, and excellent execution, Mitsuoki combined tones which were bright without hardness, sometimes with touches of gold forming a harmony of color that was hard to find in his era. He became one of the most renowned Japanese exponents of bird-and-flower (kachō) painting in the Chinese court manner and is especially noted in his precise depictions of quail. His flower pieces were elegant, and given some tender sediment. Mitsuoki's sternness of his older style, never lost its dignity, but gained gentleness and tranquility. The Emperor, nobles and rich families collected and preserved his books.
Works TitleTechniqueFormatDimensions(cm)SignatureYearCurrent locationimageQuail and MilletInk and Color on SilkHanging scroll124.14 × 69.85 × 2.54 cmTosa sakon shogen Mitsuoki17th CenturyDallas Museum of ArtOno no KomachiInk and Color on SilkHanging scroll73.3 x 31.3Tosa sakon shogen Mitsuoki17 CenturyIshiyama-dera engi emaki 4 parts 1655-81Ishiyama-deraSong of Twelve monthsInk and color on silk 2 part scrollVolume 1 29.0x665.0Volume 2 29.0x663.5 1664-68Tokyo National MuseumEgrets and Cotton RosesInk and ColorHanging scroll118.5 × 56.3Tosa sakon shogen Mitsuoki hitsu17th CenturyMetropolitan Museum of ArtPortrait of Hojo UjinagaInk and Color on paperHanging scroll127.2x56.4 1670-81Detroit Institute of ArtsToyotomi Hideyoshi portraitInk and colorHanging scroll75.2x31.5Tosa sakon shogen Mitsuoki hitsu17th Century Taigan Historical Museum, Sun CollectionTaigan Historical Museum, Sun CollectionSakaorimiya Renga Scroll Tosa sakon shogen Mitsuoki hitsu17th Century Yamanashi Prefectural Museum井澤英理子 「土佐光起筆 酒折宮連歌図（日本武尊像）」『国華』第1484号、pp.23-27、ISBN 978-4-02-291484-2。Genji Monogatari Folding ScreenInk and Color6 panel folding screen100.7x286.0 (panel) 17th CenturyTokyo National MuseumMushrooms Skewered on Bamboo TwigInk and Color on SilkHanging scroll Tosa sakon shogen Mitsuoki hitsu17th CenturyBritish MuseumYashima Uji River Hejian screenInk and Color6 panel folding screen155.1x365.4 (panel) 17th CenturyTokyo National MuseumAlbum of Thirty six Immortal PoetsInk and Colorbooklet17.5x15.4 (panel) 17th CenturyThe University Art Museum - Tokyo University of the ArtsFlowering Cherry and Autumn Maples with Poem SlipsInk and color, Gold and Silver2 x 6 Panel Folding screens144x286 (panel)Tosa sakon shogen Mitsuoki hitsu1654-81Art Institute of Chicago
The Tosa school