{"id":"kano-school","no":758,"name":"Kanō School","ja":"狩野派","era":"15th century–modern era","family":"東アジア絵画","kind":"スタイル","source":{"title":"Kyoto National Museum — Handscrolls in the Kano School Style","url":"https://www.kyohaku.go.jp/old/eng/theme/floor2_1/past/ih_20150609.html"},"essence":"狩野家の工房と弟子たちが継承した、日本の職業画家の系統。力のある墨線を土台に、中国由来の主題と日本の色・装飾を組み合わせ、屏風や襖を含む空間へ展開した。桃山の大きな金地画から江戸の抑えた水墨まで幅があり、金屏風一般の名前ではない。","cues":["強弱のある墨線が樹木や人物を支える","襖や屏風の境目をまたぐ大きな構成","金地と色面に墨の輪郭を組み合わせる作例","巨大な主題と余白の比率が時代ごとに変わる"],"intents":["高級","信頼"],"pair":["yamato-e","maruyama-shijo"],"study":["Motonobu, Eitoku, Sansetsu and Tan'yū","The Met — Old Plum and ink scrolls","Kyoto National Museum — Handscrolls in the Kano School Style"],"works":["建築と絵画の展示で、画面と部屋の尺度を一緒に説明するとき","大きな展示面で、強い輪郭と広い余白の配分を検討するとき"],"recipe":{"type":"案内の文字は襖の区切りと別にまとめ、主題の輪郭を塞がない。","layout":"部屋から見る距離と面の分割を先に決め、大きな枝や人物を複数面へ渡す。","material":"墨線の強弱を骨格にして色と光る地を加え、金地画と水墨画の仕様を分ける。"},"avoid":"金地だけで狩野派と判定しない。工房の系譜、作者、主題を確認し、桃山の雄大さを江戸の全作例へ当てはめない。","colors":["#C4A15B","#292E29","#DAD1BC"],"motif":"painting","collection":"Dictionary expansion 50","addedAt":"2026-10-05","reference":{"status":"verified","pageUrl":"https://www.kyohaku.go.jp/old/eng/theme/floor2_1/past/ih_20150609.html","credit":"Kyoto National Museum — Handscrolls in the Kano School Style","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/%E8%80%81%E6%A2%85%E5%9B%B3%E8%A5%96-Old%20Plum%20MET%20DT229.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:%E8%80%81%E6%A2%85%E5%9B%B3%E8%A5%96-Old%20Plum%20MET%20DT229.jpg","credit":"Kanō Sansetsu, Old Plum, 1646 — Metropolitan Museum of Art — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/MET%20DP140150.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:MET%20DP140150.jpg","credit":"Kanō Tan’yū, The Sixth Patriarch of Zen at the Moment of Enlightenment, ca. 1635–45 — Metropolitan Museum of Art — Wikimedia Commons / CC0"}]},"en":{"essence":"A lineage of Japanese professional painters organised through Kanō family studios and pupils. Strong ink drawing combines Chinese subjects with Japanese colour and decoration, often across screens and sliding doors. Its range includes monumental Momoyama gold grounds and quieter Edo ink painting; gold screens alone do not identify it.","cues":["Ink lines with varied weight support trees and figures","Large compositions cross screen or door divisions","Some works combine gold, colour and ink outlines","The balance of oversized subjects and open space changes over time"],"works":["Explaining the relationship between paintings and room scale in an exhibition","Planning strong contours and open areas across a large display surface"],"recipe":{"type":"Keep labels separate from door divisions and clear of the main contours.","layout":"Set viewing distance and panel divisions first, then carry large branches or figures across them.","material":"Build on ink drawing, adding colour and reflective grounds as appropriate; distinguish gold-ground and monochrome works."},"avoid":"Gold alone is insufficient. Check studio lineage, artist and subject, and do not impose Momoyama grandeur on every Edo example."},"links":{"page":"https://indexstyle.org/styles/kano-school","json":"https://indexstyle.org/api/styles/kano-school","designSpec":"https://indexstyle.org/styles/kano-school/design.md","imagePrompt":"https://indexstyle.org/styles/kano-school/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}