Tani BunchÅ
Tani Bunchō (Japanese谷 文 晁), actually Masayasu Tani (谷 正 安) and called Bungorō Tani (谷 文 五郎) (* October 15, 1763 in Negishi, Shitaya, Edo, † January 6, 1841 ) was a painter and poet the Edo period.
He was the eldest son of the famous poet Kanshi (汉诗, Kanshi, dt " Chinese poetry " ) Tani Rokkoku.
At the time of his birth his family was already two generations in the service of Tayasu clan, beginning with the tax advice Tanis grandfather, who at that time kept the Tayasu before an economic disaster and thus helped his family to a secure livelihood. The notoriety of the Father Bunchō paved the way in the cultural circles of Edo and enabled him to build a nationwide network.
1788 begins Bunchō his employment with the Tayasu family as " apprentice in the service of the interior household " ( okuzuke minarai ). In 1792, he was " personal henchman " ( tsuke ) of the Regent Matsudaira Sadanobu, with the Bunchō linked not only a work-related relationship but also a friendship. So Sadanobu Bunchō sent on frequent journeys, in which the painter could make important cross-regional contacts that were for his work is of great importance (eg the artists meeting of Sakeherstellers Kimura Kenkakō ).
Artistic Career
He began his artistic training under a master of the Kano school. He then worked for a master of the Chinese art of landscape painting of the "Northern School". Further influence on his work had the Nanga - style ( " Southern school ") and the Japanese Yamato -e painting. His painting style is therefore (南北 合 派, " Nordsüdsynthese style " ) called Namboku gappa.
Given the threat of conflicts with other countries ( eg Russia, which wanted the opening of Japan to free trade ) the Shogun issued an order to check the defenses of the coastal regions. Sadanobu took this task into her own hands and settled on the journey in 1793 by Tani Bunchō, the " painting Reporter", accompany, so this lifelike as possible pictures anfertige seen landscapes with which any defense strategies were planned. From this, the work was to Koyo tanshō.
Many other landscape pictures were taken from similar assignments. The painter mastered many styles and applied them to also to the to make realistic representations with the eye saw. Of particular importance for its accuracy yōfūga (洋 风 画), the painting in the Western style. He could suppress its own individual style and distinguished himself as a good copier and restorer historically important works. Its existence was secured by his service under daimyo Matsudaira Sadanobu.
According to reviews, it is missing the pictures Tanis, despite its high level of technology and its deep artistic education of enthusiasm. In its mature phase Tani created portraits of highly realistic style.
The painter Watanabe Kazan and Tanomura Chikuden were Tanis students.