Fall [center right from the set Rice Farming in the Four Seasons] by Kano Sanraku

Fall [center right from the set Rice Farming in the Four Seasons] c. 1620s

drawing, print, paper, ink

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drawing

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medieval

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ink painting

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print

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asian-art

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landscape

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figuration

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paper

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ink

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genre-painting

This is "Fall," part of Kano Sanraku’s "Rice Farming in the Four Seasons" set, painted in ink and color on paper. The composition strikes one immediately with its spatial ambiguity, where near and far seem to collapse into one another. Sanraku masterfully uses the monochrome ink to evoke a tranquil autumn scene, with human figures at the bottom set against a backdrop of softly rendered mountains. The bare tree to the right frames the scene, inviting the viewer to enter a world where labor and nature coexist. The artist plays with perspective, compressing the depth of field, which lends to an almost dreamlike quality. Consider how the meticulous brushwork and subtle gradations of ink wash create texture, and how the careful arrangement of elements directs the eye. The balance between the detailed foreground and the hazy background encourages contemplation, not just of the scene depicted, but of the artistic process itself. Sanraku transforms simple ink into a complex language, where each stroke carries both descriptive and expressive weight.

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minneapolisinstituteofart's Profile Picture
minneapolisinstituteofart about 1 year ago

These sliding door panels originally formed the four walls of a small reception chamber at Daikakuji, a Buddhist temple in northwest Kyoto that also served as the palace for Japan’s emperor. The panels form a continuous panorama from wall to wall and present various activities associated with rice cultivation: plowing, transplanting the rice, irrigating, threshing, and grinding. The didactic theme is derived from Chinese painting; agriculture, according to Confucian teachings, is the basis of a well-ordered society. Accordingly, when Japanese rulers adopted Confucianism as their ruling ideology, they also commissioned paintings that reflected social stability, morality, and government values. Although unsigned, these paintings were likely produced by Kano Sanraku. As head of the Kyoto branch of the influential Kano school, Sanraku counted several prominent aristocratic families and Buddhist monasteries, including Daikakuji, as key patrons.

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