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[1] https://www.metmuseum.org/toah/hd/kano/hd_kano.htm
[2] https://www.metmuseum.org/toah/hd/kano/hd_kano.htm
[3] https://www.masterpiece-of-japanese-culture.com/paintings/folding-screen-painting-cypress-kano-eitoku
[4] https://www.masterpiece-of-japanese-culture.com/paintings/folding-screen-painting-cypress-kano-eitoku
[5] https://www.masterpiece-of-japanese-culture.com/paintings/huge-folding-screen-chinese-lions-painting-kano-eitoku
[6]https://shastacollege.instructure.com/courses/31238/assignments/651554?module_item_id=1863501
[7]https://shastacollege.instructure.com/courses/31238/assignments/651554?module_item_id=1863501
[8] https://artsandculture.google.com/asset/cypress-trees-kano-eitoku/WgG8VxnsSPYalQ?hl=en
[9] https://www.masterpiece-of-japanese-culture.com/paintings/views-in-around-city-kyoto-kano-eitoku
[10] https://asia.si.edu/object/F1963.12-13/
[11] https://www.khanacademy.org/humanities/art-asia/art-japan/japanese-art/a/a-brief-history-of-the-arts-of-japan-the-kamakura-to-azuchi-momoyama-periods
[12] https://www.khanacademy.org/humanities/art-asia/art-japan/japanese-art/a/japanese-art-the-formats-of-two-dimensional-works

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Kano Eitoku (1543–1590) was known for his often large works that were made directly for the rich and influential “warlords who dominated the Momoyama period[1]”.

His claim to fame is through his “series of sliding doors (fusuma) and folding screens (byōbu) [where he] painted… oversize animals, figures, and nature scenes set against scintillating gold foil. These works “well illustrated the power and energy the daimyo patrons wished to express…[and] suited the grand interiors of their massive and impressive castles[2]”.

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1590. A painting of the cherry blossom tree, this captures certain values of the culture. These trees are indicative of the celebration behind the changing seasons and impermanence, which often bring friends and family together[6].

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1590. This 6-panel painting shows just the right side of the entire piece. Painting screens and sliding doors "were displayed in reception rooms of mansions and could be changed according to the season, or to honor a special visitor[12]".

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Made in the late 16th century, these women represent the ideals and values of Japanese culture. Their fashion displays Bigaku; the Japanese sense of beauty, and their kimonos, show Iki; a refined and sophisticated look. They stand amid a Japanese garden, which is a  place designed for harmony and unity[7].

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"Famous Views of Sagano (top) and Famous Views of Uji (bottom)"

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"Famous Views of Sagano (top) and Famous Views of Uji (bottom)"

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1560. Two more cities painted, these show examples of the architecture, agriculture, and various aspects of citizen life.

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"Folding Screen with Design of Birds and Waterfall"

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"Folding Screen with Design of Birds and Waterfall"

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Rich in nature and birds, this painting would have been loved by those with higher status. Their opinions were "governed by the aesthetic principle of fūryū 風流—another enduring aesthetic notion in Japan, referring to a refined taste that favors rarified elegance and sensual beauty[11].

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The left side shows scholars partaking in "painting and the game of go, two of the arts to be mastered by the ideal gentleman, are illustrated on the right-hand screen, while the left-hand screen shows calligraphy and musical performance on a stringed instrument, the Chinese qin or the Japanese koto[10]".

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1561, shows famous buildings such as the Imperial Palace, To-ji Temple and Kiyomizu-dera Temple, and also the scene of the bustling city at the Gion Festival,” as well as thousands of people of all classes[9].

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1573-1590. “The strong life force of the powerful tree shows the artist's own passionate spirit and, at the same time, conveys the unconstrained aesthetic of Momoyama elite warriors[8]”.

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1590, "Made for an Aristocratic residence in December 1590" as a sliding door[3]. The significance of this image, the "Japanese people have used a cypress as a high-class lumber," so painting this tree indicated class status[4].

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1590. This is a depiction of two shishi (獅子), Eitoku’s idea of lions. They were “imaginary creatures…thought of as guardians… regarded as a symbol of power in India or Persia[5]”. Their influence came to Japan through the Silk Road, and they became sacred beasts.