870:. Differences of opinion among the Christian missionaries who had been in Japan for nearly a century helped to bring about the exclusionist policy which at around 1637, closed Japan to all foreign interaction. During this time, Edo Japan flourished into a very political economic and artistic center of Japan. It slowly grew to be one of the largest cities of the world, and its art in many ways showed the spirit of the new and boisterous metropolis. This is when Edo saw an emerging middle class. Fortunately the activities of each class, as long as they did not seem to conflict with the prestige of the higher-ranked military clans, were allowed to develop their own social styles and culture. Before this, the arts were usually reserved for the upper class and the more fortunate courts. Artists were not under the Kyoto courts pressure to produce work only for the higher class. In the "floating world", artists were free to select their own style and even their own target audience. With this, arose new types of art appropriate to the interests of merchants and the middle class. Art was no longer reserved for the elite class, now it belonged to whoever could afford it. The Shōgun of Edo and the Kyoto court continued to support the Tosa school as well as the other prominent school of the time, such as the Kano school.
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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.
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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.
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courtly style of the Tosa artists, on the other hand, was usually deemed more appropriate for the decorations of the private rooms occupied by women and children and for the albums and scrolls that were often included in weddings. However, there was a clear stylistic relationship among the members of the two schools. Not just the artwork was similar between the Tosa school and the Kanō school, the family line between the two has even been crossed at one time. The daughter of Tosa
Mitsunobu married Kanō Motonobu. After the decline in popularity of the Tosa school during Mitsumochi's period (1496–1559), the Kano school overshadowed it and the Tosa school's artists usually worked under Kano school artists, sometimes helping sketch out final pieces for Kanō artists. The lack of innovation in the Tosa school style made a disconnection with the Japanese public because it did not capture the peoples hopes and dreams.
296:. 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.
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275:(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.
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349:(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.
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308:(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
230:. 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
412:. 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.
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prestige to artists of the later Kanō school, whose studies included a wider scope and bigger variety of subject matter. The paintings of the Tosa school were distinguished by the elegance and precision of its design, while their counterparts, the Kanō school, was well known for its power and freedom of design.
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as a way for
Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e (唐絵). 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,
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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
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with their samurai in gorgeous ceremonial costumes, were painted as time went on with extreme care and patience and attention to detail. As the years went on, their style became more and more precise, almost down to a science. The Tosa painters towards the end of their popularity, lost much of their
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The Tosa school, in its own history, expressly stated that the school founded in the ninth century owed nothing to the influence of China. But the style of the Tosa school looks like it was greatly influenced by
Chinese painting. Apart from religious subjects, it occupied a special position in art
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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
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paintings. At the same time, they both served different uses within the Edo court. Kanō painters were usually commissioned to paint the screens and hanging scrolls displayed in official audience halls and other public spaces in shōgun and daimyō residences where men gathered and intermixed. The
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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
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If the past works of the Tosa school and Kanō school are closely observed, there is clear proof that both of the traditional schools have a similar way of handling their draftsmanship. Both were patronized from the
Japanese courts around the same time period, and specialized in Yamato-e and
402:. 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
325:(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
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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
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Fumiko, Cranston, “Translation of Waka Poems on Tosa
Mitsuoki's Flowing Cherry and Autumn Maple with Poem Slips,” Beyond Golden Clouds, ed. Katz, Janice. 48–57. Chicago, Illinois: The Art Institute of Chicago,
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Ueda, Makoto. Literary and Art Theories in Japan. Chapter 9: "In Search of the Lifelike: Mitsuoki on the Art of Painting". Ann Arbor: University of *Michigan Center for Japanese Studies, 1991.
866:, the city went into a long period of isolation. The third shōgun of Tokugawa, shut off Japan from the world to make his hold more secure, besides very limited contacts at the port of
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him a wider audience of appeal to the changing art tastes of the imperial court. Mitsuoki descendants succeeded him in his role as edokoro azukari, starting with his son,
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Guth, Christine. The Tokugawa as patrons and collectors, in The Japan of Shoguns: The Tokugawa Collection. Montreal, Quebec, Canada: Montreal Museum of Fine Arts, 1989.
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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
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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,
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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.
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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,
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272:
151:
86:
1643:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Tosa Mitsuoki (see index)
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Watson, Professor William. The Great Japan Exhibition: Art of The Edo Period 1600–1868. Royal Academy of Arts/Weidenfeld & Nicolson, 1981.
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The later Tosa style of the eighteenth century showed very little strength or promise due to loss of patrons and overshadowing from the
1183:
Rosenfield, John M. (1993). "Japanese Studio Practice: The Tosa Family and the Imperial Painting Office in the Seventeenth Century".
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Rosenfield, John M. (1993). "Japanese Studio Practice: The Tosa Family and the Imperial Painting Office in the Seventeenth Century".
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that featured up to six panels. Mitsuoki's style incorporated the depth and calligraphy techniques of ink wash brushwork similar to
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Lillehoj, Elizabeth. Acquisition: Art and Ownership in Edo-Period Japan. Warren, CT: Floating World Editions Inc, 2007. 9, 172.
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Swann, Peters C. An Introduction to the Arts of Japan. 15 West 47th Street, New York, New York: Frederick A. Praeger, inc.
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specializing in the taste of the Court of Kyoto. Quails and Peacocks, cherry tree branches in flower, cocks and hens,
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Gerhart, Karen M. The Eyes of Power: Art and Early Tokugawa Authority. Honolulu: University of Hawaii Press, 1999.
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1589:"［ID:890］ 三十六歌仙画帖 ： 収蔵品情報 | 収蔵品データベース | 東京藝術大学大学美術館 The University Art Museum, Tokyo University of the Arts"
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Guth, Christine. Art of Edo Japan the Artist and the city, 1615–1868. New York: H.N. Abrams, 1996.
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In 1634, Mitsuoki relocataed from Sakai, Osaka prefecture to the capitol at the behest of
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Munsterberg, Hugo. Arts of Japan An Illustrated History. Boston: Tuttle Publishing, 1957.
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Tosa Mitsuoki - Flowering Cherry and Autumn Maples with Poem Slips - Google Art Project
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Minamoto, H. An Illustrated History of Japanese Art. Japan: Kyoto K. Hoshino, 1935.
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333:) that would be read from right to left with the accompanied story, sliding doors
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1593:東京藝術大学大学美術館 The University Art Museum, Tokyo University of the Arts - 収蔵品データベース
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Tosa Mitsuoki succeeded his father, Tosa Mitsunori (1583–1638), as head of the
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Mitsuoki Tosa - Portrait of Hojo Ujinaga - 2013.71 - Detroit Institute of Arts
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1080:吉田,友之. 桑実寺縁起. "続日本絵巻大成13 桑実寺縁起・道成寺縁起". Ed.小松茂美. 東京: 中央公論社, 1982. 122–132.
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Cunningham, Michael R. (1984). "Byōbu: The Art of the Japanese Screen".
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Cunningham, Michael R. (1984). "Byōbu: The Art of the Japanese Screen".
259:, when he was elevated to the title of the edokoro azukari,"head of the
1404:. University of Michigan Center for Japanese Studies. pp. 130–167.
1524: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。
1086:千野, 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
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1308:(3rd ed.). New Haven: Yale University Press. pp. 210–11.
1032:. New York, New York: Harry N. Abrams, Inc., Publishing. 30, 65–67.
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Lillehoj, Elizabeth,Screech, Timon. "Owning Edo-Period Paintings".
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314:
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Bridge of dreams: the Mary Griggs Burke collection of Japanese art
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1234:. University of Michigan Center for Japanese Studies. p. 129.
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Mitsumochi (光茂) (1496 – ca.1559) 12th Generational Head of Family.
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Tosa school (Japanese painting) (Britannica Online Encyclopedia).
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Paine, Robert T. The Pelican History of Art. Penguin Books, 1975.
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193:
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Phillips, Quitman Eugene (2000). "Basic Operations and Agency".
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Phillips, Quitman Eugene (2000). "Basic Operations and Agency".
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Mitsumoto (光元) (fl. 1530–1569) 13th Generational Head of Family.
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990:. Stanford, California: Stanford University Press, 2000. 25–37.
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Kano Tan'yu - Phoenixes by Paulownia Trees - Google Art Project
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1595:(in Japanese). Tokyo University of the Arts University Museum.
1402:. "In Search of the Lifelike: Mitsuoki on the Art of Painting"
1232:. "In Search of the Lifelike: Mitsuoki on the Art of Painting"
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and brought the Tosa school to Kyoto after around 50 years in
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Mitsunari (光成) (1646–1710) 17th Generational Head of Family.
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Mitsuyoshi (光吉) (1539–1613) 14th Generational Head of Family.
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Mitsunori (光則) (1583–1638) 15th Generational Head of Family.
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Mitsunobu (光信) (1434–1525) 11th Generational Head of Family.
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Mitsuoki (光起) (1617–1691) 16th Generational Head of Family.
1443:"Bonhams : Tosa Mitsuoki (1617-1691): Ono no Komachi"
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Phillips, Quitman Eugene (2000). "Documenting Practices".
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Phillips, Quitman Eugene (2000). "Documenting Practices".
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The University Art Museum - Tokyo University of the Arts
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923:. Warren, CT: Floating World Editions Inc, 2007. 23–51.
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for the court. In 1654, Mitsuoki succeeded his father,
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Birds, Beasts, Blossoms, and Bugs: The Nature of Japan
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Fujiwara Yukihiro, Tosa Shogen (藤原 行広) (fl. 1406–1434)
1104:
Paine, Robert Treat; Soper, Alexander Coburn (1981).
1077: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
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1608:"Flowering Cherry and Autumn Maples with Poem Slips"
40:Painting of Tosa Mitsuoki by Tosa Mitsunari in the
921:Acquisition: Art and Ownership in Edo-Period Japan
788:Flowering Cherry and Autumn Maples with Poem Slips
1541:. Tokyo University of the Arts University Museum.
1467:. Tokyo University of the Arts University Museum.
1162:東京, ブリュッケ, 星雲社, 2010. 170-177. ISBN 9784434145834
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986:Phillips, Quitman. "Circumstances of Painting".
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266:bureau". The Tosa-ha prospered throughout the
213:, November 21, 1617 – November 14, 1691)
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1331:The Practices of Painting in Japan, 1475-1500
1252:The Practices of Painting in Japan, 1475-1500
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996:The Practices of Painting in Japan, 1475-1500
988:The Practices of Painting in Japan, 1475-1500
954:The Practices of Painting in Japan, 1475-1500
1136:新潮世界美術事典(Shincho Encyclopedia of Wordld Art)
242:
53:edokoro azukari, Head Imperial Court Painter
1553:"hanging scroll; painting | British Museum"
1372:The Bulletin of the Cleveland Museum of Art
1038:The Bulletin of the Cleveland Museum of Art
251:. Mitsunori began painting ceremonial fans
1425:"Quail and Millet - DMA Collection Online"
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381:Kashiwagi, Genji monogatari, Tosa Mitsuoki
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1028:Stern, Harold. "Edo and Modern Periods."
649:Taigan Historical Museum, Sun Collection
1514:Taigan Historical Museum, Sun Collection
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1083:宮島, 新一. 日本の美術247 土佐光信と土佐派の系譜, 至文堂. 1986.
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1216:. Japan: Tokyo University of the Arts.
371:Tosa Mitsunori Genji-Monogatari Detail
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1571:"C0077438 屋島宇治川合戦図屏風 - 東京国立博物館 画像検索"
1294:. 東京: 東京美術, 2002. ISBN 4-8087-0716-0
278:
13:
1461:"C0020178 十二ヶ月歌意図巻 - 東京国立博物館 画像検索"
1400:Literary and Art Theories in Japan
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1230:Literary and Art Theories in Japan
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882:1352–1389) Founder of the Tosa-ha.
854:Arts in Edo during Mitsuoki's life
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764:Album of Thirty six Immortal Poets
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1688:
1622:
1535:"C0087552 源氏物語図屏風 - 東京国立博物館 画像検索"
1485:. The Metropolitan Museum of Art.
1306:The art and architecture of Japan
1107:The Art and Architecture of Japan
712:Mushrooms Skewered on Bamboo Twig
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801:Tosa sakon shogen Mitsuoki hitsu
724:Tosa sakon shogen Mitsuoki hitsu
664:Tosa sakon shogen Mitsuoki hitsu
643:Tosa sakon shogen Mitsuoki hitsu
569:Tosa sakon shogen Mitsuoki hitsu
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1185:Studies in the History of Art
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1059:Studies in the History of Art
670:Yamanashi Prefectural Museum
465:124.14 × 69.85 × 2.54 cm
1606:Mitsuoki, Tosa (1649–1686).
1503:. Detroit Institute of Arts.
1304:Paine, Robert Treat (1981).
878:Fujiwara Yukimitsu (藤原 行光) (
410:Phoenixes by Paulownia Trees
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1614:. Art Institute of Chicago.
902:Bibliography and references
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840:Tosa School and Kanō School
795:2 x 6 Panel Folding screens
304:Mitsuoki reinvigorated the
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1497:"Portrait of Hojo Ujinaga"
576:Metropolitan Museum of Art
495:Tosa sakon shogen Mitsuoki
468:Tosa sakon shogen Mitsuoki
337:and folding screen panels
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1479:"Egrets and Cotton Roses"
1339:10.1515/9781503617773-008
1260:10.1515/9781503617773-006
1113:. Yale University Press.
1004:10.1515/9781503617773-008
962:10.1515/9781503617773-006
612:Detroit Institute of Arts
317:(名所絵), the four seasons,
243:Restoring the Tosa School
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1672:People from Sakai, Osaka
1577:. Tokyo National Museum.
808:Art Institute of Chicago
593:Portrait of Hojo Ujinaga
505:Ishiyama-dera engi emaki
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321:(四季絵), bird-and-flower,
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1431:. Dallas Museum of Art.
556:Egrets and Cotton Roses
329:(掛け物), or handscrolls (
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745:6 panel folding screen
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683:6 panel folding screen
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597:Ink and Color on paper
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1559:. The British Museum.
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757:Tokyo National Museum
716:Ink and Color on Silk
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695:Tokyo National Museum
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549:Tokyo National Museum
532:Ink and color on silk
528:Song of Twelve months
486:Ink and Color on Silk
459:Ink and Color on Silk
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42:Kyoto National Museum
1637:at Wikimedia Commons
475:Dallas Museum of Art
1134:Shinchosha (1985).
748:155.1x365.4 (panel)
686:100.7x286.0 (panel)
540:Volume 2 29.0x663.5
538:Volume 1 29.0x665.0
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1575:webarchives.tnm.jp
1557:The British Museum
1539:webarchives.tnm.jp
1465:webarchives.tnm.jp
1333:. pp. 62–92.
1254:. pp. 13–24.
998:. pp. 62–92.
956:. pp. 13–24.
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345:(AD 960–1279) and
249:Emperor Go-Mizunoo
1667:Japanese painters
1633:Media related to
1483:www.metmuseum.org
1348:978-1-5036-1777-3
1315:978-0-300-05333-3
1269:978-1-5036-1777-3
1120:978-0-300-05333-3
1013:978-1-5036-1777-3
971:978-1-5036-1777-3
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1101:
1074:
1053:
1025:
983:
455:Quail and Millet
446:Current location
425:
424:
352:
351:
310:Muromachi period
279:The Art Workshop
237:Muromachi period
217:Japanese painter
214:
212:
211:
131:
128:14 November 1691
112:21 November 1617
111:
109:
97:Personal details
83:
71:
62:
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16:Japanese painter
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1447:www.bonhams.com
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1210:土佐, 光起 (1690).
1208:
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860:Tokugawa Ieyasu
856:
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828:
826:The Tosa School
798:144x286 (panel)
539:
423:
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206:
201:
178:
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157:Tosa Mitsuchika
133:
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24:
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5:
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1677:Court painters
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1623:External links
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1397:Makoto, Ueda.
1389:
1378:(7): 223–232.
1362:
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1296:
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1227:Makoto, Ueda.
1219:
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1138:. Shinchosha.
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1044:(7): 223–232.
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719:Hanging scroll
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437:Dimensions(cm)
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355:Tosa Mitsunori
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273:Tosa Mitsunari
264:court painting
257:Tosa Mitsunori
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173:Tosa Mitsunori
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152:Tosa Mitsunari
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132:(aged 73)
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1635:Tosa Mitsuoki
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741:
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704:Ch42 nioumiya
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535:2 part scroll
534:
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358:Tosa Mitsuoki
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239:(1338–1573).
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204:Tosa Mitsuoki
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190:Japanese name
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23:Tosa Mitsuoki
20:
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1160:南北朝・室町時代の絵巻物
1159:
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1129:
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857:
843:
829:
779:17th Century
753:17th Century
727:17th Century
691:17th Century
667:17th Century
646:17th Century
585:MET DP700742
572:17th Century
566:118.5 × 56.3
471:17th Century
415:
409:
403:
361:Kano Tan'yu
347:Yuan dynasty
343:Song dynasty
303:
291:
282:
246:
221:
203:
202:
197:
130:(1691-11-14)
82:Succeeded by
59:
1662:1638 deaths
1657:1617 births
1501:www.dia.org
1429:www.dma.org
492:73.3 x 31.3
400:Kano Tan'yu
294:Kanō school
288:After Death
224:Tosa school
70:Preceded by
1651:Categories
1449:. Bonhams.
1292:すぐわかる日本の絵画
1191:: 78–102.
1091:References
1065:: 78–102.
603:127.2x56.4
498:17 Century
108:1617-11-21
1357:246265535
1278:246248320
1111:(preview)
1022:246265535
980:246248320
640:75.2x31.5
440:Signature
431:Technique
331:emakimono
64:1654–1681
60:In office
1384:25159871
1197:42620404
1158:千野, 香織.
1071:42620404
1050:25159871
874:Ancestry
868:Nagasaki
631:portrait
327:kakemono
315:meisho-e
306:Yamato-e
261:Imperial
198:Tosa(土佐)
188:In this
175:(father)
145:Children
1290:守屋,正彦.
847:ukiyo-e
833:Daimyōs
804:1654-81
771:booklet
608:1670-81
545:1664-68
517:1655-81
510:4 parts
323:kachō-e
319:shiki-e
194:surname
1382:
1355:
1345:
1312:
1276:
1266:
1213:本朝画法大伝
1195:
1142:
1117:
1069:
1048:
1020:
1010:
978:
968:
858:After
659:Scroll
449:image
434:Format
335:fusuma
215:was a
192:, the
166:Parent
1612:Artic
1380:JSTOR
1353:S2CID
1274:S2CID
1193:JSTOR
1067:JSTOR
1046:JSTOR
1018:S2CID
976:S2CID
948:2009.
428:Title
421:Works
339:byobu
300:Style
253:sensu
232:Kyoto
228:Sakai
210:土佐 光起
139:Japan
135:Kyoto
119:Izumi
115:Sakai
1343:ISBN
1310:ISBN
1264:ISBN
1140:ISBN
1115:ISBN
1008:ISBN
966:ISBN
443:Year
125:Died
102:Born
29:土佐光起
1335:doi
1256:doi
1000:doi
958:doi
880:fl.
864:Edo
268:Edo
196:is
1653::
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1537:.
1499:.
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1463:.
1445:.
1427:.
1376:71
1374:.
1351:.
1341:.
1272:.
1262:.
1240:^
1189:38
1187:.
1167:^
1063:38
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1042:71
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137:,
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1258::
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1024:.
1002::
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960::
207:(
200:.
110:)
106:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
