Kano Naganobu
Insects among Grasses

Hanging scroll
Color on silk
96,3cm×37,5cm(179cm×49cm)

Condition

This exceptional pair of screens is breathtaking in the refinement of its brushwork and the delicacy of its colors. A rich variety of flowering plants bloom across the composition, while butterflies drift gracefully among the blossoms. At first glance, the scene evokes the impression of a beautiful summer garden unfolding before the viewer. Yet rather than aiming for strict naturalism, the painting reveals the artist’s unwavering pursuit of pictorial beauty, evident in every corner of the composition.

On the right screen, tall poppies rise vertically toward the sky. A generous area of empty space occupies the left side of the diagonal axis that runs from the upper right to the lower left, while the placement of poppy blossoms, a grasshopper, and a large butterfly along this diagonal creates an elegant sense of balance. In contrast, the left screen is animated by hollyhocks in white, red, and pink, whose blossoms spread in a circular rhythm from the lower left toward the upper right, filling the picture with vibrant energy. Although both screens depict the flowers of summer and share harmonious proportions of empty space and a unified palette dominated by red, white, and pink, their contrasting compositional structures create a subtle and pleasing visual rhythm.

A closer examination reveals brushwork of extraordinary refinement. The flowers are rendered either without outline or with the finest of contour lines, conveying the softness, rounded forms, and delicate translucency of the petals. Gentle gradations of color further enhance their three-dimensional presence. This exquisite technique closely recalls Sketches of Flowers (Sōka Shaseizu-maki, Tokyo University of the Arts), one of Naganobu’s finest surviving studies from nature. The vivid freshness of the blossoms clearly reflects the artist’s deep commitment to direct observation.

At the same time, the arrangement and depiction of the Taihu rock, insects, and butterflies demonstrate the influence of Chinese flower-and-insect painting. Naganobu himself authenticated the celebrated Chinese masterpiece Flowers and Insects, traditionally attributed to Xu Songsi and now in the Tokyo National Museum. It is likely that he studied such classical works closely, learning from them the elegance of their compositions, the harmony of their colors, and the subtle manner in which insects and butterflies enhance the beauty of flowers.

Although the minute details are rendered with the freshness of direct observation, this painting transcends the character of a simple botanical study through its sophisticated composition and carefully orchestrated color relationships. Naganobu appears to have absorbed these pictorial ideals from classical masterpieces, including the Flowers and Insects painting formerly preserved in the Asano family collection. The work is remarkable in that, when viewed up close, it possesses the convincing vitality of nature, while from a distance it transforms into an idealized pictorial world. This masterful balance between faithful observation and artistic idealization is among its greatest achievements.

Naganobu emerged as one of the leading figures responsible for revitalizing the Kano school and produced numerous paintings of flowers, birds, and seasonal plants. It is easy to imagine that feudal lords eagerly sought his elegant flower paintings. Among the surviving examples, this work is exceptionally rare, revealing the youthful artist’s determination to unite meticulous observation with the timeless ideals of classical painting through refined and delicate expression.

The painting was formerly owned by Koizumi Sakutarō, a politician and businessman from Shizuoka who was renowned for his appreciation of painting and calligraphy. Carefully preserved over generations, this masterpiece by Naganobu continues to captivate modern viewers with its quiet elegance, exquisite refinement, and enduring beauty.

Artist

1775～1828
He was a Kano school painter. He studied painting under his father. Eishin participated in the creation of the screen painting of Edo castle. He was conferred Hogen (法眼: the rank among the Buddhist monks) in 1802. He succeeded the head of family in 1806. He specialized in ectype and studied ancient Chinese and Japanese painting.