In the eleventh year of astronomy (1543), Yongde was born in the mountain city of Kyoto, the shogunate painter Kanno Ya. As a parent, my grandfather Keno Yuanxin was overjoyed and personally named this lovely eldest grandson "Genjiro", which represented how much his grandfather Yuanxin expected of him. "It seems that this eldest grandson is his best heir." (medically called "atavism")
Xuanlang's father, Kanno Matsushiro, is not a very good painter. His name in history is more because he is the third generation descendant of Jian Ye Painting School. However, Jian Ye Painting School is the largest painting school in Japanese painting history. It was founded at the end of15th century and lasted for more than 400 years until the end of19th century, which had a profound influence on Japanese painting. The founder can be traced back to Xiao Su Zong Exhibition, and the founder is Jian Ye Zhengxin. He is a painter who connects the past with the future, and he has a deep understanding of Han painting and Yamato painting. On this basis, he can combine various techniques with popular themes, get rid of old ideas, and make his paintings completely adapt to the form of Japanese murals from the visual effect. His son Keno Yuanxin was called Daganjie, and later he was called "the eye of the ancient law". It is said that he married the daughter of Hiroichi Sasaki, the leader of the Tosa school of painting, which enabled him to learn the secret meaning of the Tosa school-Yamato painting techniques on the basis of the Jian Ye school of Chinese painting. His work, which was first recorded in the literature, is The Origin of Ma 'an Temple, which was drawn in 15 13. Three years later, when he presented fans to the Ashikaga shogunate, he might have obtained the position of imperial painter, and when his eldest grandson Shiro was born, he was also responsible for the production of forbidden clothes paintings, which shows that he has deep roots with the imperial court and shogunate.
In the 13th year of astronomy (1545), Jian Ye nobuyuki was awarded the highest position as a painter, and the young Xuanlang spent his second birthday in a family celebration.
During the seven years from the seventh year of astronomy to the fourteenth year of astronomy, Yuan Xin and his disciples worked tirelessly to make murals of obstacles in the wishing temple of Ishiyamamoto. At the same time, they led many disciples to draw fan paintings, which met the needs of all walks of life, including citizens. At that time, people pushed the fan painting of Jian Ye School to be "the best in the world". Yuan Xin actively absorbed various styles of China's paintings in Song, Yuan and Ming Dynasties, became familiar with Yamato's painting techniques, got rid of the shackles of Buddhist art view on his creation, and created a fresh and elegant decorative mural style. This style has become a model of Kano school's study and the prototype of the age barrier mural in Antutao Mountain. These outstanding achievements make him worthy of being an important painter in the new era. The flower-and-bird paintings in Daxian Courtyard of Dade Temple and Lingyun Courtyard of Zhenshanmei Temple are both representative works of Yuan Xin style. In addition, there are Eight Scenes of Xiaoxiang (now hidden in Donghai Temple of Miaozhen Temple in Kyoto) and The Origin of Liang Qing Temple (now hidden in Liang Qing Temple in Kyoto).
With such a deep family background, later researchers can't help but write malicious comments on Yongde's "being born with colored pens". Moreover, Yongde's painting genius was exposed very early. When he was young, he often followed his grandfather and father, waited on painting cases and felt the influence of his elders (especially his grandfather).
Twenty years later (1552), the shogunate general Ashi returned to Kyoto, and Yuanxin brought his grandson Genshiro to pay a New Year call to the general, which made Genshiro get some important creative opportunities when he was still very young. Grandpa Yuanxin's painstaking training in childhood made him unforgettable all his life, and even in middle age, he often mentioned it to people.
In the second year of Lu Yong (1559), Xuanlang was renamed Zhou Xin (the Jian Ye family took "Xin" as a generic term), and the title was Yongde. Yuan Xin commented on his love for Sun, who is already proficient in painting, but far from being fully tapped. "The future of Kanye School depends on the cultivation and cultivation of Yongde." Also in that year, Yuanxin passed away. Without his grandfather who guided him in front, Yongde could only grope his way forward alone.
In the ninth year of Lu Yong (1566), he participated in the production of the barrier mural of Dade Temple Light-gathering Institute with his father Matsuno Xin, and his talent was first revealed, which was well received. His father believed in tiger murals and ape partition paintings, and Yongde painted sixteen flowers and birds. For such an arrangement, I want to believe that I can't compare with the talent of my son Yongde. Fortunately, I believe that I am a cow, not a tiger. I feel like licking my calves, but I don't feel like adding. My son's achievement is the success of the wild hunting faction, and the prosperity of the faction is the first important. Yongde washed away the old-fashioned imitation atmosphere in the past, and developed from procedural painting treatment in religion or literature to popular description of social life. It is worth noting that the scholar Gao Shi in the painting has changed from the central figure in the past to a unique landscape figure.
After Nobunaga entered Beijing, Yongde got to know this troubled hero as a shogunate painter, and his heroic works fascinated Nobunaga (this is also the reason why Biography of Taige was determined as a Beijing official).
In June of the second year of Tianzheng (1574), Nobunaga presented the screen of "Luo Zhong Luo Wai Tu" drawn by Yongde as a diplomatic gift to Shangshan Qianxin. This is a powerful work showing Yongde's painting style, which has a new sense of the times (at that time, the real life of people in Jingzhimachi was based on this, and the picture of the city in Nobunaga's Wild Hope-Lan Century was also based on this), which coincides with Nobunaga's aesthetic taste. Therefore, two years later, when Nobunaga began to build wall murals in Antu, Yongde led a group of people to undertake this official task. Through the production of this large-scale obstacle mural, the foundation of the luxurious and magnificent obstacle mural in Antu Taoshan was laid. After that, Yongde's fame soared. He also made extensive friends with the powerful Wu family, and the painting name flourished for a while.
After the change of Benneng Temple, Yongde was quickly sheltered by Yuchai Hideyoshi, and the magnificent ostentation and extravagance really suited Hideyoshi's needs. The so-called "hit it off" refers to this situation.
In the 13th year of Tianzheng (1585), Yongde was ordered to make a large mural of Osaka Castle barrier. The following year, he was responsible for making murals of the Giant Le Di and the Miyamachi Palace. Everything is so smooth and perfect. Compared with those painters who are full of ups and downs and grievances, Yongde's fate must make them crazy with jealousy.
In the 16th year of Tianzheng (1588), the mural painting of Tian Rui Temple was restored, and then the drawing of the caisson in the pagoda of Tokuji Temple was completed. The following year, he led his disciples to complete a number of large-scale murals, which were very creative. No matter in quantity or quality, contemporary painters can't match it. He creatively developed Jian Ye Yuanxin's large-scale decorative paintings, and combined expressive pictures with decorative techniques to determine Yongde's painting style. This painting style adapted to the show off of the military regime that day, and the gorgeous decorative techniques laid the foundation for the Japanese barrier mural style, and its influence far exceeded the boundaries of the painting school, affecting many painters in the Antu Taoshan era and later. Therefore, it is very appropriate to call Yongde "the master of barrier murals". His main works handed down from generation to generation include Lion Screen in Tang Dynasty and Loose Soil Screen (a first-class national treasure, now in Tokyo National Museum).
In the eighteenth year of Tianzheng (1590), Yongde died at his home in Kyoto at the age of 48, leaving the most dazzling trace in the sky of the Warring States Period.