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The Hara School was a Kyoto-based Japanese painting atelier established in the late Edo era, which continued as a family-controlled enterprise through the early 20th century. The Hara artists were imperial court painters and exerted great influence within Kyoto art circles. They contributed paintings to various temples and shrines, as well as to the Kyoto Imperial Palace. ==Late Edo period painting schools== Artistic production in Edo period Japan was dominated by ‘schools,’ which were professional workshops organized along patriarchal lines. They had the twinned goals of training painters to faithfully continue school techniques, and of producing art to satisfy patrons. Art was largely the domain of private patrons and connoisseurs, its manufacture being commission-driven by nobles, ''daimyo'', temples and shrines.〔Rimer 2003, xviii〕 Only late in the nineteenth-century did art become accessible to the public, with the 1872 opening of Japan’s first museum. Schools were characterized by an extended family structure based on heredity through birth or adoption, and were modeled on the medieval guild system.〔Gerhart 2003, 9〕 Workshops also took inspiration from the ''edokoro'',〔“At the imperial court, an atelier known as the ''edokoro'' had been in existence since at least the ninth century, producing paintings for private and official commissions. In later centuries, such offices were also sponsored by major temples and shrines, military governments, and retired emperors.” Quoted in Lillehoj 2004, 217〕 government-run painting offices. The late Edo atelier system had four features: the primacy of blood line, the hereditary transmission of skill from male to male, the positioning of the oldest male as single head, and alliances with other workshops through contract or marriage.〔Gerhart 2003, 11〕 Artistic ability was defined as a combination of ''shitsuga'' (質画) and ''gakuga'' (学画): innate and learned painting skill.〔Kono 1993, 24〕 Pupils entered workshops as children, based not primarily on talent, but on status.〔Jordan 2003, 40〕 Some studios strictly policed students’ leisure activities, such as drinking and socializing, which was facilitated by the fact that pupils traditionally lived-in as ''uchi deshi''.〔Jordan 2003, 47〕 Study was a serious, time-consuming endeavor: “the successful student spent years in training, a time during which he developed physical stamina, self-discipline, perseverance, the ability to earn for himself, facility in technical skills, and a good understanding of the aesthetics and spiritual considerations required of a dedicated painter.”〔Jordan 2003, 42〕 Most studied for over ten years before being allowed to graduate, if they were allowed to graduate.〔Jordan 2003, 57〕 Apprenticeship began with menial tasks and “unobtrusive observation.”〔Jordan 2003, 43〕 As pupils worked their way up to the rank of head students (''deshi gashira''),〔Jordan 2003, 46〕 their relationship to their mentors was comparable to that of retainer to lord.〔 Though seniors were usually referred to as ''sensei'' (teacher), some pupils addressed their instructors as ''tonosama'', an honorific title for a feudal lord.〔 Though apprentices were there to learn, they also constituted a valuable labour pool, with their artistic output contributing financially to the school.〔Jordan 2003, 52〕 Typically, the head would first outline in detail the overall composition, and pupils would then divide up the supplementary tasks.〔Sasaki 1993, 48〕 This benefited both school and patron, allowing the former to take on large scale commissions,〔 and ensuring the latter timely completion of their orders under the ultimate accountability of the house head.〔Sasaki 1993, 57〕 The methods of craft transmission were based on those established in China, and consisted of highly methodical copying of sample images until they could be adequately reproduced without looking at the model.〔Sasaki 1993, 56〕 This was practiced in a number of ways, including through use of ''edehon'', “pictorial models containing sketches of such things as ideal forms, subjects, and objects that are copied repeatedly for study purposes in learning painting.”〔Jordan 2003, 33-34〕 This was employed ardently within the Kanō School, which wanted to ensure its tenets were not diluted through its wide network of painters.〔 Consistency was also attempted through written manuals detailing such trade secrets as pigments and brush technique.〔Sasaki 1993, 47〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Hara school of painters」の詳細全文を読む スポンサード リンク
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