Motoaki Kono - Kano Sansetsu and the design of horses

Motoaki Kono

Kano Sansetsu and the design of horses
Museo Stibbert, Firenze, 24 novembre 2001.

In the Stibbert Museum is preserved a Scroll of horses of great interest attributed to Kano Sansetsu (1589-1651).

The Scroll is entirely dedicated to the various types of horse of which are drawn 33 examples; even if there is not the seal of the author the style is clearly that of Sansetsu.

In the Scroll is noticed a strong sensibility towards the forms adopted in the art of Sansetsu, that is the sensibility of a virtuoso of his art; therefore it is very probable that the Scroll is of Kano Sansetsu.

Since ancient times, the horse constituted an important artistic motif in art. For example, the fresco of the inside room of the funeral tumult of Takehara is well known (prefecture of Fukuoka), representative a typical example of funeral decorative art. It is said that the drawing that has been represented, has been performed on the wake of a Chinese legend according to which a filly was united with a dragon, giving a horse endowed with an extraordinary strength. In this drawing it has been in relief also the similarity between the figure of the dragon and that of the winged horses discovered in the Korean archaeological sites (currently it can be admired in the National Museum of Korea). Nevertheless, in the antechamber of this funeral room, other two legendary animals are drawn, the Susaku (a typology of the phoenix from the red color) and the Gembu (a kind of turtle-snake), therefore according to some experts the drawing in matter would belong to a representation of the" Four divine animals" that symbolize the four directions. Anyway it is interesting to notice that the men of the epoch projected in the figure of the horse a sacred image. The period of the funeral decorations of the Kofuns (tumults) [V and VI century], corresponds in China to the Northern and Southern period of the Two Dynasties. Compared to an objective style that is noticed in the landscape drawinges with the technique of the perspective of the Chinese painters of the epoch, the fresco of the tumult of Takehara gives at first sight the impression of an archaism that almost grazes roughness, but this can be considered as a primordial characteristic element that later would have given life to one of the peculiar expressions of the Japanese art: the simplicity.

In the Period Asuka and Hakuho in which the influence of the Chinese art was very present, also in Japan the representation of the horse becomes more realistic. For example," The Bottle with the dragon neck " (treasure of the Horyuji temple, currently conserved in the National Museum of Tokyo) draws origin as to form from the Persian bottle and introduces an incision of a winged horse. The Chinese dragon and the winged horse, that remind us at the Pegaso of classical tradition, create an extraordinary harmony. Initially it was believed that the Bottle of the Horyuji Temple was of Chinese origin, but from a certain similarity between the form of the neck of the dragon’s head and some statues in bronze of Buddha of the same period, it has been possible to formulate the hypothesis that this Bottle was created in Japan. Even if Japanese, the influence of the Chinese art is undeniable, otherwise so realistic a representation of a horse would not have been possible. If we compare it with a fresco of a horse found in a grave of the Dynasty Tan'g (630 AD) we are surprise by the similarity between the two figures. It can be understood that the fundamental form of the horse in the oriental art is already well delineated in that period.

Among the finds of the Nara Period, having as subject the horse, there is an" Ema" (ex-vote) found in the residence of the Prince Nagaya in the ancient capital of Nara (currently conservated in the Center of Cultural Researches of Nara).

In Japan since ancient times it was the custom to give horses to the Shintoist Sanctuaries; these horses were later replaced, with simulacris in wood or paper, bidimensional or three-dimensional. This custom was subsequently simplified, simply representing figures of horses on a panel. It is supposed that the donation of horses has a clear relationship to a belief according to which the ancient horses would take away with the malignant influences.

This " Ema" has many characteristics in common with the discovery in the excavations of Iba (prefecture of Shizuoka). Also the distinctive lines of these drawinges are derived from the Chinese tradition, as results from the comparison with" The hunting's scenes" drawn on the biwa (musical tool to ropes) conservated in the Shosoin (Imperial Deposit) of Nara. This drawing on the biwa even if at first sight it seems of Chinese origin, in reality it could be Japanese, created on the Chinese model .This shows how strong the relationship was between the Chinese and Japanese art in that Period. Worthy of note is the fact that in the aforesaid Ema" realistic elements can be recognized even if in their primordial form. In comparison to the drawing of the Chinese horse, the Japanese horse of the" Ema" is more powerful, almost fat, and therefore resembles the autochtonous equine race. Here, I would like to notice the realism adopted by the author. As it regards the first half of the Heian Period, the figures of the Sun and the Moon are distintive among the 12 divinity keepers of the Saidaiji Temple. The 12 divinity keepers (Juni-Shinsho) consist in 8 keepers that protect as many directions and 4 that protect the Sky, the Earth, the Sun and the Moon. In the esoteric Buddhism these divinities protect the place of cult. These 12 divinities of the Temple Saidaiji show a grandiose structure and a strong sense of volume, characteristics found also in the Buddhist sculpture of the same Period. The peculiarity of the first 12 divinities of the Saidaiji if we compare these works to other 12 divinities executed around 1127 and conserved in the Kyoogokokuji Temple, in which a high degree of refinement may be noticed. The horses of the divinitiy keepers of the Sun and the Moon are stately. Usually, the divinity keeper of the Moon is seated on three geese, but in the case of the Saidaiji Temple it is on the horse; this shows that we are still in the phase in which the iconografic elements have not yet been codified. Nevertheless, can we not perhaps notice the symbolic importance of the horse here? The divinity keeper of the Sun, that has origin in the cult of the Sun in ancient India, has as its animal the horse, and here we notice that also the keeper of the Moon is provided with it; therefore these could be fundamental elements for the importance of the symbolism of the horse.

Toward the middle of the Heian Period painting develops in the Yamato-e style (Yamato-e, painting of Japanese style) characterized by autochtonous subjects and by a delicate style. Since the painting Yamato had an intimate relationship with Japanese poetry, its evolution went together with the poetic ideal, giving origin to the Painting of the Twelve Months (Tsukinami-e), Painting of the Four Seasons (Shiki-e), and that of the Famous Places (Meisho-e). This type of painting was generally drawn on screens and on the sliding doors of the aristocratic buildings; unfortunately we don't have any visual testimony of it and we can only imagine the style through the drawinges found in the Descent of the Buddhist Divinities (Raigozu) of the Padiglione of the Phoenix of the Byodoin (1053). In this painting horses pasturing in the Japanese countryside are vividly represented. Here the vigorous form of the horses of Chinese origin has suffered a change to a more delicate style. The subjects and the style of Chinese origin was called " Kara Painting." The Senzui Byobu" Screen of Mountain and Water", of the Kyoogokokuji Temple (currently conserved in the National Museum of Kyoto) represents better this Chinese style. Here we notice the vigorous lines of the equine forms of continental origin, even if certain changes forwards a Japanese style may be noticed.

Surely these works have as prototypes the drawinges of horses executed by the painter in the service of the Imperial Court, Kose no Kanaoka, was back to the first half of the Heian Period. Unfortunately, about the works of Kanaoka we have information only in the collection of anecdotes "Kokon Chomonju ".

The drawing of the most beautiful horse of the second half of the Heian Period is found in the Second Scroll of the Chojugiga (it deals with a collection of Scrolls, conserved in the Kozan Temple). In comparison to the First Scroll of the collection, in which the animals are personified, in the Second Scroll it could be noted a more realistic style, even if the intent of the author is not very clear. The Second Scroll begins really with the horses; this shows the importance of this animal in the human life. Some interesting elements have been highlighted, showing that also in the second half of the Heian Period the Chinese influence was still very much felt.

Among the works of the Kamakura Period (1185-1333), first of all we have to notice a work with the title " The Healers of the Horses" in which 10 legendary Japanese and Chinese veterinarians are represented together with some figures of horses. In the same work 17 examples of medical herbs are reproduced also. It is supposed that this work goes back to the first half of the XIII century. Probably, this work was executed more for a practical purpose rather than for an artistic one. During this Period the life-like painting style was in fashion; this technique was developed from the tradition of the Yamato Painting and was applied to the drawinges of animals; the" Healers of the Horses" can be considered one of the best realizations. Moreover we must mention the monk Hogen, active in the beginnings of the XIV century, who was known as a great master in the drawing of horses and oxen. Also in this case we may recognize perhaps some influences of the Chinese tradition that came before the Yamato Painting.

Among the realizations of the Muromachi Period (1392-1568), a series of works, having as subject the Stables, should be noticed; among these it is important to underline " The Screen of the Stables" (Umayazu - byobu). It is one of those works that show the customs of the Samurai and it proves well the importance of the horse in the warrior society. There are two types of screens (byobu); in the first type the stables occupy the whole surface, and every shutter reproduces a horse; in the second type, besides the stables and the horses, are also the men who are playing the game of " Go" (Japanese Draughts), or the chess. This second type gives an excellent picture of the customs of that time.

From the end of the Muromachi Period to the beginnings of the Edo Period (1603-1868), so many works have been produced in frame (Gaku) displaying sacred horses (Shinba). Important among these it is a work commissioned by Toyotomi Hideyori (1593-1615) showing horses, and given to a Temple with the prayer for fortunes and glories in battle. The horse was surely the most proper motive for the votive prayers of the Samurai. Obviously, at the base of these actions there was the tradition of the" Ema" which originally prayed for the prosperity of the agricultural communities.

Another work worthy of note is by Kano Motonobu (2° Master of the Kano School, 1476-1559) in which the harmonious fusion between the Chinese and Japanese styles is evident.

Among the works executed during the Momoyama Period (1568-1603) mention must be made at a screen entitled " Hunting the dog" (Inuoumonozu-byobu) by Kano Sanraku (3° Master of the Kano School, 1559-1635). The custom to chase dogs was fashionable with the Samurai, who in this way practiced to shoot with the bow against targets in movement while riding the horse. Of this same subject 15 screens have survived, among which the work of Sanraku is considered the masterpiece for the vivid reproduction of the movements of the riders and the horses.

Among the works of the same Period notice should be made of a screen by the master Unkoku Togan (1547-1618) representing a group of horses. Unkoku Togan, having surely been one of the disciples of Sesshu had tried to imitate the style of his Master.

A very peculiar work of this Period is the" Drawing of the Western Sovereigns riding the horse" (Taisei Oko Kibazu). Two similar works of the same subject have reached us; originally, with great probability, they were decorations of the Aizu Wakamatsu Castle, build in 1592 by Gamo Ujisato (1557-1596) who showed a great interest in the Christian religion. Probably, some contemporary western works were taken as model to execute the paintings of the Aizu Wakamatsu Castle. In one of the two Japanese examples can be recognized Ludovico II of the Sacred Roman Empire, a Turkish Sultan, a Granduca in Moscow, and a Gran Kan of the Tartars. While in the other example we recognize Henry IV of France, a King of Abyssinia and a Shah of Persia, etc. It deals with the greatest masterpiece of the first painting in western style of Japan. It shows the influence of the technique of chiaroscuro color of the western painting, which testifies the wish to give a realistic consistence to the figures of the horses. It was rare that the figures and the horses were reproduced in such a predominant way and perhaps also this is the sign of the influence from the western painting. In one of the two aforesaid works the contrast is also noticed among the Christian religion and the other confessions; without doubt, the work was also executed to propagate purpose to the diffusion of Christianity (Gamo Ujisato was baptized in 1584). Interesting to notice, besides, the contrast between the movement and the immobility of the horses, elements found also in the aforementioned Screens of the Stables.

The tradition of the Japanese equestrian painting which we have considered so far, is present in the work of Kano Sansetsu preserved in the Stibbert Museum. First of all, the tradition of the portraiture of the horses and the oxen, without which the realization of this kind of work would not have been possible. Nevertheless, it is also necessary to remember the influence of the Chinese tradition, as found in the work" The One hundred Horses." In this work 100 different types of horse are represented. It is said that this typology dates from the Period of the Three Dynasties. But the most important work for an analysis of the Scroll of Kano Sansetsu, in my opinion, could be the work" The One hundred Horses" of Fang Yu Lu, even if it is still to be studied in detail.

In one of the miscellaneous Poems of Ota Nanbo (1794-1823), entitled Ichiwa ichigen (" A discourse, a word"), one hundred types of horses are listed, among which some are also well known to us but others almost unknown. Also from other works it is possible to document the existence of paintings or drawings reproducing horses in their various typologies, elements which let us deduce the fashion and the great following this kind of painting enjoyed during the beginning of the Edo Period. From here it is deduced that during this Period the drawing reproducing "The One hundred Horses" was introduced in Japan from the continent; but this fashion of painting was not the only result of the Chinese influence, but for it caused also other changes that now I will expose you.

The birth of the Positivism. During the Edo Period rationality began to prevail on instinct, objectivity on subjectivity and pragmatism on abstract concepts. Neo Confucianism, based on the principle of deep analysis in order to reach perfect knowledge, was adopted as the official ideology by the Shogunate. If on the one hand this ideology justified the Shogunate in its actions, on the other it favoured the rise of a pragmatic spirit. For example, in this Period we assist at the development of a capillary Botanical Science, with the most scientific analysis of the properties of the herbs. And so, we are reminded, as we have said before, about the work" The Healers of the Horses" in which, where among other things, 17 medicinal herbs were illustrated.

When the theme of the One hundred horses was introduced from China, the ground was therefore prepared as an analytical aptitude to the classification of concrete objects had already risen.

The hegemony of the military class. For the Samurai the art of warfare essentially consisted in riding the horse and in the archery (Kyuba no Michi); therefore the horse was the animal that symbolized the warrior status. We have already seen how many works having as subject horse have been produced during the Muromachi Period up to that of Momoyama. Among these works we can include the " Ema" too, while for the Paintings of the Stables we have to use some prudence, given that it could be possible that those stables belonged to the Imperial Court or to the Dignitaries of the same one. But also of these latter examples there are some works which, we are certain, in the mind or in the intents of the authors express the wish to reproduce the stables of the warriors. All these paintings of horses we can classify as paintings of" War Horses", given that those horses were not used for the agriculture, neither for ceremonies of Court or religion. Are horses used by the warriors in the battlefields. These are classifiable in: saddle horses,draught horses and pack horses. Without doubt, the horses reproduced in the aforementioned works are those used for riding. It seems that also the Scroll of Kano Sansetsu reproduces horses of this type. For a completeness of analysis a judgment of experts in war horses should be asked, but in my opinion, the horses reproduced in the Scroll of Sansetsu are nneither draught horses nor pack horses. Therefore, this work, that could be entitled " Gunbazukan" (Scroll of the Horses in Group), belongs to the same typology of the aforementioned works. The subject of the work symbolizes the spirit of the second half of Muromachi Period or rather the" Period of the fighting Countries" (Sengoku Jidai and Momoyama Jidai, 1490-1603 around). Nevertheless, a peculiarity of this work is the complete absence of human figures. Probably, the Samurai, who lived in a closed society, characterized by an iron hierarchy established with rigid rules by the Shogunate, wanted to favor a painting that symbolized a greater rigor, inspired by the Chinese tradition, rather than a lighthearted painting, tied up with the frivolous customs of the daily life. Surely, this fact has some relationship with the choice which the Kano School made they abandoned painting scenes from ordinary life.

The tradition of the equestrian painting in Japan. Even, before the introduction from the continent of painting of the One hundred Horses, the horse motive already belonged to the Japanese artistic repertoire. Above all it is important to underline the tradition of the portraiture of horses and oxen. When the Japanese painters executed the drawings of the One hundred Horses or the Horses in Group, surely they considered this traditional portraiture of animals in mind.

Here I would like to mention a very interesting document regarding the Scroll of Sansetsu. It deals with the Collection of the Writings by Nawa Kasho," Kasho Iko", of 1666. Kasho was a student of Fujiwara Seika (1561-1619), and he was a Confucian scholar of great prestige at that time; moreover, he was also a friend of Sansetsu. In the X Book of the Collection there is a chapter entitled " On the drawing of the various typologies in the colors of the horses", in which we read as follows:

" Since ancient times, it is said that there are 33 typologies of the colors of horses. Nevertheless, neither their names nor their representations have reached us. Kano Sansetsu, the most famous artist of our Age, has found it regrettable that the memory of this typologic classification of the horses is lost. Therefore, Sansetsu himself, asking information of many people and studying very deeply, has executed this work to hand it down to posterity. I congratulate the Master Sansetsu for His noble intent and for His constancy in the job. The intention of the Master was to of hand down such a tradition to posterity, without any purpose of profit. I have decided to entitle this Work" Bamo Doizu" (" Drawing of the various typologies of the colors of the horses"). It is a great enterprise that has the intention of favouring the knowledge of the tradition. I wish that those who admire this Work may understand the importance of the ancient tradition in order to draw knowledge from it for the future. "

Since the author of this passage was a Confucian scholar, these 33 typologies of horses probably derive from the Chinese tradition. Anyway, the strong relationship with the much quoted Chinese tradition, of the One hundred Horses is undeniable. This, in my opinion, it is the most important document for analyzing the Scroll of Kano Sansetsu conserved in the Stibbert Museum.

After having looked at so many works of the equestrian painting, if we examine the Scroll of Sansetsu, we are struck by the ability to give life to a plastic representation of the figures. Above all, it is possible to admire the beauty of the perfect form of every horse. It seems that Sansetsu desired to create the exemplary beauty of the horse even if to the detriment of the loss of movements. The succession of perfect forms creates a spontaneous and natural flow for the whole length ( 8 meters )of the Scroll. This characteristic is also verifiable in other works of Sansetsu. I would like to call Sansetsu" Virtuous, Magician of the plastic forms."

Even if only few works have reached us, Sansetsu was a great Master of the equestrian painting. The most important work of this kind is a" Ema" that we find in the Principal Pavilion of the Kyomizu Temple, in Kyoto. It is a great painting on a wood panel, of notable dimensions (249 cms of height and 356 cms of width). It deals with a stately profile of a harnessed black horse, tied up to a column with the bridles, in the action of rearing up . It is a splendid representation that emits an extraordinary dynamic strength.

Interesting is also the drawing that reproduces the harness; in the green background is reproduced a monkey that moves the shintoist rod against the malignant spirits (Gohei). At the origin of this representation, there is the belief according to which the monkey is considered a protecting divinity of the stables. In fact, in Japan there was the ancient custom to keep a monkey to protect the stables and the horses; during the New Year's eve there was a ceremony during which a painting was posted reproducing a monkey that held the bridles a horse. From this custom had been born a typology of " Ema" reproducing the monkey with a horse. Of other known" Ema" of this type, one for example attributed to Kano Motonobu (preserved always in the Kyomizu Temple). Also the " Ema" of Sansetsu reflects this popular belief, but surely in this case there is also the meaning of a Buddhist concept " Mind of Horse - Heart of Monkey" (Iba Shin'en); the meaning of this concept can be read in this way: as it is difficult to brake the run of the horse and the vivacity of the monkey, in this way it is much arduous to hold back the desires and the human instincts. Probably, Sansetsu has reproduced the figure of a monkey in the harness of the horse not only because it is a protecting divinity of horses, but also it symbolizes that Buddhist concept just mentioned.

In Japan there was also an ancient ritual during which the Emperor gave a horse to the divinities to ask for rain and sun. In the case of rain, the horse had to be black; in the case of the sun, a white horse or a bay. Such custom has survived up to our days. In the Tenma Sanctuary of Higasa District in the city of Nara, to ask rain some black horses are brought and let to race along the inside courtyard of the Sanctuary; and in the case of the sun, it makes the same thing with some bay horses. It is also allowed to replace the true horses with " Ema" panels.

From the end of the Medieval period a custom had developed of giving a couple of" Ema", one reproducing a white horse, the other one black, so that rain and sun may be alternated in a regular way. Of this couple of" Ema" we have an example created by the stepfather of Sansetsu, Kano Sanraku, painted in 1625 and preserved in the Umezu Tenjin Sanctuary, in Shiga. On this work is found the inscription: " With the wish that the prayers be granted", from this, it may be supposed that it doesn't concern only prayers for rain and for sun, but that the ancient popular belief is reflected.

In the harness of the horse in the Sansetsu’s " Ema", there are two heraldic coats of arms, depicted several times along the surface; one is the Buddhist swastica, and the other one is the dragon. The dragon, according to ancient beliefs, provokes the rain, the clouds and the lightnings; therefore its presence is connected with the figure of the black horse through the element of the rain. It is possible that Sansetsu, as he could not represent a white horse to form the traditional couple, has used the Buddhist swastica to symbolize equally the prayer for prosperity. Anyway, Sansetsu has been notably influenced by his stepfather Sanraku, of which so many masterpieces of" Ema." have reached us.

Sanraku was also himself a Master of the equestrian painting. In the work Honchogashi (The History of the Japanese Painting), which manuscript carry the signature of Sansetsu, it is told about Sanraku, that he was, since his tender age, greatly endowed with talent. So much so that one day, Toyotomi Hideyoshi (1536-1598) noticed him while he was drawing a horse in the sand. Struck by his talent, Hideyoshi send him to study as a pupil to Kano Eitoku (1543-1590) and later he became his adopted child. Even if it is a legend, it is interesting that his talent was noted while the drawn subject was a horse. Sansetsu, as we have already said, was greatly influenced by his stepfather Sanraku but the use of the symbolic representation (monkey, dragon, and Buddhist swastica) is not verifiable in Sanraku, and, therefore, it constitutes an interesting peculiarity of Sansetsu personality.

Another drawing (in a private collection) by Sansetsu, not polychrome, but in black and white (Suiboku), representing horses, shows his great talent. Being in black and white, the line assumes a great importance and the movements of the horses are expressed in more marked way. This technique derives from the style of Sesshu, by whom we don't have any certain equestrian paintings, unfortunately. Instead, in the works of his pupil Sesson (1450-1506) we can reconstruct the distinctive characters that with great probability Sansetsu has adopted.

In the work of Sansetsu, entitled" Bashiko", it is once more possible to notice the characters of his artistic personality, which was strongly interested in the horses. The" Bashiko" is a healer of horses of ancient China; the work of Sansetsu reproduces a scene of the legend according to which a dragon, getting to know the fame of this healer, went down from the sky to be treated by him; in the drawing the healer is observing the sky from which the dragon is descending; close to the healer is represented a white horse, seen from the back, reproduced in a perfect way. Since Sansetsu was so pleased to reproduce the subject of dragon too, in this work probably the principal theme was really this fantastic animal; but we cannot ignore his choice of the human figure as the healer of horses.

Another element to be noticed in this Sansetsu’s work is its geometric structure, in this case an isosceles triangle; in his works we often find a geometric structure, that shows us his predilection for an orderly composition; in my opinion the geometric style of Sansetsu, is expression , in a structural level, of his sensibility toward the perfect forms. After all, Sansetsu was a very erudite artist; he constantly studied the works of the ancient masters and he also frequented the Confucian researchers. It is said that he was very fussy and rigorous in his researches of the Chinese legends which he chose as subjects for his works. In the drawing of" Bashiko", Sansetsu annotates even the source from which he has drawn the legend; this philologist attitude is rare to find among the other artists of the Kano School.

Mention must be made of another important work by Sansetsu; it deals with a section of a Trilogy of Scrolls entitled " The Origin of the Taima Temple " (Taima Dera Engi emaki), to which other famous artists have contributed among others his stepfather Sanraku. Sansetsu has painted the V Section of the First Scroll, with a scene of battle in which the representation of some racing horses is full of the dynamic force typical of his art. This scene was probably assigned to Sansetsu in consideration of his cleverness in the drawing of the horses; at the time of this work Sansetsu was probably around 40 years of age.

Among the important material to study in connection with the production of Sanraku and Sansetsu is" The album of the drawings of the Mountains and Waters carried out by Sanraku and Sansetsu" (Sanraku Sansetsu Sansuicho). Inside this work there are two drawings reproducing groups of horses, one of which show a group grazing on the shores of a lake. This drawing has the signature of Sanraku and it is interesting to notice that also he was interested in the drawing of horses. From this it is even more noticable that Sansetsu himself treasured the teachings of his stepfather.

We still have another interesting work, that is" The Screens with Group of Horses", (Gumbazu-byobu) consists of two screens of six shutters each. If the two screens are united we get a complete vision showing a lake surrounded by a range of mountains. Against this background we notice some horses that drink in the lake, whilw othwe graze and run. Almost surely this work may be attribuited to Sansetsu, as the forms of the well structured landscape elements disclose his style. It is interesting to notice that the profiles of some horses recall those of the Scrollino the Stibbert Museum.

There are interesting references also among the writing documents. For example, in an extract of the diaries of a member of the aristocratic class, named Kujo Yukiie, we find the following passage:

"Three generations of Kano Masters: Sanraku, Sansetsu, Eino (1631-1697), have executed many Works for our House. The drawinges of the One hundred Horses for the rooms of our residence all have been performed by Sanraku and Sansetsu. "

From this passage it is understood that the artists mentioned were protected by the Kujo Family, but the most important thing is that we have proved that Sanraku and Sansetsu were the authors of equestrian paintings in the residence of the Kujo. Even if we cannot distinguish which works were executed by Sansetsu, surely we can form the following hypothesis: as the expert Doi Tsugiyoshi sustains that a screen of a room of the residence, called" Room of Genji", is attributable to Sanraku, so, according to my opinion, also Sansetsu has drawn a drawing of One hundred Horses for the same residence.

In conclusion, I have tried to provide a summary of the history of the equestrian painting in Japan, and to show that this tradition is found in the work of Kano Sansetsu preserved in the Stibbert Museum. I have considered some works of Sanraku and Sansetsu, also referring to the literature concerned, and I have noticed that Sanraku was a Master of the equestrian painting and that Sansetsu had inherited this tradition. However, in the equestrian painting of Sansetsu we can find his peculiar artistic personality that would make him deserve the title of" Virtuous, Magician of the perfect form."

In this way I have tried to demonstrate the possibility of Kano Sansetsu being the author of the Scroll preserved in the Stibbert Museum.