Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 5 værker af Kanō Naizen i vores katalog
Kort sagt
Zheng Huangniu and Yushanzhu (601) er det maleri af Kanō Naizen, der fanger flest blikke. Derefter falder blikket på Namban folding screens (1600) og Arrival of the Southern Barbarians (Nanban-jin) Screen (1600). Blandt de 5 værker af Kanō Naizen i vores katalog er disse 5 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
Zheng Huangniu, at right, and Yushanzhu, at left, were two legendary Chinese Chan (Japanese: Zen) monks often paired in Japanese painting beginning in the early Muromachi period. Zheng Huangniu (Japanese: Seiōgyū), whose name means “Zheng of the Yellow Ox,” is known for riding a yellow ox to which he attached various objects, such as water jars and books. As is common in later Japanese examples, here Zheng rides his ox…
The Namban folding screens, executed by the artist Kanō Naizen, date to about 1600. These works document the arrival of Portuguese vessels in the port of Nagasaki, marking a significant moment of contact between Japan and the West. The imagery focuses on the arrival of the namban jin, or Southern Barbarians, as they appeared to the Japanese during this period.
In the grand tapestry of Japanese art history, few works capture the profound sense of cultural collision and curiosity as exquisitely as the Namban folding screens by the master Kanō Naizen. Created around 1600, this monumental masterpiece serves as a breathtaking visual chronicle of the "Nanban" period—a time when the arrival of Portuguese traders and missionaries brought a wave of unprecedented foreign influence to the shores of Japan. As one…
In the dawn of the seventeenth century, as Japan stood at a pivotal crossroads of isolation and global encounter, Kanō Naizen captured a fleeting moment of profound cultural collision. His Namban folding screens serve as more than mere decorative objects; they are vibrant, cinematic windows into an era defined by the arrival of the "Southern Barbarians." Through a masterful application of gold leaf and meticulous brushwork, Naizen invites the viewer…
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Kanō Naizen | Malerier fra denne liste |
|---|---|---|---|
 Nationalmuseet for Antik Kunst |
Lissabon | 3 | Namban folding screens, Namban folding screens, Namban folding screens |
 Kobe City Museum |
Kyoto | 1 | Arrival of the Southern Barbarians (Nanban-jin) Screen |
Alle de daterede Kanō Naizen-originaler, der vises her, tilhører et enkelt år, 1600: de er opstillet efter berømmelse.
Vælg et årstal for at se de originale værker.
The Namban folding screens, executed by the artist Kanō Naizen, date to about 1600. These works document the arrival of Portuguese vessels in the port of Nagasaki, marking a significant moment of contact between Japan and the West. The imagery focuses on the arrival of the namban jin, or Southern Barbarians, as they appeared to the Japanese during this period.
Mere fra 1600
Zheng Huangniu and Yushanzhu (601). Derefter følger Namban folding screens (1600) og Arrival of the Southern Barbarians (Nanban-jin) Screen (1600).
Vores katalog indeholder 5 værker af Kanō Naizen.
Primært i Nationalmuseet for Antik Kunst (Lissabon) og Kobe City Museum (Kyoto). Museumslisten ovenfor viser dem alle.
I 1600: 4 af de 5 værker på denne side blev skabt dengang, herunder Namban folding screens.
Gold Leaf, for 2 af de 5 værker på denne side.
Namban folding screens, Namban folding screens og Namban folding screens: Nationalmuseet for Antik Kunst, Lissabon har 3 af værkerne på denne side.
