The Era of the Toyotomi (1574-1614 Toward the close of the Ashikaga period the empire was thrown into a state of utter confusion, but when Oda Nobunaga gained the controlling power over Japan and was sub sequently succeeded by the great Taiko Hide yoshi, the dashing disposition and the extrava gant taste of the people strongly tinged the different lines of art. But this zeitgeist and its consequent effect on fashion was, in some measure, counteracted by the prevalence of chanoyu (ceremonious tea-making" —an art which, under the strenuous encouragement of Hideyoshi and the devoted enthusiasm of those who took interest in it, attained to a high de gree of artistic excellence. It even affected the style of architecture and industry.
In this period the paintings of Kano Yeitoku were characterized by strong force and free use of his brush, and brilliancy of color. His works were immensely admired by the warrior class and used in decorating magnificent edi fices. He had three disciples: Sanraku, Koyet su and Yusho. Koyetsu first modified the style of the old Tosa school and made a style of his qwn. Furthermore, he improved upon inakiyi (gold and silver lacquer) by his noble and unique designs, and his representations of popu lar scenes promoted the oncoming of the ukiyoye school.
In architecture, Hideyoshi's two castles, Momoyama and Juraku, were the most magni ficent. The daimyos, too, took pride in the splendor of their castles. The construction of Shinto shrines also was gradually improved, un til what was called the yatsumune-drukuri (buildings consisting of eight edifices, large and small) edifices was invented. It has been charged that the Buddhist temples of the Shin sect are wanting in solemnity, but in mag nitude they are seldom equalled. In the con struction of tea-rooms the greatest elegance of taste was displayed, and gardening, too, un derwent a favorable change. In sculpture there were few great productions, except those that were employed in ornamenting buildings. The latter part of this age, however, brought forth the famous sculptor Hidari Jingoro. It may be worth mentioning that remarkable skill was exhibited in the carving of No masks. As to manufacturing art, apart from the encourage ment afforded• by the extravagance of the daimyos and the general prevalence of tea making, the great influx of foreign articles through the merchants of China, the Malay Archipelago and Western countries stimulated the progress of all branches of Japanese art.
The First Period of the Tokugawa Sho gunate (1615-1744 A.D.).— With the firm es
tablishment • of the Tokugawa's supremacy, the literature and art of Japan took a long stride; and as the empire had enjoyed tranquillity for many years people in general became effeminate and weak-spirited through excessive devotion to literary pursuits, while the plebeians raised the condition of their living owing to the growth of their wealth. The result was that the fashion and the taste of those days were, to a great extent, modeled by the fancy of the lower but comparatively rich plebeians. Accordingly, art and industry gradually departed from their old fashion of grandeur and magnificence, and assumed milder and plainer aspects.
At the beginning of this period, however, the trace of the foregoing age was still per ceptible; for even in the vivid ukiyoye painting of Matabei and the superb style of Sotatsu's decorative pictures there was a touch of vigor and grandeur. But as the age gradually rip ened and fancy deepened the so-called Genroku fashion unfolded all its glory.
Among the artists Tannyu held a very prominent positiorr. He studied both Chinese and Japanese art and formed a novel style dis tinguished for the broadness of subjects and plainness of treatment, while Naonobu, Yasu nobu and Tsunenobu contributed to extending the influence of his school. Sansetsu, remain ing in Kioto, faithfully preserved his ances tors' style; Mitsuoki improved upon the old Tosa style by blending in it the brush of the Chinese masters; Jyokei and his son Gukei re vived the Sumiyoshi school; Hanabusa Itcho, choosing his themes in the scenes of daily life, depicted light and charming pictures; Motonobu with his peculiar beauty and grace of treatment secured the foundation of the ukiyoyi school. Choshun, Kwaigetsudo, Masanobu and Kiyo nobu formed a group by themselves, while Sukenobu worked independently. Korin, the great genius and unequalled decorative painter, applied his art to lacquer work, while his younger brother Kenzan achieved the highest fame for his graceful paintings on porcelain wares.
In this age sculptors chiefly put their efforts into microscopic details; hence diminutive works of rare merit — such as Netsuke — were produced, but larger works like Buddhist stat ues continued to decline. Of the sculptors who made a specialty of carving Buddhist statues Tankai Risshi and Shimidzu Riukei alone were celebrated. Carving came to be widely used in the decoration of •buildings, but the style grew too complex.