Hotei im Mondschein | Kanō Dōhaku Chikanobu狩野洞白愛信 | 1792-1821
SKU: 54614209278

Hotei im Mondschein | Kanō Dōhaku Chikanobu狩野洞白愛信 | 1792-1821

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Hotei im Mondschein | Kanō Dōhaku Chikanobu狩野洞白愛信 | 1792-1821Mit dem Namen dieses Malers gibt es ein bisschen Probleme. Man kennt ihn vor allem als Dhaku. Doch der zweite Name wird als Chikanobu oder mit andern Zeichen als Nakanobu, Naganobu etc. gelesen. Dhaku war in seiner Zeit hoch angesehen, da er in der 5. Generation Leiter des Surugadai Ateliers wurde. Atelier Vorsteher waren nicht unbedingt Kan Meister in der Blutslinie; sie mussten sich in erster Linie durch Leistung auszeichnen. Die Kan Schule wurde

Mit dem Namen dieses Malers gibt es ein bisschen Probleme. Man kennt ihn vor allem als Dōhaku. Doch der zweite Name wird als „Chikanobu“ oder mit andern Zeichen美信 als „Nakanobu“, „Naganobu“ etc. gelesen. Dōhaku war in seiner Zeit hoch angesehen, da er - in der 5. Generation - Leiter des Surugadai-Ateliers wurde. Atelier-Vorsteher waren nicht unbedingt Kanō-Meister in der Blutslinie; sie mussten sich in erster Linie durch Leistung auszeichnen.

Die Kanō-Schule wurde wohl deshalb so mächtig und dominierte vierhundert Jahre lang die japanische Malerei, weil sie auf einem Vorbild-Prinzip aufbaute. Große Meister der Schule schufen Modelle von ausgewählten Motiven. Aufgabe der Hunderten von Angestellten in den Ateliers war es, diese Modelle getreu zu kopieren. Individualität war nicht gefragt. Damit sicherte man ein hohes Niveau der Komposition, was sich für den Handel (und die Kanō-Schule hatte in dieser Beziehung viel Wissen und Geschick) positiv auswirkte.

Der tanzende Glücksgott Hotei (einer der Sieben Glücksgötter, chinesischen Ursprungs, die vor allem am Neujahr populär sind) ist ein viel gemaltes Motiv, das bis in kleine Details einem Vorbild folgt: Die Art wie der Gott seinen Wanderstab über den Rücken legt und seine rechte Hand, die den eindeutig chinesisch geformten Fächer hält, herunterhängen lässt, ist ebenso Standard wie das angewinkelte rechte Tanz-Bein und der voluminöse Sack auf dem Rücken. Was bei anderen Bildern dieses tanzenden Hotei nicht vorhanden ist (das ist also eine Zugabe von Dōhaku), ist der Vollmond. Doch der hat hier eine tiefe formale Beziehung zur Darstellung dieses Glückgottes: Genauso rund wie der Mond ist der Sack, der Bauch, der Glatzkopf - und die ganze Gestalt ist einem Kreis einbeschrieben. Das Konzept dieser Darstellung, die ein großer Kanō-Meister einmal geschaffen hat, ist hervorragend, und so ist es durchaus sinnvoll, dass das Bild wieder und wieder in vielen Ateliers von Kanō-Malern gemalt wurde.

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