In this article we are going to analyze Hanabusa Itchō from different perspectives, delving into its most relevant aspects and providing new ideas to understand it better. Hanabusa Itchō is a topic of great relevance today, since it has a significant impact on different areas of society. Through this article, we aim to explore its importance in various contexts and examine how it has evolved over time. Additionally, we will focus on specific aspects that may not have been fully explored, with the goal of offering a more complete and enriching view on Hanabusa Itchō. Likewise, we will present different opinions and approaches that will allow us to understand its complexity and its influence in today's world.
Hanabusa Itchō (英 一蝶, 1652 – February 7, 1724) was a Japanese painter born in Osaka, calligrapher, and haiku poet.[1] He originally trained in the Kanō style, under Kanō Yasunobu, but ultimately rejected that style and became a literati (bunjin). He was also known as Hishikawa Waō and by a number of other art-names.
Biography
The son of a physician, he was originally named Taga Shinkō. He studied Kanō painting, but soon abandoned the school and his master to form his own style, which would come to be known as the Hanabusa school.
He was exiled in 1698, for parodying one of the shōgun's concubines in painting, to the island of Miyake-jima; he would not return until 1710.[1] That year, in Edo, the artist would formally take the name Hanabusa Itchō.
Most of his paintings depicted typical urban life in Edo, and were approached from the perspective of a literati painter. His style, in-between the Kanō and ukiyo-e, is said to have been "more poetic and less formalistic than the Kanō school, and typical of the "bourgeois" spirit of the Genroku period".[2]