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44. N.H.1262. Continued.

"A unique design of many figures, small, on the steps of the old Daibutsu temple in Kioto. They call it only old Tosa. 

You will divine at once, as I did, that here is a real connecting link between Tosa and Ukioye. The painting of the architecture and the trees above, as also the hair brush strokes in the figures, is essentially Tosa. On the other hand, the use of pigments and the proportion and pose of the figures is almost pure Kano. The minute figures are like the finest Matahei. That part of the technique that is Tosa, is like Mitsunobu. Mitsunobu is said to have had at least two children, a son Mitsushige, and a daughter Mitsuhisa. It is also said, in one place, that Matahei first studied under Mitsushige.  But Mitsushige seems to be a very shadowy character, with no identifiable work, and it is even possible that he is only a name made up by the later Tosas to fill in their broken genealogy. Mitsuhisa, however, became the wife of Kano Motonobu, and is said to have thus temporarily united the Tosa line with Kano. This work can hardly be later than the time of Nobunaga. The likeness of the figures, in shape, to those of Yeitoku and Sanraku must, in that case, be explained as a kind of type which they, together with Matahei as we already know, must have followed. Temporarily I shall identify it as Mitsuhisa, and as the oldest Ukioye yet seen.  Also its merits do not rest only on its historical importance.  It is as beautiful as an old Tosa.

45. [[left margin]] 05.15 [[stamp]] SMITHSONIAN. [[/stamp]] 2. [[/left margin]] 

One Painting. Attributed to Lin Liang. Ming. Chinese. (Rinrio--Japanese name.) Painted on silk, in colors. 

Three phoenixes. Three of the fabled feng-huang are pictured, two males in gorgeous coloring and in attitudes of vigorous activity, and a white female. The latter stands at the right, facing left but with head turned over her back, and the others appear a little higher at center and left. All are among trees and rocks and are seen against a background of rich emerald foliage, of tangles of pointed bamboo leaves, and of crimson buds and bursting white blossoms. The painting covers practically the entire body of the silk and is much worn, as is the silk where its surface appears. 

Without signature or seals. 

On the back a label attributing the painting to Lin Liang. 

Received as a panel and still remains in that form. Height, 61 1/8"; width, 4 1/8".

45. [[left margin]] 05.16 [[stamp]] SMITHSONIAN. [[/stamp]] 3. [[/left margin]] 

One Painting. Attributed to Lin Liang. Ming. Chinese. (Rinrio-Japanese name.) Painted on silk, in colors. 

Two phoenixes, chanting to the morning sun. The two birds stand side by side on a rock, both seen in profile facing squarely to the right, the cock with tail erect standing on one red leg nearer the observer, and the female on her lord's farther side, her white legs throwing his red ones into bold relief, Before them the bamboo appears, and below them small white flowers and red poppies, and above them rich floral leafage of emerald note, and clouds of emerald white. With one accord the birds chant vigorously and intently, their beaks well opened, to the coming lord of the day. The paint, which covers practically the entire surface of the silk, is greatly worn, and the silk where it appears also shows considerable wear. 

Without signature. On the right near the top, a seal. 

On the back a label attributing the work to Lin Liang. 

Received as a panel and still remains in that form. 

Height, 61 1/8"; width, 40 1/8".

Transcription Notes:
---------- Reopened for Editing 2025-07-03 19:09:44 ---------- Reopened for Editing 2025-07-04 12:26:33 Don't ignore paragraphing. ---------- Reopened for Editing 2025-07-05 14:52:01 ---------- Reopened for Editing 2025-07-06 16:17:00