Asian Art
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Artist, circle of: Kanō Mitsunobu, Japanese, 1561/65–1608

The Twenty-Four Paragons of Filial Piety

ca. early 17th century

Pair of six-panel folding screens: ink, color, gold and silver pigments, and gold foil on paper

unframed: 59 13/16 × 143 5/16 in. (152 × 364 cm)
66 1/8 × 149 5/8 × 3/4 in. (167.96 × 380.05 × 1.91 cm)
Leonard C. Hanna, Jr., Class of 1913, Fund
2002.84.1.1
Geography: 
Japan
Status: 
Not on view
Culture: 
Japanese
Period: 
Momoyama period (1573–1615), Edo period (1615–1868)
Classification: 
Paintings
Provenance: 

Private collection, Kyushu, Japan. Acquired by Leighton R. Longhi, New York; sold to the Yale University Art Gallery, New Haven, Conn., 2002

Bibliography: 

Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 156–57, 378, pl. 141.

Sadako Ohki, “Japanese Art at Yale,” Yale University Art Gallery Bulletin (2007): 42.

Koichi Nakamura, ed., Shaka ichidaiki: Nijushiko, Shohan (Tokyo: Waseda Daigaku Shuppanbu, 1988), 4–8, 263–332.

“Daigamen ni miru sansuikousei no tokurei ni tsuite: shoki Kano ha no baai,” Kokka Magazine 1086 (August 1985): 13–29.

Hiroshi Kawasaki, “Kanou Shouei hitsu Nijuushikouzy byoubu,” Kokka Magazine 1122 (1989).

Hiroshi Kawasaki, “Kenkyuu shirou Sagabon Nijuushikou no sashi-e sakusha ni tsuite (Jou),” Kokka Magazine 1238 (December 1998): 30–33.

Hiroshi Kawasaki, “Kenkyuu shirou Sagabon Nijuushikou no sashi-e sakusha ni tsuite (Ge),” Kokka Magazine 1240 (February 1999): 28–31.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.