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Finally, the Kano texts, like the Académie texts, continue to exert an influence on the perception of art in their respective lands. 27 Tan’y≥ was named the leading “painter of the inner quarters” (oku eshi) for the Tokugawa shoguns in Edo; he received the highest rank a painter could attain, that of Dharma Seal (h≤in), in 1665; he trained a cohort of painters to follow his style; and he left huge numbers of sketches and paintings that served as models for his successors. 28 Beyond this, however, we might also consider Tosa Mitsuoki (1617–1691) as a classical painter, although of another type.

19. See Hayashiya Tatsusabur≤, Ch≥sei bunka no kich≤ (Tokyo: Tokyo Daigaku Shuppankai, 1953); Koten bunka no s≤z≤ (Tokyo: Tokyo Daigaku Shuppankai, 1964); and Kinsei dent≤ bunkaron (Tokyo: S≤gensha, 1974). 20. Many historians continue to speak of a Kan’ei cultural phase, particularly in reference to developments in the ancient imperial capital. Along similar lines, John Rosenfield describes a “Kyoto renaissance” starting slightly earlier than the Kan’ei cultural phase. : Sackler Museum, 1999), 115.

For the antifoundational argument see John Guillory, Cultural Capital: The Problem of Literary Canon Formation (Chicago: University of Chicago Press, 1993). 9. , Positions 8(3) (Winter 2001). 10. Okakura and Ernest Fenollosa, a Harvard graduate who went to Japan in 1878, fostered the study and preservation of ancient Japanese arts. Okakura posited that Asian art history, like that of the West, has followed three developmental stages: the formalistic, the classic, and the romantic. For Okakura, arts of the classic age in Asia exhibit an “objective idealism” and “beauty is sought as the union of spirit and matter,” comparable to works sculpted by the ancient Greek masters.

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