@article{oai:rissho.repo.nii.ac.jp:00007842,
 author = {板倉, 聖哲 and ITAKURA, Masaaki},
 issue = {46},
 journal = {法華文化研究, Journal of Institute for The Comprehensive Study of Lotus Sutra},
 month = {Mar},
 note = {The family graves of four branches of the Kanō family, who served as the highest-ranking painters-in-attendance of the Tokugawa Shogunate (oku-eshi), are located on the grounds of Ikegami Honmonji Temple. The inscriptions at their graves mention the 7th, 8th, and 9th generations of the Kobikichō branch of the Kanō family: Tadanobu, Naganobu and Osanobu. These inscriptions were later also included at the beginning of these artists' biographies in Remarks on Old Painting (Koga Bikō) by Asaoka Okisada (1800-1856), the most important source for the reconstruction of these painters' lives. The inscriptions were written by three generations of authors from the Narushima family: Katsuo, Motonao, and Yoshinori. The members of this family were not only chosen because they served as the Confucian scholars of the inner court (oku jusha), but also because the Narushima and Kanō had regularly collaborated, often for the Tokugawa shogunate. Examples of such collaborations included the mural paintings of Edo Castle, and the Handscroll of the Three Kingdoms (Sangokushi gaden emaki), for which the Kanō did the paintings, and the Narushima family the texts, as mentioned in the inscriptions. Moreover, this essay discusses Osanobu's reproduction of classical paintings, which not just served as a onetime studio project, but was continued as a national project for the preservation of cultural heritage in the modern period. As such, I believe that the inscriptions can shed new light on our understanding of these late Kanō painters and their activities.},
 pages = {15--28},
 title = {池上本門寺所在の木挽町狩野家筆塚銘をめぐる小考},
 year = {2020}
}