A great painter of the eighteenth century who did not follow the Ukioyé or older schools, but, like Korin, struck out a line of his own, was Tani Buncho, who was born in 1763 and died in 1841. As a painter of landscapes, figures, birds, and flowers he was equally a master.

Another artist who struck out for himself is Maruyama Okio, 1733-1795, sometimes regarded as the founder of the Shijo or naturalistic school. According to the old critics, “the art of painting may be pursued according to either of two systems: the one in which the spirit of nature is expressed; the other in which its outward forms are copied.” Okio broke away from the old traditional method, and instead of endeavouring to interpret Nature endeavoured to so present Nature that she should deliver her own message. His favourite subjects were birds, fish, and flowers, and in their naturalistic treatment are more akin to European work than that of his predecessors, though in grace and elegance they are still essentially Japanese.

In the hands of his followers the Shijo or naturalistic school soon became popular. Even more famous than Okio was Mori Sosen, 1747-1821, now recognised as one of the world’s greatest animal painters. He is especially noted for his paintings of monkeys, whose habits he studied for years, often living in the woods for months at a time. He has two styles: one rough and bold, generally on paper; the other on silk, and often of extraordinary delicacy and fineness. That his abilities were not by any means confined to the depicting of monkeys may be seen from his exquisite studies of deer and other animals.

To landscape Mori Ippo applied the principles of the Shijo school, employing a much more naturalistic colouring than had hitherto been the custom, and Hoyen depicted birds, flowers, and insects with charming delicacy and refinement.

In 1749 was born another great independent artist—Ganku, who founded a school of his own, combining with the naturalism of the new something of the suavity and dignity of the older styles.

Though treating of him more fully in the next chapter mention must be made here of the great Hokusai—in Whistler’s words, “the greatest pictorial artist since Vandyke.” To European ears his name is more familiar than that of any other Japanese artist. As a draughtsman he ranks with the very first, and as a painter his brushwork was bold and free and often masterly, though lacking just the grace and finish of the old Kano masters, and, at its best, his colour is superb. Some of his figure subjects have the grandiose quality of a Velasquez. His versatility was extraordinary, every style of subject coming within the range of his brush.