Who painted Winter Scene with Plum Trees and Pheasants (Birds Right)?

Winter Scene with Plum Trees and Pheasants (Birds Right) was painted by Kano Naonobu in 1604.

Where can I see Winter Scene with Plum Trees and Pheasants (Birds Right)?

Winter Scene with Plum Trees and Pheasants (Birds Right) is held by Cleveland Museum of Art.

What movement is Winter Scene with Plum Trees and Pheasants (Birds Right)?

Winter Scene with Plum Trees and Pheasants (Birds Right) is associated with Baroque.

Artwork

Winter Scene with Plum Trees and Pheasants (Birds Right)

Kano Naonobu , 1604

Winter Scene with Plum Trees and Pheasants (Birds Right) is an unspecified painting by the Baroque artist Kano Naonobu. It dates from 1604 and is held in the collection of the Cleveland Museum of Art. Created around 1604 by Kanō Naonobu, this three-panel painting captures a quiet winter landscape in ink and light color.

Accession no.: 2006.142.2
Credit line: Gift of William Kelly Simpson in memory of his wife Marilyn M. Simpson and her grandparents Mr. and Mrs. John D. Rockefeller Jr.

About this work

Overview

The composition divides the scene between snow-laden left and arid right, emphasizing seasonal contrast through tone and texture rather than detail.

Created around 1604 by Kanō Naonobu, this three-panel painting captures a quiet winter landscape in ink and light color. Executed in the Kanō school tradition, it balances minimalism with atmospheric depth. The composition divides the scene between snow-laden left and arid right, emphasizing seasonal contrast through tone and texture rather than detail. Naonobu’s restrained palette and deliberate use of empty space reflect his mastery of ink wash techniques.

Subject & Meaning

The painting depicts bare plum trees and two pheasants standing motionless on rocky ground, suggesting stillness and endurance in winter. The birds, rendered with subtle speckling, appear alert, as if observing an unseen presence. Plum trees, often symbolizing resilience in East Asian art, thrive in cold seasons, reinforcing themes of quiet perseverance. The absence of human figures heightens the sense of nature’s quiet autonomy.

Technique & Style

Naonobu employed loose, expressive brushwork to suggest bark, rock, and snow without detailed rendering. Ink washes create gradations of gray, defining depth and texture while leaving large areas of paper untouched to evoke cold air and distance. Earth tones and sparse color ground the scene in realism, while the rough, angular forms of the trees convey natural irregularity. The style prioritizes suggestion over description, aligning with Zen-influenced aesthetics.

History & Provenance

Kanō Naonobu, younger brother of Kanō Tan'yū, was active in the early Edo period and contributed to major shogunal commissions. Though less documented than his brother, Naonobu worked under the art name Jitekisai and maintained the Kanō school’s formal traditions while introducing personal subtleties. This painting likely originated in a private or courtly setting, possibly as part of a larger decorative ensemble, though its early ownership remains unrecorded.

Context

Produced during Japan’s early Edo period, the work reflects a cultural shift toward refined, contemplative aesthetics following decades of civil war. While the Kanō school was known for grand, colorful screens, Naonobu’s quieter approach aligned with emerging tastes for introspective landscapes. The emphasis on seasonal change and natural solitude resonated with literary and poetic ideals of the time, particularly those rooted in Chinese ink traditions.

Legacy

Naonobu’s restrained style influenced later generations of ink painters who favored emotional nuance over decorative flourish. Though overshadowed by his brother’s prominence, his use of negative space and atmospheric tone became a touchstone for artists seeking subtlety in landscape representation. This work exemplifies a transitional moment in Japanese painting, bridging monumental court art and the intimate sensibilities of later Edo-period aesthetics.