Maleriet, der gjorde Yōgetsu berømt, er Portrait of Sugawara Michizane (1500); det hænger på Cleveland Museum of Art i Cleveland. Carp and Waterweeds (1483) og Landscape in the Moonlight (1799) følger efter i samlernes og museumsgæsternes hjerter. Af de 3 værker af Yōgetsu i vores katalog er disse 3 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026.
Created in 1483, Carp and Waterweeds is a serene East Asian ink wash painting presented as a vertical hanging scroll. The composition utilizes a monochromatic palette of black, grey, and sepia tones set against an aged, light beige background. The artwork features two carp swimming amidst aquatic vegetation, rendered with fluid, calligraphic lines that define the organic curves of the fish and the delicate stems of the waterweeds.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Yōgetsu | Malerier fra denne liste |
|---|---|---|---|
 Metropolitan Museum of Art |
New York | 2 | Carp and Waterweeds, Landscape in the Moonlight |
 Cleveland Museum of Art |
Cleveland | 1 | Portrait of Sugawara Michizane |
Created in 1483, Carp and Waterweeds is a serene East Asian ink wash painting presented as a vertical hanging scroll. The composition utilizes a monochromatic palette of black,…
Portrait of Sugawara Michizane (1500), Cleveland Museum of Art, Cleveland. Derefter følger Carp and Waterweeds (1483) og Landscape in the Moonlight (1799).
Vores katalog indeholder 3 værker af Yōgetsu, dateret fra 1483 til 1799.
De fleste af dem findes i Metropolitan Museum of Art (New York) og Cleveland Museum of Art (Cleveland). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Carp and Waterweeds (1483), det seneste Landscape in the Moonlight (1799).
Carp and Waterweeds og Landscape in the Moonlight er blandt de 2 værker på denne side, som er i Metropolitan Museum of Art, New York's samling.
Yōgetsu remains a figure defined more by mystery than by a documented biography. Little is known about his personal history, leaving a void where specific details of his life would typically reside. He operated as a painter, a calligrapher, and a Buddhist monk, roles that suggest a life centered on spiritual discipline and the technical precision of ink. His presence in the historical record is sparse, often appearing as a figure cited by others rather than one who left a self-authored legacy.
His activity was localized to the mountains northeast of the ancient capital of Nara in Japan. It was in these highlands that Yōgetsu lived and worked as a monk. This geographic isolation likely contributed to the scarcity of information regarding his early years and his specific training. He is sometimes identified in historical discussions as a follower, a classification that places him within a specific lineage of practitioners without providing a clear map of his individual development.
The identity of Yōgetsu is inseparable from his dual existence as a religious practitioner and a visual creator. His work emerged from this intersection of monastic life and the disciplined application of ink on silk or paper. While the specifics of his daily life remain obscured, his status as a monk in the Nara region provides the only concrete anchor for understanding his place in Japanese history.
Yōgetsu’s output reflects the disciplined restraint of a monk, focusing on the tension between natural elements and spiritual stillness. In Carp and Waterweeds, the artist uses ink on silk to capture a specific, frigid energy. The work depicts a single ray of red light hitting a white shoal, contrasting with the wind-whipped grass along a riverbank. This piece relies on the physical movement of the subject—the snapping tails and spinning whirlpools of the carp—to create a sense of sudden, kinetic life within a static medium.
The artist's reach extends into portraiture and landscape, though the attribution of certain works remains a point of scholarly discussion. Portrait of Sugawara Michizane remains a significant entry in the historical record of his known works. Meanwhile, Landscape in the Moonlight, an ink on paper hanging scroll, is attributed to Yōgetsu. This work demonstrates a command over atmospheric composition, using the medium to translate the quietude of moonlight into a visual form.
The physical presence of Yōgetsu’s output is concentrated in a few specific institutional collections. The Metropolitan Museum of Art in New York holds two of the artist's works, including the ink on silk piece titled Carp and Waterweeds. This collection provides the most significant opportunity to observe the scale and material application of his hand. Another work from the artist resides within the same institution, though its attribution is sometimes debated.
Beyond New York, the Cleveland Museum of Art maintains one work by Yōgetsu in its permanent holdings. This ensures his presence in major American collections outside of the East Coast. The Los Angeles County Museum of Art also contains one painting by the artist. These scattered locations reflect the survival of his ink on paper and silk works through the centuries.