A school of painters active in the 16th century and the 17th century, founded by Hasegawa Tōhaku 長谷川等伯 (1539-1610) who is thought to have come from the province of Noto 能登, Ishikawa Prefecture. Many aspects of Tōhaku's life and oeuvre remain unclear. It has been postulated that early in his career he used the name Nobuharu 信春 (also read Shinshun) and studied with Soga Jōshō 曽我紹祥 (dates unknown) of Echizen 越前 (now Fukui Prefecture). The name Hasegawa Nobuharu is inscribed on several paintings including depictions of Buddhist figures, portraits, and flowers and birds. These works exhibit a more delicate touch than the paintings bearing the signature or seals of Hasegawa Tōhaku. According to records, Tōhaku also studied for a period with the Kano school *Kano-ha 狩野派, perhaps in Kyoto; however, soon he turned away from the Kano style and favored instead the tradition of Sesshū Tōyō 雪舟等楊 (1420-1506), the renowned ink painter *suibokuga 水墨画 of the late Muromachi period. It may be that Tōhaku studied with Tōshun 等春 (active ca. 1506-42), a pupil of Sesshū. Tōhaku claimed to be a fifth generation descendent of Sesshū, but he may have invented this claim as a means to attract patrons away from the rival Kano painters, the preeminent school of his day. Assisted by influential acquaintances, such as the tea master and aesthete Sen no Rikyū 千利休 (1522-91), Tōhaku was able to secure a number of major commissions. As a mature artist, Tōhaku worked extensively for Zen temples in Kyoto, emulating in particular the art of Muqi (Jp: Mokkei 牧谿: later 13th century, see *sōgenga 宋元画). Despite his close ties with members of the Zen sect, Tōhaku followed the teachings of *Nichiren 日蓮. Nittsū 日通, a priest of the Nichiren sect living at Honpōji 本法寺 of Kyoto, was responsible for recording Tōhaku's comments on painting in the *Tōhaku gasetsu 等伯画説. In his later years, Tōhaku created masterpieces in suggestive, lyrical monochrome, as well as works of a more colorful and bold nature, such as the screen paintings of Maple Tree and Autumn Plants Kaede akikusa-zu 楓秋草図; (around 1592) in the Chishakuin 智積院, Kyoto. In this work, Tōhaku may have been assisted by his atelier, which is said to have included four sons who took the name Hasegawa and many followers. The most accomplished painter among Tōhaku's sons was apparently the eldest, Kyūzō 久蔵 (1568-93), who is credited with the screen painting Cherry Trees Sakura-zu 桜図 in the Chishakuin. Tōhaku's second son may have been Sōtaku 宗宅 (? -1611), who supposedly received the title of hokkyō 法橋. Sakon 左近, perhaps his third son, adopted Tōhaku's reverence for Sesshū, referring to himself as the sixth generation descendent of Sesshū. Sōya 宗也 (1590-1667), who may have been Tōhaku's fourth son is known to have executed a number of works, including a depiction of The Willow Bridge and Water Wheel Ryūkyō suisha-zu 柳橋水車図. The style of late members of the Hasegawa School becomes increasingly close to the Kano school style, and by the 17th century the Hasegawa school largely fades into obscurity.