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era (1688–1704) by Ogata Kōrin and his younger brother Ogata Kenzan, sons of a prosperous Kyoto textile merchant. Kōrin's innovation was to depict nature as an abstract using numerous color and hue gradations, and mixing colors on the surface to achieve eccentric effects, as well as liberal use of
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style flourished in Kyōto, Nara, and Ōsaka, i.e., the political and cultural triangle of ancient Japan. Kyōto and Ōsaka were also two of the most important cities of the Nanga (南画 "Southern painting"), also known as
Bunjinga (文人画 "literati painting") school's style; Nanga painting was therefore
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for the remainder of its history. Kōrin collaborated with Kenzan in painting designs and calligraphy on his brother's pottery. Kenzan remained as a potter in Kyoto until after Kōrin's death in 1716 when he began to paint professionally. Other Rinpa artists active in this period were
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artist whose family had been one of Ogata Kōrin’s sponsors. Sakai published a series of 100 woodcut prints based on paintings by Kōrin, and his painting
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genre as Kōetsu, but pioneered a new technique with bold outlines and striking color schemes. One of his most famous works are the folding screens
805:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on this school (see index)
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201:. Sōtatsu also specialized in making decorated paper with gold or silver backgrounds, to which Kōetsu assisted by adding calligraphy.
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Le Japon
Artistique: Japanese Floral Pattern Design of the Art Nouveau Era. From the Collection of the Museum of Fine Arts, Boston
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artists worked in various formats, notably screens, fans and hanging scrolls, woodblock printed books, lacquerware, ceramics, and
224:, as did Kōetsu himself. However, Kōetsu was less concerned with swords as opposed to painting, calligraphy, lacquerwork, and the
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His collaborator, Tawaraya Sōtatsu, maintained an atelier in Kyoto and produced commercial paintings such as decorative fans and
813:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), for material on Rinpa see pages 55–84
639:
Korin: National
Treasure Irises of the Nezu Museum and Eight-Bridge of The Metropolitan Museum of Art (2012, April 21 - May 20)
471:
Sakai had numerous students who carried the movement forward into the late 19th century, when it was incorporated into the
800:
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Both artists came from families of cultural significance; Kōetsu came from a family of swordsmiths who had served the
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style involves simple natural subjects such as birds, plants and flowers, with the background filled in with
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The term "Rinpa" is an abbreviation consisting of the last syllable from "Kōrin" with the word for school
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Hon'ami Kōetsu founded an artistic community of craftsmen supported by wealthy merchant patrons of the
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Chinese
Painters in Nagasaki: Style and Artistic Contaminatio during the Tokugawa Period (1603–1868)
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favored arts which followed classical traditions, and Kōetsu obliged by producing numerous works of
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462:, first published in 1806. This was followed by an original work by Sakai Hoitsu called the
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tea bowls.) His own painting style was flamboyant, recalling the aristocratic style of the
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Suzuki Kiitsu: Standard-bearer of the Edo Rimpa School (2016, September 10 - October 30)
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Designing Nature: The Rinpa
Aesthetic in Japanese Art (2012-2013, May 26 - January 13)
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Kenzan and his tradition: The lives and times of Koetsu, Sotatsu, Korin, and Kenzan
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Japanese
Lacquer, 1600-1900: Selections from the Charles A. Greenfield collection
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65:(d. c.1643). Roughly fifty years later, the style was consolidated by brothers
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615:
Rimpa: Outstanding Works of the Korin School (1972, October 10 - December 3)
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Subject matter and style were often borrowed from Heian period traditions of
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in northeastern Kyoto in 1615. Both the affluent merchant town elite and the
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painted on the back of Kōrin’s "Wind and
Thunder Gods screen" is now at the
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552:. Emphasis on refined design and technique became more pronounced as the
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RINPA: The
Aesthetics of the Capital (2015, October 10 - November 23)
100:. Previously, the style was referred to variously as the Kōetsu school
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Bridge of dreams: the Mary Griggs Burke collection of
Japanese art
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Edo
Painting: Sotatsu and Korin (Heibonsha Survey of Japanese Art)
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artists were anthologized in small paperback booklets such as the
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school painter, 18th century, six-screen ink and gold on paper.
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was strong throughout the early modern period, and even today
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Sōtatsu: Making Waves (2015-2016, October 24 - January 31)
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Treasures by Rinpa Masters (2008, October 7 - November 16)
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exposed to the influence of Rinpa painting and vice versa.
371:. A dramatic composition, it established the direction of
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developments. The stereotypical standard painting in the
489:-style designs are popular. One later artist of note is
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The Art of Edo Rimpa (2017, September 16 - November 7)
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paintings were used on the sliding doors and walls (
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Rinpa Masterworks of the Japanese Decorative School
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748:. Transatlantic Arts (1967). ASIN: B0006BPM10
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783:. The Japan Society (1971). ASIN B0000EEBUB
49:is one of the major historical schools of
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736:Ming Qing Studies 2015, Pages 175–236.
533:flower-and-bird paintings, as well as
96:changing this to "pa"), coined in the
481:and other painters. The influence of
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407:was revived in 19th century Edo by
241:Sōtatsu also pursued the classical
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53:. It was created in 17th century
790:. London: Thames and Hudson Ltd.
270:temple in Kyoto and "Matsushima"
180:old Kyoto aristocratic families
755:. Art Media Resources (1972).
1:
548:. This technique is known as
451:(The Korin Picture Album) by
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786:Stanley-Baker, Joan (1984).
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345:Red and White Plum Blossoms
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299:Red and White Plum Blossoms
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769:. Chronicle Books (2010).
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653:Metropolitan Museum of Art
363:c. 1714–15, is now at the
324:school was revived in the
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417:Summer and Autumn Grasses
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331:precious substances like
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296:Portion of Ogata Kōrin's
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208:and the great warlords,
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700:Idemitsu Museum of Arts
527:Muromachi ink paintings
441:Paintings of the early
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216:, in addition to the
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688:Suntory Museum of Art
664:Kyoto National Museum
630:Tokyo National Museum
618:Tokyo National Museum
568:Notable Rinpa artists
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436:Tokyo National Museum
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249:Wind and Thunder Gods
226:Japanese tea ceremony
160:Portion of Sōtatsu's
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228:(he created several
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732:2016-12-06 at the
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610:Exhibitions
584:Ogata Kōrin
550:gold ground
538:Kanō school
456: [
413:Kanō school
390:Fukae Roshu
192:lacquerware
188:calligraphy
67:Ogata Kōrin
821:Categories
711:References
529:, Chinese
448:Korin Gafu
222:Maeda clan
176:Takagamine
23:, unknown
546:gold leaf
465:Oson Gafu
268:Kennin-ji
231:Raku ware
111:Kōetsu-ha
730:Archived
523:yamato-e
244:Yamato-e
218:Ashikaga
184:ceramics
174:sect at
172:Buddhist
169:Nichiren
474:Nihonga
327:Genroku
280:at the
152:History
94:rendaku
773:
759:
515:fusuma
506:kimono
92:(with
704:Tokyo
692:Tokyo
668:Kyoto
646:Tokyo
634:Tokyo
622:Tokyo
561:Rinpa
554:Rinpa
542:Rinpa
510:Rinpa
502:Rinpa
497:Style
487:Rinpa
483:Rinpa
460:]
443:Rinpa
405:Rinpa
373:Rinpa
337:pearl
322:Rinpa
255:風神雷神図
137:宗達光琳派
121:光悦光琳派
55:Kyoto
44:Rinpa
32:Rinpa
25:Rinpa
771:ISBN
757:ISBN
559:The
423:夏秋草図
392:and
352:紅白梅図
335:and
333:gold
320:The
306:紅白梅図
212:and
190:and
367:in
266:at
105:光悦派
57:by
823::
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458:ja
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275:松島
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186:,
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87:ha
84:,
41:,
38:琳派
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