#Rinpa
Hashtags (#) are symbols widely used on social media, where adding a specific keyword after a post allows users to quickly search for posts with the same keyword, and allows users with the same hobbies or interests to share topics. The title of this exhibition is "#Rinpa" in the hope of sharing the uniquely Japanese Rinpa aesthetic and information about it with many people.
In addition to exhibiting Rinpa works from the museum's collection, the museum plans to have curators share rare information about Rinpa through social media, and provide explanations of the works using images that can be scanned using QR codes in the exhibition rooms.
As a special event, there will also be "Biju Tune! Live 2021 in Noh Theater Rinpa de Gozaru" by Ryo Inoue, who has created several works based on Rinpa works.
Please enjoy the charm of the Rinpa school, one of the major trends in Japanese art that began with Koetsu and Sotatsu, was perfected by Korin, and was passed down to Hoitsu in Edo.
Important Cultural Property Woodsman's Maki-e Inkstone Box, attributed to Hon'ami Koetsu, Momoyama-Edo period, 17th century
The lid has a high, mountain-shaped ridge and the four corners of the lid and body are rounded, making it a so-called bag-shaped inkstone box. Inside the body, a copper water dropper and inkstone are set into the left side, a brush rest on the right side, and a knife holder carved into the shape of a hairpin on the far right. The front of the lid is painted in black lacquer and features a large abalone shell and lead plate depicting a woodcutter carrying brushwood and descending a mountain path. From the inside of the lid to the body and bottom of the body, a gold flat maki-e clay base is decorated with a succession of abalone shell and lead plate depicting bracken and dandelions, creating a small scene of a mountain path. The woodcutter is thought to represent Otomo no Kuronushi, who was featured in the Noh play "Shiga." The depiction of the woodcutter's movements and the splendid stylization of the bracken and dandelions share a common charm with the gold and silver ink sketches on colored paper and waka scrolls that are said to be collaborative works by Koetsu and Sotatsu. Furthermore, the bold use of lead and shells and the innovative sense of form suggest that Koetsu, a leading designer of his time, was deeply involved in the creation of this work. Formerly owned by Hara Sankei.
White Plum Blossom Incense Bag by Ogata Korin, Edo Period, 18th Century
Korin left behind several works depicting flowers, cranes, and other motifs on silk wrappings lined with gold leaf for storing incense. This painting is one of them, depicting a plum tree with white plum blossoms with no distinct petals, a style unique to Korin. The incense wrapping is folded from the top, bottom, left, and right, so it is divided into nine sections, but the central square has been cleverly designed so that the painting does not overlap, allowing the incense to be placed inside. The plum branch extending from the bottom splits into two, each bearing a magnificent white plum blossom. Combined with the gold base, this is an outstanding piece that evokes a beautiful spring scene.
Kotoko Hermit by Ogata Korin, Edo period, 18th century
According to the "Retsusen Zenden," Kototaka was a Chinese immortal from the Zhou dynasty, a native of Zhao, and a renowned koto master. He promised to wade into the pools one day and capture a dragonfly. On the appointed day, he emerged from the water riding a carp. In this painting, the clean, tranquil lines of Kototaka's face and clothing are beautifully harmonized with the fast, dynamic strokes of the water waves. This work represents a unique artistic achievement for the versatile artist Korin, who mastered not only the Yamato-e style of painting by Sōtatsu and others, but also the Kanō school of Chinese painting. This painting is included in the "One Hundred Korin Paintings," compiled by Sakai Hōitsu, a Rinpa painter from the late Edo period.
Rust-painted blue and white plum blossom prose lidded container by Ogata Kenzan, Edo period, 18th century
Ogata Kenzan created pottery in a unique style not found in the Ninsei kiln, where he inherited his pottery techniques, or in other Kyoto wares, using motifs such as chrysanthemums, pampas grass, bellflowers, bamboo grass, and willows, as well as birds and Taoist and Buddhist figures. This work, depicted here, is a lidded container featuring a stylized overlapping pattern of plum blossoms. Kenzan grew up as the third son of Kariganeya, one of Kyoto's leading kimono merchants, and in this work he applied the traditional dyeing and weaving techniques to the ceramic surface. The plum blossom pattern was created using a stencil, with thick, rhythmic layers of white clay. Further overlapping layers of gosu and iron pigments were then painted, and the entire piece was finally covered with a thin layer of transparent glaze and fired. The inside of both the lid and the body feature a plum blossom stencil placed on a white veneer, and the white plum blossoms are highlighted by a brushed application of gosu. The shape and design are richly Japanese, making this one of Kenzan's masterpieces. The name "Kenzan" is written in large letters in iron paint in the center of the bottom of the body. Heirloom of the Konoike family.