Continuum of Rinpa Design

The Rinpa school is unique in that, unlike other schools such as Kanō and Tosa, the heritage was perpetuated not through familial lines or clan-retainership, but by those who had affinity with the style. Early-Edo-period artists Hon’ami Kōetsu (1558–1637) and Tawaraya Sōtatsu (birth and death unknown) are considered to be the forerunners. Ogata brothers, Kōrin (1658–1726) and Kenzan (1663–1743), elaborated the artistic expressions, and Sakai Hōitsu (1761–1828) and Suzuki Kiitsu (1796–1858) endeavored to revive the tradition toward the end of the eighteenth century.
These artists were not confined in a single art form. They applied their innovative designs not only to paintings, but also kōgei items such as writing boxes, kimonos, hand fans, portable containers and earthenware.
This exhibition showcases masterpieces of these prominent Rinpa artists, notably Hon’ami Kōetsu and Tawaraya Sōtatsu (Calligraphy of Poems from the ‘Shin-Kokin Wakashu’ on Paper decorated with Deer), Ogata Kōrin (The Empress Akikonomu) and Sakai Hōitsu (Snow, Moon and Flowers). Rediscover the finesse of Rinpa art the charm of which has never been lost through the passage of time.

Birds and flowers are Rinpa’s frequent motifs. Plants, in particular, are found in many works. Tawaraya Sōtatsu started drawing plants on small cards and handscrolls in gold and silver paints. His evolving work in larger formats inspired his contemporary and subsequent artists, who perpetuated this gold-silver painting style. Kōrin was adept at stylizing motifs and incorporating into his vibrant paintings and other works. Meanwhile, Sakai Hōitsu veered toward realism to depict plants through seasonal flux, backed by the developing natural history of the time in Japan.

The forerunners of the Rinpa school had great affinity with the Imperial culture of the Heian period. Various illustrated classical tales were their innovative attempts to revisit the literature of those times, including the Tales of Ise and the Tale of Genji. Ogata Kōrin and Kenzan had their own takes from their artistic perspectives. The tradition was thus carried on by Sakai Hōitsu as well, creating their unique worldview.

Drawing a striking contrast to the paintings in vibrant colors, Rinpa artists also drew inspiration from ink-wash paintings, depicting figures and episodes of Buddhism and Taoism as well as from Chinese anecdotes. Discover the refined brushwork of Kōrin (Hanshan and Shide), Hōitsu (Shasui Kannon), and more.

【Rinpa artists】
■Hon’ami Kōetsu (1558–1637)
The Hon’ami family was traditionally in the trade of sword valuation and sharpening. Kōetsu became an artist of many talents, excelling in handcrafting, calligraphy, and other pursuits. His legacies are found in many aspects of Japanese culture even today. He is also recognized as one of the three calligraphers of excellence during the period of Kan’ei (early 17th century), founding the Kōetsu-style calligraphy.

■Tawaraya Sōtatsu (birth and death unknown)
It is believed that Sōtatsu operated an art workshop and gallery named “Tawaraya.” He introduced and developed new themes in the genre of yamato-e painting, which later became the reference point of the Rinpa art style. He also developed a style to use the mogu (drawing without using outlines) and tarashikomi (smudging ink) techniques.

■Ogata Kōrin (1658–1716)
Born as the second son of a Kyoto-based kimono textile merchant, Ogata Sōken, Kōrin was introduced to many cultural pursuits during his youth as his affluent familial background permitted, such as the Noh theater, calligraphy, and painting. He was also trained in the Kanō School painting. Being familiar with the work by Kōetsu and Sōtatsu from early on, he aspired to restore his forerunners’ past glory.
His genius in design was also evident in kōgei (artisanal craft), ranging from earthenware to kimono and makie (lacquerware).

■Ogata Kenzan (1663–1743)
A younger brother of Ogata Kōrin, Kenzan was trained in pottery under Nonomura Ninsei, a Kyoto ware potter. In 1699, he opened his own kiln in Narutaki-izumitani in Kyoto and assumed a pseudonym of Kenzan. Thus, Kenzan was both his artist handle and the name of his kiln. In 1712, he relocated to a more central area, where his kiln became the household name of Kenzan ware. Much of his work reflects Rinpa-style designs, sometimes incorporating poems. He also collaborated with his brother Kōrin on many occasions.

■Sakai Hōitsu (1761–1829)
Sakai Hōitsu was born in Edo as a second son of Sakai Tadamochi, a daimyo lord of Himeji. His elder brother, Tadazane, was a man of many talents and left significant impact on Hōitsu during his formative years, notably in Japanese verses as well as art and entertainment. In terms of painting, Hōitsu started with the Kanō School and moved on to ukiyo-e style, acquiring skills and tastes of many different schools. He fostered interest in the Rinpa style during his 30s and later excelled in drawing floral designs.

【Concurrent exhibition】
Bandō Tamasaburō’s stage costumes
Friday, October 24 to Sunday, December 14
Galleries 4 and 5