Difference between revisions of "Tawaraya Sotatsu"
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| + | *''Active: c. 1600-1640'' | ||
*''Japanese'': 俵屋宗達 ''(Tawaraya Soutatsu)'' | *''Japanese'': 俵屋宗達 ''(Tawaraya Soutatsu)'' | ||
Tawaraya Sôtatsu was a ''[[machi-eshi]]'' painter active in Kyoto in the early decades of the 17th century. Along with [[Honami Koetsu|Hon'ami Kôetsu]], with whom he worked closely, he is considered one of the forerunners of the [[Rinpa]] style, which was founded by [[Ogata Korin|Ogata Kôrin]] roughly a century later explicitly imitating and reviving the style of Kôetsu and Sôtatsu. | Tawaraya Sôtatsu was a ''[[machi-eshi]]'' painter active in Kyoto in the early decades of the 17th century. Along with [[Honami Koetsu|Hon'ami Kôetsu]], with whom he worked closely, he is considered one of the forerunners of the [[Rinpa]] style, which was founded by [[Ogata Korin|Ogata Kôrin]] roughly a century later explicitly imitating and reviving the style of Kôetsu and Sôtatsu. | ||
| − | + | Relatively little is known about Sôtatsu's biography. His family name may have been Kitagawa or Nonomura; the years of his birth and death are unknown. Some sources indicate he may have been of some relation to Hon'ami Kôetsu through marriage, but this too is unclear.<ref name=mason>Mason, Penelope. ''History of Japanese Art''. Second Edition. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. pp267-271.</ref> | |
| − | Sôtatsu may have studied painting under the court painter [[Kaiho Yusho|Kaihô Yûshô]]. | + | It is known that Sôtatsu was a quite prominent figure within Kyoto commoner society, and the proprietor of a shop called the Tawaraya, which specialized in paintings, fans, dolls, and other small objects for a largely ''[[chonin|chônin]]'' (commoner/townspeople) market, though he had samurai and ''[[kuge]]'' customers as well. Some of these aristocratic customers were regulars, with whom Sôtatsu developed a close connection; on occasion, his works were given by these aristocratic patrons to other nobles, or even to the emperor or empress themselves. Through recommendations from these aristocratic patrons, he began to receive commissions from the court itself. The painting of a series of doors and panels for the [[Yogen-in|Yôgen-in]] in [[1621]] was perhaps the first of these commissions; of those which survive, the gilded wall panels are decorated chiefly with pine tree motifs, while the doors feature pictures of lions and elephants. Shortly afterwards, he was granted the honorary title of ''hokkyô'' by [[Emperor Go-Mizunoo]]. |
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| + | Sôtatsu may have studied painting under the court painter [[Kaiho Yusho|Kaihô Yûshô]]. The earliest known mention of Sôtatsu in the historical record relates that in [[1602]], he engaged in the repair of the ''[[Heike nokyo|Heike nôkyô]]'', a copy of the [[Lotus Sutra]] belonging to the [[Taira clan]] and dating back to [[1164]]. This work chiefly involved repainting elements on the endpapers of the scrolls, in gold paint, and adding some new paintings of his own, such as a section depicting deer, in silver and gold paint, at the head of one of the scrolls.<ref name=mason/> | ||
Kôetsu was granted a plot of land in Takagamine in [[1615]] by [[Tokugawa Ieyasu]], and Sôtatsu joined him in establishing there, in the hills to the northwest of Kyoto proper, an artists' colony that included Kôetsu's extended family, and roughly fifty other households. Most, if not all, of the members of the community were commoners (''[[chonin|chônin]]'' - townspeople), but were rather prominent and influential townsmen; whether for Kôetsu or Sôtatsu specifically, or for the community more generally, Takagamine saw not infrequent visits from noblemen, and on at least one occasion, in [[1638]], from the Empress [[Tofukumon'in|Tôfukumon'in]]. | Kôetsu was granted a plot of land in Takagamine in [[1615]] by [[Tokugawa Ieyasu]], and Sôtatsu joined him in establishing there, in the hills to the northwest of Kyoto proper, an artists' colony that included Kôetsu's extended family, and roughly fifty other households. Most, if not all, of the members of the community were commoners (''[[chonin|chônin]]'' - townspeople), but were rather prominent and influential townsmen; whether for Kôetsu or Sôtatsu specifically, or for the community more generally, Takagamine saw not infrequent visits from noblemen, and on at least one occasion, in [[1638]], from the Empress [[Tofukumon'in|Tôfukumon'in]]. | ||
Revision as of 13:39, 1 December 2011
- Active: c. 1600-1640
- Japanese: 俵屋宗達 (Tawaraya Soutatsu)
Tawaraya Sôtatsu was a machi-eshi painter active in Kyoto in the early decades of the 17th century. Along with Hon'ami Kôetsu, with whom he worked closely, he is considered one of the forerunners of the Rinpa style, which was founded by Ogata Kôrin roughly a century later explicitly imitating and reviving the style of Kôetsu and Sôtatsu.
Relatively little is known about Sôtatsu's biography. His family name may have been Kitagawa or Nonomura; the years of his birth and death are unknown. Some sources indicate he may have been of some relation to Hon'ami Kôetsu through marriage, but this too is unclear.[1]
It is known that Sôtatsu was a quite prominent figure within Kyoto commoner society, and the proprietor of a shop called the Tawaraya, which specialized in paintings, fans, dolls, and other small objects for a largely chônin (commoner/townspeople) market, though he had samurai and kuge customers as well. Some of these aristocratic customers were regulars, with whom Sôtatsu developed a close connection; on occasion, his works were given by these aristocratic patrons to other nobles, or even to the emperor or empress themselves. Through recommendations from these aristocratic patrons, he began to receive commissions from the court itself. The painting of a series of doors and panels for the Yôgen-in in 1621 was perhaps the first of these commissions; of those which survive, the gilded wall panels are decorated chiefly with pine tree motifs, while the doors feature pictures of lions and elephants. Shortly afterwards, he was granted the honorary title of hokkyô by Emperor Go-Mizunoo.
Sôtatsu may have studied painting under the court painter Kaihô Yûshô. The earliest known mention of Sôtatsu in the historical record relates that in 1602, he engaged in the repair of the Heike nôkyô, a copy of the Lotus Sutra belonging to the Taira clan and dating back to 1164. This work chiefly involved repainting elements on the endpapers of the scrolls, in gold paint, and adding some new paintings of his own, such as a section depicting deer, in silver and gold paint, at the head of one of the scrolls.[1]
Kôetsu was granted a plot of land in Takagamine in 1615 by Tokugawa Ieyasu, and Sôtatsu joined him in establishing there, in the hills to the northwest of Kyoto proper, an artists' colony that included Kôetsu's extended family, and roughly fifty other households. Most, if not all, of the members of the community were commoners (chônin - townspeople), but were rather prominent and influential townsmen; whether for Kôetsu or Sôtatsu specifically, or for the community more generally, Takagamine saw not infrequent visits from noblemen, and on at least one occasion, in 1638, from the Empress Tôfukumon'in.
References
- Lillehoj, Elizabeth. Art and Palace Politics in Early Modern Japan 1580s-1680s. Brill Publishing, 2011. pp176-184.
