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*''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.
He was the proprietor of a shop, called the Tawaraya, specializing in producing paintings, fans, dolls, and other small objects for a largely ''[[chonin|chônin]]'' (commoner/townspeople) market, though he had samurai and ''[[kuge]]'' customers as well. Through these aristocratic connections, 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]].
Sôtatsu may have studied painting under the court painter [[Kaiho Yusho|Kaihô Yûshô]]. 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]].
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]].
{{stub}}
==References==
*Lillehoj, Elizabeth. ''Art and Palace Politics in Early Modern Japan 1580s-1680s''. Brill Publishing, 2011. pp176-184.
[[Category:Artists and Artisans]]
[[Category:Edo Period]]
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.
He was the proprietor of a shop, called the Tawaraya, specializing in producing paintings, fans, dolls, and other small objects for a largely ''[[chonin|chônin]]'' (commoner/townspeople) market, though he had samurai and ''[[kuge]]'' customers as well. Through these aristocratic connections, 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]].
Sôtatsu may have studied painting under the court painter [[Kaiho Yusho|Kaihô Yûshô]]. 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]].
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]].
{{stub}}
==References==
*Lillehoj, Elizabeth. ''Art and Palace Politics in Early Modern Japan 1580s-1680s''. Brill Publishing, 2011. pp176-184.
[[Category:Artists and Artisans]]
[[Category:Edo Period]]