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Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com . Creator Name: Hoitsu, Sakai Creator Nationality: Asian; Far East Asian; Japanese Creator Dates/Places: 1761-1828 Creator Name-CRT: Sakai Hoitsu Title: Pine and Wisteria View: Full View Creation Start Date: 1810 Creation End Date: 1819 Creation Date: Edo period, dated 1810-1819 Creation Place: Japan Object Type: Paintings Materials and Techniques: Ink and color on gold leaf on paper Parts and Pieces: two-panel folding screen Dimensions: 60 1/2 x 61 1/4 in. (153.7 x 155.6 cm) AMICA Contributor: Asia Society Owner Location: New York, New York, USA ID Number: 1979.218 Credit Line: Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection Rights: http://www.asiasociety.org Context: Rinpa is the name given to a group of artists whose work is characterized by bright colors, bold forms, lavish surfaces (often enhanced with gold and silver), the frequent use of a bird's-eye perspective, and a reliance on the painting styles and literary themes popular during the late Heian period (794-1185), when the Japanese court and nobility in Kyoto had been at their political and cultural height. Rinpa means 'rin school'; the term is derived from the last syllable of the name Korin in honorof Ogata Korin (1658-1716), one of the most influential artists of this school. The Rinpa ancestry is traced back to the painter and calligrapher Tawaraya Sotatsu (active 1600-1640) and Hon'ami Koetsu (1558-1637), best known for his calligraphy and pottery. Sotatsu, Koetsu, and Korin belonged to the machishu class of Kyoto society, wealthy, educated merchants who socialized with and catered to the Kyoto aristocracy, many of whom were impoverished. The interest in reviving early court culture that permeates the art of the Rinpa school is a reflection of the close cultural and personal ties between the machishu and the aristocracy. This two-panel screen depicting Pine and Wisteria is the work of Sakai Hoitsu (1761-1828), one of the two most important artists who worked in the Rinpa tradition in the early 18th century. The second son of Lord Sakai of Himeji Castle in Harima Province, Hoitsu had an eclectic education, studying literature, poetry, No theater, and painting. He also practiced several styles of painting, working with a Kano-school artist as well as with painters in the Maruyama-Shijo, Nanga, and ukiyo-e traditions. In 1779 Hoitsu became a Buddhist priest. Shortly after, he devoted himself to the study of the art of Ogata Korin, whose works were available to him through family connections. Hoitsu's interest in Korin and in the art of the Rinpa school was responsible in large part for the introduction of this type of painting to artistic and cultural circles in Edo, where Hoitsu worked. The combination of signatures and seals date this screen to c. 1810-1819. The signature in the lower lefthand corner reads Hoitsu Kishin hitsu, 'painted by Hoitsu Kishin.' (Kishin is one of his artist-names.) The two seals read Monsen, his monk-name, and Keikyo Dojin, another artist-name. The overall composition of this pair of screens, in which the pine tree dominates the right half, may reflect Kano school conventions. The modulated shapes of the trunk and branches, and the representation of the pine needles in cloudlike clusters characterize Rinpa painting. The painterly technique--for example, the formation of the tree trunk without contour lines and the layering of one color of wet wash into another to create textures--also typifies the work of this school. The union of pine (male) and wisteria (female) is a symbol of love in Japanese art and literature; it is possible that this screen was commissioned either for use at a wedding ceremony or as part of a dowry. The sixteen-petalled chrysanthemum motif that has been worked into the metal fittings along the sides of the mount may provide a clue to the owner of this screen. The chrysanthemum was an imperial emblem during the Edo period; however, in the early 19th century, members of the impoverished court were not active patrons of the arts. It is possible that this screen was desired by a member of the family of a feudal lord (daimyo) who was to marry the daughter of a court noble. Related Document Description: Asia Society. Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection. New York: Asia Society, [1981], p. 98. Related Document Description: Kobayashi, Tadashi, Murashige Yasushi, and Kano Hiroyuki. Rimpa School of Painting. Kyoto: Shikosha, 1992, vol. 5. Related Document Description: Ono, Tomoko. 'Special Features in the Development of Sakai Hoitsu's Painting Style: New Evidence and a Reevaluation of Edo Rimpa.' Bijutsushi 38 (1989). Related Document Description: Treasures of Asian Art: Selections from the Mr. and Mrs. John D. Rockefeller 3rd Collection, The Asia Society, New York. Hong Kong and Singapore: Hong Kong Museum of Art and National Museum Singapore, 1993, pp. 160, 161. Related Document Description: Treasures of Asian Art: Selections from the Mr. and Mrs. John D. Rockefeller 3rd Collection, The Asia Society, New York. Tokyo: Idemitsu Museum of Arts, 1992, pp. 112, 143-44. AMICA ID: ASIA.1979.218 AMICA Library Year: 1998 Media Metadata Rights: Copyright, Asia Society AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder. Home
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