In the last decades of the 16th century, Japan was unified after a turbulent 150-year civil war. The rigid dividing lines between the various social classes gradually began to dissolve, and a mercantilist society emerged. The exclusive rights of the aristocracy were broken. The visual interpretation of a classical past and its representation in calligraphy and images was once reserved for this class. The dissemination of texts and images gradually expanded. A number of commoners, including Tawaraya Sotatsu and his associate Hon'ami Koetsu began experimenting with new forms of printing with movable type. Today he is considered one of the most important and influential Japanese painters and craftsmen of the last 400 years.
Sotatsu Tawaraya took charge of the prestigious Tawaraya painting studio in Gojo-dori, the "Champs-élysées" of Kyoto, in the first half of the 17th century. This business used a variety of small portable painting formats, including folding fans, album leaves, and tanzaku, "painting slips." This eya differed from other edokoro, "ateliers," which executed commissioned paintings for the imperial court, the shogunate, or leading temples and shrines. The tawaraya was an institution that could depict classical themes in its own way and did not have to adhere to conventions. By financing luxury editions of the book "Genji" and other canonical works, it played an important role in spreading this literature, previously reserved only for the nobility and monasteries, among the wider urban population.
Sotatsu was an expert in producing expensive papers for prestigious calligraphers or for use as illuminated backs of religious texts. One of his achievements was the genre of "floating fans". The fan literally shaped Sotatsu's aesthetic sensibility. On a sophisticated, curved format with alternating planes, the artist and his collaborators extracted myriad visual quotations from paintings depicting stories from classic literature and legends - tales of war, romance, and teachings of Buddhism. Sotatsu was an excellent fan designer and maker who was also involved in the preservation of ancient documents, including important Buddhist sutras. Because of his exceptional skills, he had close contact with important calligraphers and court patrons at a time when these skills were in high demand due to the collapse of traditional court painting studios. His contacts with the aristocracy made him a full-fledged court painter by the 1630s. His influence is undisputed, both in his homeland and far beyond the borders of Japan. His striking works are characterized by clean lines and an almost abstract design, and their bright colors and lush gold and silver fields give them a unique presence. Innovations such as Tarashikomi - the manipulation of layers of wet, pooled ink - were instrumental in the development of Rinpa's style and made the artist known worldwide.
In the last decades of the 16th century, Japan was unified after a turbulent 150-year civil war. The rigid dividing lines between the various social classes gradually began to dissolve, and a mercantilist society emerged. The exclusive rights of the aristocracy were broken. The visual interpretation of a classical past and its representation in calligraphy and images was once reserved for this class. The dissemination of texts and images gradually expanded. A number of commoners, including Tawaraya Sotatsu and his associate Hon'ami Koetsu began experimenting with new forms of printing with movable type. Today he is considered one of the most important and influential Japanese painters and craftsmen of the last 400 years.
Sotatsu Tawaraya took charge of the prestigious Tawaraya painting studio in Gojo-dori, the "Champs-élysées" of Kyoto, in the first half of the 17th century. This business used a variety of small portable painting formats, including folding fans, album leaves, and tanzaku, "painting slips." This eya differed from other edokoro, "ateliers," which executed commissioned paintings for the imperial court, the shogunate, or leading temples and shrines. The tawaraya was an institution that could depict classical themes in its own way and did not have to adhere to conventions. By financing luxury editions of the book "Genji" and other canonical works, it played an important role in spreading this literature, previously reserved only for the nobility and monasteries, among the wider urban population.
Sotatsu was an expert in producing expensive papers for prestigious calligraphers or for use as illuminated backs of religious texts. One of his achievements was the genre of "floating fans". The fan literally shaped Sotatsu's aesthetic sensibility. On a sophisticated, curved format with alternating planes, the artist and his collaborators extracted myriad visual quotations from paintings depicting stories from classic literature and legends - tales of war, romance, and teachings of Buddhism. Sotatsu was an excellent fan designer and maker who was also involved in the preservation of ancient documents, including important Buddhist sutras. Because of his exceptional skills, he had close contact with important calligraphers and court patrons at a time when these skills were in high demand due to the collapse of traditional court painting studios. His contacts with the aristocracy made him a full-fledged court painter by the 1630s. His influence is undisputed, both in his homeland and far beyond the borders of Japan. His striking works are characterized by clean lines and an almost abstract design, and their bright colors and lush gold and silver fields give them a unique presence. Innovations such as Tarashikomi - the manipulation of layers of wet, pooled ink - were instrumental in the development of Rinpa's style and made the artist known worldwide.
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